Schubert’s late music : history, theory, style PDF
Preview Schubert’s late music : history, theory, style
Schubert’sLateMusic Schubert’slatemusichasprovedpivotalforthedevelopmentofdiverse fieldsofmusicalscholarship,frombiographyandmusichistorytothe theoryofharmony.ThiscollectionaddressescurrentissuesinSchu- bert studies, including compositional technique, the topical issue of ‘late’ style, tonal strategy and form in the composer’s instrumental music and musical readings of the ‘postmodern’ Schubert. Offering freshapproachestoSchubert’sinstrumentalandvocalworksandtheir reception, this book argues that the music that the composer pro- ducedfrom1822to1828iscentraltoaparadigmshiftinthehistory of music during the nineteenth century. The contributors provide a timelyreassessmentofSchubert’slegacy,assemblingaportraitofthe composer that is very different from the sentimental Schubert per- meatingnineteenth-centurycultureandthepostmodernSchubertof morerecentliterature. lorraine byrne bodley is Senior Lecturer in Musicology at MaynoothUniversity.SheisthefirstwomaninIrelandtobeawardeda D.Mus.inMusicology(NationalUniversityofIreland,2012).Shehas published eleven books and is currently writing a new biography of Schubert.RecentawardsincludetwoDAADSeniorAcademicAwards (2010and2014)andaGerda-HenkelFoundationScholarship(2014). In 2015 she was elected President of the Society for Musicology in IrelandsandaMemberoftheRoyalIrishAcademy. julian horton is Professor of Music and Head of Department at DurhamUniversity.HeistheauthorofmonographsincludingBruck- ner’sSymphonies:Analysis,ReceptionandCulturalPolitics(2004)and editorofTheCambridgeCompaniontotheSymphony(2013).In2012 hewasawardedtheWestrupPrizeoftheMusicandLettersTrustand in2014hewaselectedPresidentoftheSocietyforMusicAnalysis. Schubert’s Late Music History, Theory, Style Editedbylorraine byrne bodley MaynoothUniversity julian horton DurhamUniversity UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9781107111295 (cid:2)C CambridgeUniversityPress2016 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2016 PrintedintheUnitedKingdombyTJInternationalLtd.PadstowCornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata ISBN978-1-107-11129-5Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracy ofURLsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. ForSusanYouens withadmiration,loveandgratitude Contents Listoffigures page[x] Listofmusicexamples [xi] Listoftables [xvii] Notesoncontributors [xix] Acknowledgements [xxv] Introduction:Schubert’slatestyleandcurrentmusical scholarship [1] lorraine byrne bodley part i reception histories [17] 1 ‘Classical’musicandVienneseresistancetoSchubert’s Beethovenproject [19] john m. gingerich 2 Beethoven,Schubertandthemovementofphenomena [35] scott burnham 3 [Un]HimmlischeLa¨nge:editorialinterventionas receptionhistory [52] anne m. hyland 4 Citation,narrativeandmeaning:WoodyAllenand thelateSchubert [77] harry white part ii the late instrumental music (1): hermeneutics and performance [89] 5 Schubert’salchemy:transformativesurfaces, transfiguringdepths [91] robert s. hatten 6 Againstthegrain:theSonatainG(D.894)anda hermeneuticsoflatestyle [111] vii richard kramer viii Contents 7 Schubert’sWiegenlied:theAndantesostenutofromthe PianoSonatainB(cid:2),D.960 [134] eric wen 8 Schubert’sreconciliationofgothicandclassical influences [149] marjorie hirsch 9 ThefirstmovementofSchubert’sPianoSonataD.959and theperformanceofanalysis [171] julian horton part iii the late instrumental music (2): meaning and genre [191] 10 SchuberthearingDonGiovanni:Mozartiandeathmusicin the‘Unfinished’Symphony [193] glenn stanley 11 Longingfortheunattainable:thesecondmovementofthe ‘Great’CmajorSymphony [219] lauri suurpa¨a¨ 12 TonalrecollectioninSchubert’slateinstrumentalmusic [241] ryan mcclelland 13 Detours,wrongtracksanddeadends:theWandererinthe labyrinthofSchubert’slateinstrumentalmusic [263] xavier hascher 14 Formalambiguityandgenericreinterpretationinthelate instrumentalmusic [282] su yin mak part iv defining late style [307] 15 The‘problemofsolitude’andcritiqueinsong:Schubert’s loneliness [309] susan youens 16 Musicoftheorphanedself?Schubertandconcepts oflatestyle [331] lorraine byrne bodley Contents ix 17 Boundedfinitudeandboundlessinfinitude:Schubert’s contradictionsatthe‘finalbarrier’ [357] blake howe 18 InvocationsofmemoryinSchubert’slastsongs [383] ju¨rgen thym 19 ‘Theprerogativeoflatestyle’:thoughtsontheexpressive worldofSchubert’slateworks [404] benjamin m. korstvedt 20 Singingagainstlatestyle:theproblemofperformance history [426] laura tunbridge Selectbibliography [442] Index [453]
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