Addressing a wide range of topics—from Schubert’s approach to large-scale musical form to his innovations in instrumental forms and Lieder—Schubert offers a diverse, illuminating portrait of the composer and his music.

Provides background information on the text and translation for all of Schubert's songs. "A bible for the serious Schubertian."--Back cover.

Franz Schubert (1797-1828) is now rightly recognized as one of the greatest and most original composers of the nineteenth century. Schubert steadily graced Viennese musical life with his songs, piano music and chamber compositions. Throughout his career he experimented constantly with technique and in his final years began experiments with form. The resultant fascinating works were never performed in his lifetime, and only in recent years have the nature of his experiments found scholarly favor. In The Unknown Schubert contributors explore Schubert's radical modernity from a number of perspectives by examining both popular and neglected works. Chapters by renowned scholars describe the historical context of his work, its relation to the dominant artistic discourses of the early nineteenth century, and Schubert's role in the paradigmatic shift to a new perception of song.

The first book to examine Schubert's songs as active shaping forces in the culture of their era rather than a mere reflection of it. His songs project a kaleidoscopic array of unexpected human types, all of whom are eligible for a sympathetic response. Kramer shows how Schubert sought to validate these types in his songs.

In Franz Schubert's Music in Performance David Montgomery challenges many operative myths about the music of this great, but often misunderstood, Viennese master. Chief among them is the lingering notion that Schubert was poorly-trained but still managed to turn out brilliant, if often flawed, scores. Modern adherents of this view believe that Schubert could not notate his own musical wishes accurately, and that he was principally a creature of intuition. Accordingly, musicians might allow themselves wide intuitive leeway in the interpretation of his music. Another myth challenged by Montgomery is that Schubert was a conservative, or perhaps even a chronological throwback. Opposing recent attempts to legitimize performer-generated embellishment of Schubert's music in the style of the eighteenth century, He clarifies Schubert's contributions to the radical intellectualism of nineteenth-century romanticism. The book offers six informative chapters ranging from aesthetics and acoustics to the specifics of tempo and expression, plus an appendix of pertinent Viennese pedagogical sources. In addition to many years of musicological research, Montgomery brings long experience as a concertizing pianist and conductor to this engaging and controversial work.

This searching biography takes a fresh look at this elusive and misunderstood genius.

The concept of Schubert as a feminine type began in 1838. This work examines the historical reception of Franz Schubert as conveyed through the gendered imagery and language of 19th and early 20th century European culture. The figures discussed include Musset, Sand, Nerval, Maupassant, George Eliot, and others.

This book develops fresh ideas on harmony through analyzing the music of one of Western music's true innovators, Franz Schubert.

This book explores the way in which Schubert revolutionised the Lied, transforming folk song into art song through the mixture of dramatic and lyrical vocal genres. By introducing dramatic poetry and musical traits within solo song settings, he turned the Lied into a highly expressive musical medium capable of conveying the complexities and nuances of the new Romantic poetry. In so doing, he created an art form which attracted nearly every subsequent composer of the period. Schubert's numerous dramatic songs have baffled critics from his day to our own. Their unusual stylistic characteristics - through composed form, progressive tonal structures, declamatory vocal lines, illustrative accompaniments - fly in the face of traditional conceptions of the Lied. Dr Hirsch's discussion and analysis of selected dramatic Lieder illuminate Schubert's compositional innovation.

This collection of articles clarifies problems of style and chronology in the music Schubert composed during the last decade of his life.