By Suzannah Clark
While Schubert's modern reviewers first heard his modulations, they famously claimed that they have been over the top, strange and unplanned. This ebook argues that those claims have haunted the research of Schubert's concord ever on account that, outlining why Schubert's tune occupies a interestingly marginal place within the historical past of song concept. reading Schubert strains how critics, analysts and historians from the early 19th century to the current day have preserved loved narratives of wandering, alienation, reminiscence and trance by means of emphasizing the magical instead of the logical caliber of the composer's concord. This learn proposes a brand new procedure for examining the concord of Schubert's works. instead of pursuing an process that casts Schubert's recognized harmonic strikes as digressions from the norms of canonical theoretical paradigms, Suzannah Clark explores how the harmonic fingerprints in Schubert's songs and instrumental sonata varieties problem pedigreed conduct of thought of what constitutes a thought of tonal and formal order.
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66 Such sentimental views of Schubert were by no means restricted to the Austrians, as the English fostered this view with verve. Grove’s Schubert If Schubert’s first biographer made a modest effort to deflate Vogl’s image of Schubert, then Schubert’s second major biographer made every effort to revive it. Indeed, the notion of Schubert’s clairvoyance and accompanying lack of knowledge would have a far more powerful – and eventually detrimental – effect on Schubert reception thanks to Sir George Grove’s biography written almost twenty years after Kreissle’s.
Statham, My Thoughts on Music and Musicians, 310. 35 36 The voice of Vogl in Schubert’s early history by the “interruption” of words. ”101 In this context, the blatant lyricism in Schubert’s instrumental output left him little choice but to dismiss it. His conclusions are again predictable: Schubert’s instrumental music was not based on abstract ideas but was contaminated by the declamatory, albeit without any concrete association of specific words. Schubert’s emerging association with the lyrical, together with his long-standing reputation as a songwriter, signaled to Statham that he was experiencing the music of a lesser composer.
Indeed, apart from Kreissle’s praise of Schubert’s individuality of form, his “profoundest originality,” and his potential to reform opera, there was little suggestion in the nineteenth century that Schubert’s music might constitute fodder for music theory. ” Moreover, a 77 79 80 Grove, “Schubert,” 326. 78 Kreissle, The Life of Franz Schubert, vol. II, 230. Kreissle, The Life of Franz Schubert, vol. II, 238. Donald Francis Tovey, “Tonality,” Music and Letters 9 (1928): 341–363. 81 One book in particular made its mark on the Victorian imagination: in 1871, Hugh Reginald Haweis wrote a book called Music and Morals.