By Charles Fisk
This compelling research of the later tune of Franz Schubert explores the wealthy terrain of Schubert's impromptus and final piano sonatas. Drawing at the relationships among those items and Schubert's Winterreise tune cycle, his prior "Der Wanderer," the heavily similar "Unfinished" Symphony, and his tale of exile and homecoming, "My Dream," Charles Fisk explains how Schubert's view of his personal lifestyles may perhaps have formed his tune within the years almost immediately sooner than his death.Fisk's intimate portrayal of Schubert is predicated on proof from the composer's personal hand, either verbal (song texts and his written phrases) and musical (vocal and instrumental). Noting impressive features of tonality, constitution, and gestural content material, Fisk argues that via his track Schubert sought to relieve his obvious experience of exile and his anticipation of early demise. Fisk helps this view via shut analyses of the cyclic connections inside of and among the works he explores, discovering in them advanced musical narratives that try to come to phrases with mortality, alienation, desire, and desire.Fisk's wisdom of Schubert's existence and song, along with his astute and inventive realization to musical aspect, is helping him in achieving some of the most tricky objectives in song feedback: to seize and verbalize the human content material of instrumental song.
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Additional resources for Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas
XI As I have indicated, overtly cyclic recollections—ones reminiscent of the “Wanderer” Fantasy—occur relatively rarely even in the music of Schubert’s last period. Far more pervasive, and hence more deeply signiﬁcant, are subtle cyclic developments of material from one movement or piece to another. Schubert’s music gives substantial evidence of this kind of cyclicism well before Winterreise, as I have also indicated and shall demonstrate. After the song cycle, however, Schubert’s ways of recalling and developing material from earlier movements increase in both diversity and extent, occasionally coming into special relief through allusions—private though they may have been—to “Der Wanderer” and its fantasy.
1–23 Molto moderato. legato 5 9 13 17 21 not recognized its return. In this ﬁnale the sonata seems to venture into new territory, but it makes this venture with its own resources, through a new articulation of its own idiom. VI If accepted as a source for the theme of the ﬁnale of the Bb-Major Sonata, this passage from early in the ﬁrst movement surely ought to take precedence over material from any other piece, no matter how strong that relation may seem. Presumably Schubert made this derivation deliberately, especially in the light of the thematic linkages of other kinds between the di¤erent movements of this sonata that Brendel and Wol¤ have recognized.
But the possible relationship of these last instrumental works to Winterreise, and, through Winterreise, to “Der Wanderer,” is not among those that he explores. I do not wish to claim that these relationships explain any aspect of these pieces completely. But I am convinced that Schubert’s identiﬁcation with the Fremdling wanderers of these songs links these protagonists, through the music they inspired, to the instrumental music of his last year, and that exploration of that link may explain more cogently than can any other line of inquiry some of the compositional paths on which Schubert embarked after Winterreise.
Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas by Charles Fisk