Piano four-hands: Schubert and the performance of Gay Male desire

Nineteenth Century Music

Volumn 21, Issue 2, 1997, Pages 149-174

  Brett, Philip ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249442011     PISSN: 01482076     EISSN: None     Source Type: Journal    
DOI: 10.2307/746896     Document Type: Article

References (101)

1. Maynard Solomon, "Franz Schubert and the Peacocks of Benvenuto Cellini," this journal 12 (1989), 193-206
2. The special issue was entitled "Schubert: Music, Sexuality, Culture" 17 (Summer 1993)
3. see p. 4 for Lawrence Kramer's quotation. I would like to thank several friends and colleagues who have helped me with this paper, especially Suzanne Cusick, George Haggerty, Genevieve Jones, Jeffrey Kallberg, Lawrence Kramer, Susan McClary, Ruth A. Solie, W. Anthony Sheppard, and Elizabeth Wood
4. Rita Steblin, letter to the editor, New York Review of Books 41 (20 October 1994), p. 72. Charles Rosen begins his reply by finding the "attempt to bracket Nazi cultural policy and gay rights . . . morally repellent."
5. Rita Steblin, "The Peacock's Tale: Schubert's Sexuality Reconsidered," this journal 17 (1993), 11
6. For a much more detailed and thoughtful account of the evidence and its implications, see Kristina Muxfeldt, "Political Crimes and Liberty, or Why Would Schubert Eat a Peacock?" in the same issue of this journal, pp. 47-64, esp. The passage on p. 63 pointing out that the threat of nonconformist sexual behavior lay in its implicit challenge to the ruling moral order, and that therefore associations (whether merely homosocial or vaguely homosexual) of like-minded, educated people in societies for seemingly harmless purposes would be much more threatening to a repressive regime like that of Metternich than isolated homosexual acts
7. Aslan Brooke, "Legacy of a Gay-Bashing: Growing Up Behind Bars," Frontiers Newsmagazine 13 (18 November 1994), pp. 52-58
8. James Webster, "Music, Pathology, Sexuality, Beethoven, Schubert," this journal 17 (1993), 89-93
9. The notion of an "artistic persona" derives from the separation of work and author in New Criticism of the postwar era: Webster derives it largely from Edward T. Cone, whose The Composer's Voice (Berkeley and Los Angeles, 1974)
10. in turn acknowledges Wayne C. Booth's classic The Rhetoric of Fiction (Chicago, 1961)
11. Since such a persona was always by implication heterosexual this was a particularly effective way of dealing with actual gay or lesbian authors in those days. It should be added to the eight other types or means of dismissal of the interpretive significance of homosexuality in literature and art listed by Eve Kosofsky Sedgwick after her rhetorical question about there ever having been a gay Socrates, Shakespeare, or Proust in Epistemology of the Closet (Berkeley and Los Angeles, 1990), pp. 52-53 - several of these eight have predictably turned up in the Schubert debate. Webster's concluding evacuation of the possible interpretive importance of same-sex desire by confining it to the realm of the sexual (i.e., ignoring the social, cultural, and theoretical aspects that lesbian and gay studies have explored so thoroughly in the last quarter-of-a-century) turns out to be merely another assertion of the autonomy of instrumental music
12. Kofi Agawu, "Schubert's Sexuality: A Prescription for Analysis?" this journal 17 (1993), 80-81
13. Principally in Agawu, "The Invention of African Rhythm," Journal of the American Musicological Society 48 (1995), 380-95
14. Agawu, "Schubert's Sexuality: A Prescription for Analysis?" p. 81
15. D. A. Miller first theorized this mechanism, which has been much explored since, in The Novel and the Police (Berkeley and Los Angeles, 1988): "The fact the secret is always known . . . never interferes with the incessant activity of keeping it," and the resulting paradox "registers the subject's accommodation to a totalizing system that has obliterated the difference he would make - the difference he does make, in the imaginary denial of this system 'even so'" (pp. 206-07)
16. Alan Sinfield, "Private Lives/Public Theater: Noel Coward and the Politics of Homosexual Representation," Representations 36 (1991), 43-63, esp. p. 48: "During those decades of discretion we should not imagine homosexuality as there, fully formed but obscured by the closet, like a statue shrouded under a sheet until ready for exhibition. The closet (as discreet homosexuality was named when it came under scrutiny in the 1960s) did not obscure homosexuality; in the form that dominated for the first two thirds of the century, it cieated it."
17. The early theorists of "gay liberation" recognized the contingency of homosexuality: "Our homosexuality is a crucial part of our identity, not because of anything intrinsic about it but because social oppression has made it so," wrote Denis Altman in the Marcuse-inspired conclusion ("Everyone is gay, everyone is straight") to Homosexual: Oppression and Liberation (New York, 1971; new edn. 1993), pp. 240, 246. Agawu is of course referring to the totalizing "difference" assigned to any group as a way of eliminating differences between individuals of that group and thus most often of demonizing or dehumanizing them as a group
18. Agawu, "Representing African Music," Critical Inquiry 18 (1992), 260
19. see Jean-Jacques Nattiez, Music and Discourse: Towaid a Semiology of Music, trans. Carolyn Abbate (Princeton, 1990), pp. 3-37
20. "Piano Duet," The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London, 1980) vol. 14, p. 680
21. Charles Burney, "Ravalement" in Rees's Cyclopaedia quoted in New Grove, vol. 14, p. 680
22. In his fascinating discussion of the psychosexual dimensions of Tolstoy's tale, Richard Leppert points out, however, that Pozdnyshev is relatively inured to the kind of salon music genre to which Schubert's Rondo in D, op. 138, belongs, being enraged (because his identity is challenged) by the "fundamentally masculine, even phallic" character of the first movement of the Beethoven; see The Sight of Sound: Music, Representation, and the History of the Body (Berkeley and Los Angeles, 1993), pp. 168-77 (quotation on p. 176)
23. Further on the nexus of sexuality and masculinity in both Tolstoy's "Kreutzer Sonata" and Beethoven's, see the discussion in Lawrence Kramer, After the Lovedeath: Sexual Violence and the Making of Culture (Berkeley and Los Angeles, 1997)
24. The piece, which is no. 12 of vol. 9 in the autograph manuscripts of the Péchés de Vieillesse in Fondazione Rossini at Pesaro, was kindly brought to my attention by Marvin Tartak. The terminal note reads "Je prie mes interprètes de vouloir exécuter avec amour (des mains et des genoux) ma petite fanfare. G. Rossini."
25. Cone, The Composer's Voice, pp. 134-35. For drawing my attention to this passage, I am indebted to Suzanne Cusick
26. Suzanne G. Cusick, "On a Lesbian Relationship to Music: A Serious Effort Not to Think Straight," in Queering the Pitch: The New Gay and Lesbian Musicology, ed. Philip Brett, Elizabeth Wood, and Gary C. Thomas (New York, 1994), pp. 67-84
27. The homosocial triangle was theorized and exemplified by Eve Kosofsky Sedgwick in Between Men: English Literatute and Male Homosocial Desire (New York, 1985)
28. for a critique and extension of the theory, see Terry Castle, "Sylvia Townsend Warner and the Counterplot of Lesbian Fiction," in The Apparitional Lesbian: Female Homosexuality and Modern Culture (New York, 1993), pp. 66-91
29. Dallas A. Weekly and Nancy Arganbright, Schubert's Music for Piano Four-Hands (White Plains, N.Y., 1990)
30. William Kinderman, "Schubert's Tragic Perspective" in Schubert: Critical and Analytical Studies, ed. Walter Frisch (Lincoln, Neb., 1986), p. 82
31. Robert Schumann, On Music and Musicians, ed. Konrad Wolff, trans. Paul Rosenfeld (Berkeley and Los Angeles, 1983), pp. 116-17
32. The following sentences show Schumann gathering himself after this characteristic anxiety attack brought on by Beethoven's super-masculinity: "But all this merely in comparison with Beethoven; compared to others, he [Schubert] is masculine; indeed, the boldest and most freethinking among the newer musicians. With this conviction we should take up the duo." Susan McClary draws attention to another notable example of gender-related "anxiety" in "Schumann's celebrated essay on Schubert's C-Major Symphony"; see Feminine Endings: Music, Gender, and Sexuality (Minneapolis, 1991), p. 18
33. and Lawrence Kramer to a third example in Franz Schubert: Sexuality, Subjectivity, Song (Cambridge, forthcoming)
34. Claudia L. Johnson, Equivocal Beings: Politics, Gender, and Sentimentality in the 1790s (Chicago, 1995)
35. Nancy Armstrong, Desire and Domestic Fiction: A Political History of the Novel (New York, 1987)
36. Eve Kosofsky Sedgwick, Between Men: English Literatute and Male Homosocial Desire
37. For an overview, see Jean H. Hagstrum, Sex and Sensibility: Ideal and Erotic Love from Milton to Mozart (Chicago, 1980)
38. and Eros and Vision: The Restoration to Romanticism (Evanston, 1989)
39. see also George E. Haggerty, "O lachrymarum fons: Tears, Poetry, and Desire in Gray," Eighteenth-Century Studies 30 (1996), 81-95, who says of Gray, along lines we might apply to Schubert, allowing for the differences, "what needs to be explained is not how this reclusive eighteenth-century figure kept his sexuality hidden, but rather how he could write it so large as to make it indistinguishable from values that were celebrated in the culture at large" (p. 82)
40. Newman Flower, Franz Schubert: The Man and His Circle (London, 1928), "new edition" (New York, 1935), p. 114
41. Richard Dellamora, Masculine Desire: The Sexual Politics of Victorian Aestheticism (Chapel Hill, 1990), in the chap. "Arnold, Winckelmann, and Pater," p. 110
42. Linda Dowling's Hellenism and Homosexuality in Victorian Oxford (Ithaca, N.Y., 1994) adds enormously to the theoretical complication of Hellenism, as both a transcendent alternative to Christian theology and also a homosexual counterdiscourse justifying male love in ideal terms, and points out that for John Stuart Mill and other liberals, the "Hellenic ideal represented no direct recovery of an ancient model so much as the powerfully mediated version of Greece produced by eighteenth-century German Hellenism" (p. 60)
43. The German scene itself was outlined by Paul Derks in Die Schande der heiligen Päderastie: Homosexualität und Öffentlichkeit in der deutschen Literatur, 1750-1850 (Berlin, 1990)
44. many of the refreshingly complicated ideas about sexuality presented by various authors in Outing Goethe and His Age, ed. Alice A. Kuzniar (Stanford, 1996), arise in reaction to Derks's more straightforward approach
45. See also Denis M. Sweet, "The Personal, the Political, and the Aesthetic: Johann Joachim Winckelmann's German Enlightenment Life" in The Pursuit of Sodomy: Male Homosexuality in Renaissance and Enlightenment Europe, ed. Kent Gerard and Gert Hekma (New York, 1989), pp. 147-62, in which "a profound stylization of Winckelmann in Goethe's hands" (p. 148) (and those of others who later pressed him into the service of German nationalism) is contrasted with Giacomo Casanova's account of finding him having sex with a boy in his rooms in Rome
46. also Robert Aldrich, The Seduction of the Mediterranean: Writing, An and Homosexual Fantasy (London, 1993), chap. 2, pp. 41-68, which complements an account of Winckelmann with one of August von Platen (1796-1835)
47. The political and sexual implications of Schubert's settings of Platen are clearly demonstrated by Kristina Muxfeldt in "Schubert, Platen, and the Myth of Narcissus," Journal of the American Musicological Society 49 (1996), 480-527
48. Solomon, in a portion of "Schubert and the Peacock s of Benvenuto Cellini" that has not so far as I know been assailed, notes that Johann Mayrhofer (1787-1836) "led a group of Schubert associates - among them Kupelwieser, Schober, and the poet Johann Senn - in forming a clandestine association of young male idealists, one 'without statues, without names, without formalities' . . . they published two volumes of a journal entitled Beiträge zur Bildung fur Jünglinge, dedicated to awakening 'true and manly patriotic sentiments' in their contemporaries" (p. 205)
49. Clearly one of the more important figures in the composer's life, Mayrhofer is the subject of interesting and careful speculation on the part of Graham Johnson in the booklets accompanying The Hyperion Schubert Edition: The Complete Songs, vol. 11, CD J33011 (1990), pp. 22-24, 29-32, and vol. 14, CD J33014 (1991), pp. 4ff., 18-38
50. Calling him "almost certainly homosexual," and drawing a loose parallel between his relationship to Schubert and that of Auden and Britten, Johnson convincingly draws attention to the tradition of Uranianism (leading to Karl Friedrich Ulrich's adoption of the term in his pioneering sexological work of the 1860s) behind what may be the coded message of Uraniens Flucht (D. 554)
51. I am not invested in seeing the relationship of poet and composer as anything beyond the Platonic affair that Johnson suggests, but if he is trying, in a manner so delicate one cannot be sure, to intimate that Dei zürnenden Diana (D. 707), one of the most ambitious of the Mayrhofer settings, ends with a hymn to anal penetration, then who am I to contradict him?
52. "For a reasoned view, linking the theory to the nonexistent "Gastein" Symphony, see Brian Newbould, Schubert and the Symphony: A New Perspective (London, 1992), pp. 209-11
53. See also Ernest G. Porter, Schubert's Piano Works (London, 1980), pp. 153-57, which notes the alterations Joachim, Antony Collins, and Karl Salomon each had to make in order to orchestrate the work as further evidence that Schubert was writing for the piano
54. Kathleen Dale, "The Piano Music," in The Music of Schubert, ed. Gerald Abraham (New York, 1947), p. 131
55. The effect is pursued in a different manner in the second section (in E), where a persistent Amusical sharp sign (beginning at m. 37) refuses at first its traditional role of announcing the dominant, B, only reaching it at m. 43 after a second attempt
56. The critical commentary on Schubert's major-minor contrasts or inflections is legion: in "Schubert's Tragic Perspective" in Schubert: Critical and Analytical Studies, pp. 65-83
57. William Kinderman discusses it in relation to the Fantasy in F Minor for Piano Four-Hands (D. 940), which he sees as pursuing "a latent symbolism analogous to that of Winterreise" (p. 82) in the exploitation of thematic, tonal, and modal contrast, as "one aspect of a more profound thematic juxtaposition suggesting the dichotomy of inward imagination and external perception" (p. 75); but even that dichotomy seems too tangible in a musical account like this one, which suggests rather a hopeless, entangled confusion between the two
58. The passage lies somewhere between (or beyond) the "two sides of the coin of harmonic experimentation in the early Romantic period" ("rich chords and interesting progressions, deriving new expressive force by means of novel spacing, [etc.]" and "paradoxical single notes . . . parallel and hollow sounds of all descriptions"), which Joseph Kerman usefully examines in his "A Romantic Detail in Schubert's Schwanengesang," Musical Quarterly 48 (1962), 36-49
59. rpt. in Schubert: Critical and Analytical Studies (quotations on p. 56)
60. For God's sake I must not get angry. For if I do get angry I knock all the teeth out of the mouth of the poor wretch who has angered me.'. . . 'And have you often been angry?' she asked nervously. 'No,' said Schubert. 'Never yet'!" [Franz Schubert: The Man and His Circle, p. 145)
61. I have not discovered the origin of this story: Flower m ay have found it among material that Deutsch rejected for his Schubert: Die Erinnerungen seiner Freunde (Leipzig, 1957)
62. trans. Rosamond Ley and John Nowell as Schubert: Memoirs by His Friends (London, 1958)
63. A sizable amount of evidence about Schubert's anger (released with the help of alcohol) and his depressions (to which swallowed anger would have contributed) nevertheless exists, even outside the music, into which Schubert channeled considerable violence. Hugh Macdonald ("Schubert's Volcanic Temper," Musical Times 119 [1978], 949-52) discusses some notable examples in works other than this one: he points very perceptively to "the emergence of a violent and disturbingly elemental pressure under certain seismic conditions very hard to predict," of "the sense of it being uncontrolled and partly uncontrollable," of the eruption being "often repressed or diverted" or "quickly suppressed . . . as though Schubert was consciously holding in check a tendency of whose potential force he may well have been aware" (p. 951)
64. Macdonald convincingly links this violence with "other obsessional features of his music, particularly modulation and rhythm," the latter being manifest in "the insistent pulse" that can "quickly generate an obsessional, even hysterical atmosphere" (p. 952)
65. Interestingly, "it can happen at any stage of his career, from 1812 to 1828" (p. 951), so it is not simply a reaction to syphilis. Elizabeth Norman McKay, in her recent Franz Schubert: A Biography (Oxford, 1996), chap. 6, advances a diagnosis of cyclothymia (a mild form of the bipolar condition in which periods of elation alternate with periods of depression) to account for his behavior patterns as reported by his friends and contemporaries. This strategy accords with a long history of medicalizing awkward social issues as a way of avoiding or controlling them
66. The social mechanisms by which anger, submerged along with other invalidated feelings, becomes a factor of crucial importance in the emotional lives of gay people in modern times, contributing to depression, physical ailments and worse, are discussed in the last chapter of my Benjamin Britten: Peter Grimes (Cambridge, 1983), pp. 193-95
67. Cone, "Schubert's Promissory Note: An Exercise in Musical Hermeneutics," this journal 5 (1982), 233-41
68. Susan McClary, "Constructions of Subjectivity in Schubert's Music," in Queering the Pitch, pp. 205-33
69. and "The Impromptu that Trod on a Loaf: Or How Music Tells Stories," Narrative 5 (1997), 20-35. The narrative implications are interesting to compare with those McClary discerns in the Impromptu in Emusical flat sign Major, op. 90, no. 2 (1827), another piece that begins with a blithe enough tune in the major, this one containing a moment of frivolous ornamentation that eventually unleashes violence and ends like a snuff plot
70. A severe person with a mustache sat for the figure of the pianist, who became recognizable as Schubert only in the final version. For an account of the history of the painting and illustrations of several sketches, see Christian M. Nebehay, Gustav Klimt: Fiom Drawing to Painting, trans. Renée Nebehay-King (New York, 1994), pp. 43-47
71. For further sketches and more detail, see Fritz Novotny, "Zu Gustav Klimt's 'Schubert am Klavier'," in Mitteilungen dei Österreichischen Galerie vol. 7, no. 51 (Vienna, 1963), pp. 90-101
72. Erich Lederer (1896-1985) told Nebehay that "the girls in the painting had borrowed dresses from his mother Serena Lederer . . . one of the best-dressed women in Viennese society"; this is a transformation of the Schubertiad into an opulent turn-of-the-century setting, needless to say. An analysis of both Klimt's pictures for the Dumba music room, the one as social and historical, the other - a Greek priestess with a kithara - mythic and psychological (and, one might add, gendered), is contained in Carl E. Schorske, Fin-de-siècle Vienna: Politics and Culture (New York, 1980), pp. 220-21, where the Schubert painting is characterized as "a lovely dream, glowing but insubstantial, of an innocent, comforting art that served a comfortable society. One is reminded of Schubert's own song, 'An die Musik,' in which the poet offered thanks to 'the sublime art' for 'transporting [him] into a better world.' For Klimt and his bourgeois contemporaries, the once-hated age of Metternich was recalled now as the gracious-simple age of Schubert - a Biedermeier Paradise Lost."
73. Quoted in Nebehay, Gustav Klimt, pp. 46-47
74. from Hermann Bahr, Secession (Vienna, 1900), pp. 123-24
75. Significantly, work in music tends to center on German identity; see, for example, Sanna Pederson, "On the Task of the Music Historian: The Myth of the Symphony after Beethoven," repercussions 2 (Fall 1993), 5-30
76. and "A. B. Marx, Berlin Concert Life, and German National Identity," this Journal 18 (1994), 87-107
77. and in the special issue on German identity, Celia Applegate, "What Is German Music? Reflections on the Role of Art in the Creation of the Nation," German Studies Review 15 (1992), 21-32; I am indebted to Françoise Forster-Hahn for the last citation
78. See Randolph Trumbach, "The Birth of the Queen: Sodomy and the Emergence of Gender Equality in Modern Culture, 1660-1750," in Hidden from History: Reclaiming the Gay and Lesbian Past, ed. Martin Bauml Duberman, Martha Vicinus, and George Chauncey, Jr. (New York, 1989), pp. 129-40
79. and George E. Haggerty, "Beckford's Pæderasty," in Illicit Sex: Identity Politics in Early Modern Culture, ed. Thomas DiPiero and Pat Gill (Athens, Ga., 1997), pp. 123-42; Beckford was a musician as well as writer who used "wild musick" and "strange stories" in the scandalous seduction of his young cousin, William Courtenay
80. Deutsch, Memoirs, p. 100
81. For András Schiff, in an article significantly entitled "Time to Put the Record Straight," BBC Music Magazine (March, 1997), 27-29, these duets are in themselves sufficient "counterproof to Schubert's alleged homosexuality" (p. 28)
82. Even Elizabeth Norman McKay, who in her biography (Oxford, 1996) stresses the "ferne Geliebte," idealized nature of the relationship with the Countess (p. 223 et passim), and appears open-minded on the topic of the homoerotic, nevertheless constructs her main exploration into Schubert's personality around his "Two Natures" (chap. 6)
83. This leads her to move ineluctably to homosexuality (pp. 157-58) from chronic manic-depression, alcoholism, tobacco- and opium-smoking; and a halfhearted attempt to recover from this classic pathologized view merely leads to the construction of another problematic dualism between "healthy sexual desires and drives of either persuasion" and "the sexual passions of his 'dark,' guilt-ridden nature" (p. 160)
84. In a recent article in Musical Times 138 (1997), 13-19, on Schubert's unmarried transvestite friend "Nina" (whom she identifies as Johann Karl Smirsch), Rita Steblin, in answer to the question "Was Smirsch homosexual?", goes so far as to say that "I, for one, do not feel qualified to make such a judgement about a person's sexual orientation in an era so remote from our own and especially when sexual categories are still so ill-defined" (p. 18). No such abdication of the scholarly responsibility to interpret, however, prevents her from asserting or implying that Schubert and his friends were exclusively heterosexual - assertions and implications of which it is equally true to say that they are "reflective of our own narcissistic society and do little to enlighten us about the composer and his era" (p. 19)
85. Havelock Ellis, Sexual Invasion, The Psychology of Sex, Studies in the Psychology of Sex, vol. II, pt. 2 (New York, 1936), p. 295
86. This four-volume Modern Library reprint derives from the 3rd edn. (Philadelphia, ca. 1915). The 1st edn. is 1897, the 2nd 1901. I am indebted to Susan Leigh Foster for drawing my attention to this passage
87. R. G. Collingwood, The Idea of History (London, 1946), p. 155
88. on Michael Oakeshott, Experience and Its Modes (Cambridge, 1933)
89. Collingwood himself proposes a third alternative "to the disjunction that the past is either a dead past or not past at all but simply present": it is "a living past, a past which, because it was thought and not mere natural event, can be re-enacted in the present and in that re-enactment known as past," but that is because Collingwood wants history to be "not in [Oakeshott's] sense a mode of experience, but an integral part of experience itself" (p. 158)
90. More recently in this country, Hayden White has drawn attention to the effect of literary genre on the representation of history in the absence of any historical reality or corresponding form of historical narrative that is sui generis; see esp. Metahistory: The Historical Imagination in Nineteenth-Century Europe (Baltimore, 1973)
91. and Tropics of Discourse: Essays in Cultural Criticism (Baltimore, 1978)
92. Cone, "The Authority of Music Criticism," Journal of the American Musicological Society 34 (1981), 1-18; quotation on p. 18
93. Wayne Koestenbaum, The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire (New York, 1993), pp. 189-90
94. Carrington, written and dir. by Christopher Hampton (British, 1995). The other film with which Hampton is connected (as screenwriter) is Total Eclipse, a drama about the relationship between Rimbaud and Verlaine
95. Michael Holroyd, Lytton Sttachey: The New Biography (London, 1994): the publication history of the many versions of this book is outlined on the copyright page
96. the front cover of the paperback edition (New York, 1995) contains the following in addition to the author's name and title: "Now a Major Motion Picture Carrington starring Emma Thompson and Jonathan Pryce."
97. Gretchen Holbrook Gerzina, Carrington: A Life (New York, 1989), pp. 209-10
98. Holroyd, Lytton Strachey, p. 535
99. In the booklet accompanying the soundtrack recording (Argo 444 873-2), Michael Nyman reveals that Carrington's relationship with Lytton Strachey is represented by material derived from his String Quartet No. 3 "at Christopher Hampton's request": the director is therefore all the more likely to have chosen the Schubert music of his own accord
100. Susan McClary, "Constructions of Subjectivity in Schubert's Music," pp. 205-34
101. Peter Gülke, "In What Respect a Quintet? On the Disposition of Instruments in the String Quintet D. 956," in Schubert Studies: Problems of Style and Chronology, ed. Eva Badura-Skoda and Peter Branscombe (Cambridge, 1982), p. 181