Wandering archetypes in Schubert's instrumental music

Nineteenth Century Music

Volumn 21, Issue 2, 1997, Pages 208-222

  Kinderman, William ^a  

^a NONE

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[No Author keywords available]

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EID: 61449406662     PISSN: 01482076     EISSN: None     Source Type: Journal    
DOI: 10.1525/ncm.1997.21.2.02a00050     Document Type: Article

References (25)

1. Richard Tarnas, The Passion of the Western Mind: Understanding the Ideas that Have Shaped Our World View (New York, 1991)
2. see esp. The epilogue, pp. 416-45
3. A classic discussion of this topic, from antiquity to Newton, is E. J. Dijksterhuis, The Mechanization of the World Picture, trans. C. Dikshoorn (Oxford, 1961)
4. A discussion of the importance of this Kantian dictum for Beethoven's Missa solemnis and Ninth Symphony is found in chap. 10 of my study, Beethoven (Berkeley and Los Angeles, 1995)
5. Charles Rosen, The Romantic Generation (New York, 1995), p. 147
6. This painting is reproduced in color with a brief commentary in the anthology The Modern World as part of the series Landmarks of the World's Art, ed. Norbert Lynton (London, 1965), plate 15
7. See Peter Gülke, Franz Schubert und seine Zeit (Laaber, 1991), esp. pp. 235-40
8. For discussions of the imagery of the frozen stream, see David Lewin, "Auf dem Flusse" and Anthony Newcomb, " Structure and Expression" in Schubert: Critical and Analytical Studies, ed. Walter Frisch (Lincoln, Neb., 1986), pp. 126-52, 153-74
9. The text - "eine Strasse muss ich gehen, die noch keiner ging zurück" - forms the end of "Wegweiser" (The Signpost), the twentieth song of Winterreise, and Schubert uses various means including text repetition to emphasize unforgettably these lines
10. See Schubert: Die Dokumente seines Lebens, ed. Otto Erich Deutsch (Basel, 1964), p. 159
11. See my "Schubert's Tragic Perspective," in Schubert: Critical and Analytical Studies, pp. 65-83
12. "Der thematische Kontrast in Schuberts Instrumentalmusik und die Dichotomie von innerer und äußerer Erfahrung," Musiktheorie 3 (1988), 157-70
13. " See Werner Thomas, "Die fast verlorene Zeit: Zum Adagio in Schuberts Streichquintett in C," in his Schubert-Studien (Frankfurt, 1990), pp. 137-58
14. This and the preceding quotation are drawn from Maynard Solomon, Mozart: A Life (New York, 1995), pp. 187-90
15. Donald F. Tovey, Beethoven (London, 1944), p. 44
16. Hans Heinrich Eggebrecht, "Klaviersonate f-Moll op. 57," in Beethoven: Interpretationen seiner Werke, ed. Albrecht Riethmüller, Carl Dahlhaus, and Alexander Ringer (Laaber, 1994), I, 414
17. Lawrence Kramer, Music and Poetry: The Nineteenth Century and After (Berkeley and Los Angeles, 1984), p. 45
18. A recent, detailed discussion of narrative elements in the first movement of the "Appassionata" is offered by Gregory Karl in "Structuralism and Musical Plot," Music Theory Spectrum 19 (1997), 20-34
19. Gülke, Franz Schubert und seine Zeit, pp. 294-99
20. Gülke's terminology is reminiscent of that of Theodor W. Adorno in his classic book Mahler: Eine musikalische Physiognomik (Frankfurt, 1960). There is a deep affinity between Schubert and Mahler in their appropriation of the wanderer archetype and in their related employment of heightened contrasts
21. Personal communication
22. Compare Edward T. Cone, "Schubert's Beethoven," in The Creative World of Beethoven, ed. Paul Henry Lang (New York, 1970), pp. 277-91
23. Charles Rosen, The Classical Style (New York, 1972), pp. 456-58
24. For a recent and thorough discussion of the importance of Schubert's handling of resonance as an expressive device, see Robert S. Hatten, "Schubert the Progressive: The Role of Resonance and Gesture in the Piano Sonata in A, D. 959," Integral 7 (1993), 38-81
25. A detailed discussion of this passage is offered in my study, Beethoven, pp. 68-72. For valuable comments on the Sonata in A, D. 959, I am grateful to Eva SolarKinderman