The Unfinished Piano Sonatas of Franz Schubert Javier ... - Ethesis

V Auf dem Weg zur großen Sinfonie: 1824-1828
1 From Schubert’s lost notebook, in Otto Erich Deutsch, The Schubert Reader. A Life of
Franz Schubert in Letters and Documents, trans. Eric Blom (New York: W.W.Norton &
Company, Inc., 1947), Doc. 452.
2 Letter from Moritz von Schwind to Franz von Schober from March 6 th , 1824, in The
Schubert Reader, Doc. 441.
3 Letter from Schubert to Leopold Kupelwieser from March 31 st , 1824, in The Schubert
Reader, Doc 456.
4 For an in-depth analysis of these four Mayrhofer settings, as well as the relationship
between Schubert and the poet, see Susan Youens, ‘Chromatic melancholy: Johann
Mayrhofer and Schubert’ in Schubert’s Poets and The Making of Lieder (Cambridge:
Cambridge University Press, 1996), 151-227.
5 Heinrich Kreißle von Hellborn, Franz Schubert, I (Garl Gerold’s Sohn, Vienna 1865), 317,
in John Reed, Schubert (London: Dent & Sons Ltd., 1987), 133.
6 John Reed, The Schubert Song Companion (Manchester University Press, 1997), 146.
7 Poem from Graham Johnson, ‘An 1826 Schubertiad,’ sleeve notes for The Hyperion
Schubert Edition, Vol. 26. English translation by Richard Wigmore. CDJ33026 (1996).
8 Letter from Moritz von Schwind to Franz von Schober from February 14 th , 1825, in The
Schubert Reader, Doc. 528.
9 Robert Winter et al., ‘Schubert, Franz.’ Grove Music Online. Oxford Music Online.
Accessed: 30/06/2010
10 Andreas Krause, ‘Die Klaviermusik,’ in Schubert Handbuch, ed. by Walther Dürr and
Andreas Krause (Kassel: Bärenreiter-Verlag, 1997), 433.
11 Published under the title ‘Fragmente’ in the journal Athenäum: Eine Zeitschrift von
August Wilhelm Schlegel und Friedrich Schlegel, vol. I, part 2 (Berlin, 1798). The
authoritative edition is the Kritische Friedrich-Schlegel- Ausgabe, ed. Ernst Behler in
collaboration with Jean-Jacques Anstett and Hans Eichner, vol. II, Charakteristiken und
Kritiken I (1796-1801), ed. Hans Eichner (Munich; Zurich, 1967), 165-255, in Richard
Kramer, ‘The Hedgehog: Of Fragments Finished and Unfinished,’ in 19 th -Century Music, Vol.
21, No. 2, Franz Schubert: Bicentenary Essays (University of California Press,1997), 134-
148.
12 Ulrich Schreiber, ‘Die Bühnenwerke’ in Schubert Handbuch, 322.
13 Alfred Brendel, Music Sounded Out: Essays, Lectures, Interviews, Afterthoughts (London,
1990), 86.
14 Letter from Schubert to his father and stepmother from Steyr, July 25 th , 1825. This letter
contains one of the Schubert’s clearest and more interesting statements about piano playing:
‘… What pleased especially were the variations in my new Sonata for two hands, which I
performed alone and not without merit, since several people assured me that the keys
become singing voices under my hands, which, if true, pleases me greatly, since I cannot
endure the accursed chopping in which even distinguished pianoforte players indulge and
which delights neither the ear nor the mind.’ In The Schubert Reader, Doc. 572.
15 The autograph score can be seen online at Schubert-Autographs, www.schubertonline.at/activpage/manuskripte_en.php?werke_id=429&werkteile_id=&image=MH_0412
5_D840_004.jpg&groesse=100&aktion=einzelbild&bild_id=3
16 Richard Kramer, ‘The Hedgehog: Of Fragments Finished and Unfinished,’ 140.
17 For the palindromic examples in Die Zauberharfe, see Brian Newbould, ‘A Schubert
Palindrome’ in 19th-Century Music, Vol. 15, No. 3 (University of California Press, 1992),
207-214. For the mirroring structure of Pilgerweise, see Graham Johnson, ‘Schubert. 1822-
1825,’ sleeve notes for The Hyperion Schubert Edition, Vol. 35, CDJ33035 (2000).
18 Musical example based on Breitkopf & Härtel’s score and on Schubert’s own manuscript.
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