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This book challenges the assumption that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies and chamber music, lacked comparable talent for drama.
Sommario
Preface - and
Introduction: Internal Dramas - Laura Tunbridge
Opera that Vanished: Goethe, Schubert and
Claudine von Villa Bella - Lorraine Byrne Bodley
Pioneering German Musical Drama: Sung and Spoken Word in Schubert's
Fierabras - Christine Martin
The Dramatic Monologue of Schubert's Mass in A flat major -
Schubert's Dramatic Lieder: Rehabilitating 'Adelwold und Emma', D. 211 - Susan Wollenberg
Gretchen abbandonata: The Lied as Aria - Marjorie Hirsch
The Dramatic Strategy Within Two of Schubert's Serenades -
'Durch Nacht und Wind':
Tempesta as a topic in Schubert's Lieder - Clive McClelland
Reentering Mozart's Hell: Schubert's 'Gruppe aus dem Tartarus', D. 583 - Susan Youens
'Zumsteeg Ballads without Words': Inter-Generic Dialogue and Schubert's Projection of Drama through Form - Anne Hyland
Lyricism and the Dramatic Unity of Schubert's Instrumental Music: The Impromptu in C Minor, D. 899/1 - Brian Black
Music as Poetry: An Analysis of the first movement of Schubert's Piano Sonata in A major, D. 959 - Xavier Hascher
Virtual Protagonist and Musical Narration in the Slow Movements of Schubert's Piano Sonatas D. 958 and D. 960 - Lauri Suurpaa
Stylistic Disjuncture as a Source of Drama in Schubert's Late Instrumental Works -
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Info autore
Joe Davies, James William Sobaskie
Riassunto
This book challenges the assumption that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies and chamber music, lacked comparable talent for drama.
