The unknown Schubert / edited by Barbara M. Reul and Lorraine Byrne Bodley

Part I. Lieder: Mayrhofer, Schubert, and the myth of 'vocal memnon' / Marjorie Hirsch -- Beyond the Leiermann : disorder, reality, and the power of imagination / Richard Giarusso -- Musical representation of concepts in Schubert's settings of the Jena Romantics / Lisa Feurzig -- Part II. Sacred Music: Small is beautiful : Schubert's smaller sacred works / Crawford Howie -- Part III. Opera: Franz Schubert and the Viennese popular comedy / Mary Wischusen -- 'Ever more fearful grows the confusion' : genre and the problem of musical narrative in Schubert's Fierrabras / Brian Locke -- Goethe and Schubert : Claudine von Villa Bella-, conflict and reconciliation / Lorraine Byrne Bodley -- Part IV. Chamber Music: The Beethoven allusions in Auf dem Strom (D. 943) / Larry Hamberlin -- Et in Arcadia ego : the elegiac structure of Schubert's Quartettsatz in C minor (D. 703) / Su Yin Mak -- Part V: Piano Music: Hypermeter, phrase length, and temporal disjuncture in Schubert's Klavierstück No. 3 (D. 946) / Ryan McClelland -- Displacing the heroic : the Piano Sonata in D major (D. 850) / Cameron Gardner -- Composing with the 'nursery apparatus' : thoughts prompted by two lesser-known Schubert piano works / Brian Newbould -- Revisiting Schubert's Czech connections / Kenneth DeLong -- Part VI. Unfinished Works: Late style and the paradoxical poetics of the Schubert-Berio Renderings / Lorraine Byrne Bodley -- Appendix: Claudine von Villa Bella at the University of Regina

Schubert was one of the first major composers to devote so much time to song and his awareness that this genre was not rated highly in the musical hierarchy did not deter him, throughout a short but resolute and hard-working career, from producing songs that invariably arrest attention and frequently strike a deeply poetic note. Schubert did not emerge as a composer until after his death, but during his short lifetime his genius flowered prolifically and diversely. His reputation was first established among the aristocracy who took the art music of Vienna into their homes, which became places of refuge from the musical mediocrity of popular performance. More than any other composer, Schubert steadily graced Viennese musical life with his songs, piano music and chamber compositions. Throughout his career he experimented constantly with technique and in his final years began experiments with form. The resultant fascinating works were never performed in his lifetime, and only in recent years have the nature of his experiments found scholarly favour. In this volume contributors explore his radical modernity from a number of perspectives by examining both popular and neglected works. Chapters describe the historical context of his work, its relation to the dominant artistic discourses of the early nineteenth century, and Schubert's role in the paradigmatic shift to a new perception of song. The book brings Franz Schubert to life, exploring his early years as a composer of opera, his later years of ill-health, and his efforts to reflect in his music his own profound inner experience.