Winterreise op. 89 di Schubert: una lettura a tre chiavi

This paper explains the “birth” and development of an idea of performance: “Winterreise” by Franz Schubert; the concert was premiered at Levanto Music Festival (La Spezia-Italy) in summer 2021. The performers were Mirella Di Vita (soprano), Tiziana Canfori (pianist) and Simone Fareri (painter and sculptor). The artists conceived a detailed performance that combined music, lyrics and fine arts, intending to get the audience more involved in listening to this long and complex Lieder cycle. The different languages and the space-time arrangement had to be considered in the structure of this concert to create a more natural and complete sharing experience for the audience.

In search of truth in service of beauty: the comparison of the autograph of Sonata in a minor by Franz Schubert with available editions

Musicians attach increasing importance to the selection of edition they use for playing. There is a growing awareness of the influence of score material selection on interpretation. Historical performance raises the bar as well by encouraging the use of autographs, manuscripts and first editions. Thanks to referring to historical materials, we can quickly appreciate the effort of contemporary editors who – once publishing scores today – make them much more accessible. It would seem that basing one’s interpretation on an urtext edition should be a perfect solution combining today’s clarity with historical truth. The analysis shows, however, that even these trustworthy urtext editions differ from one another, thus differ from the autograph. Using Sonata in A Minor D 385 by Franz Schubert as an example, the article shows different approaches to music text edition. There are distinct ways in which editors interpret articulation, dynamics, and even sound pitch. The biggest number of differences can be found in terms of articulation, which it largely connected with the necessity to read handwritten material. Unambiguous deciphering (and exact placement) of numerous music markings can sometimes be downright impossible. That is why editors often use the method which consists in searching for analogies between fragments and parts, yet this method does not always seem right. As performance practice shows, treating each part individually, playing a similar fragment in a dissimilar way, often brings interesting results interpretation-wise. The article encourages own experiments, using doubts as material for interpretation, and using the benefits of contemporary editions cautiously.

Franz Schubert en Màrius Torres

This study reviews the presence of the composer Franz Schubert in five poems by Màrius Torres. These texts were written between 1933 and 1938, while Torres consolidated and evolved as a poet. The writer from Lleida performed musical scores with the piano and the Austrian composer, through his Lieder, became a model, something that is evident in the different ways in which transtextuality is present, not only between the songs’ lyrics and Torres’ poems, but also between the musical compositions and these same poems. This study analyzes how, on the one hand, Schubert’s Lieder “Der Erlkönig” and “Der Tod und das Mädchen”, with texts by Johann Wolfgang Goethe and Matthias Claudius respectively, work as a starting point – or hypotext – for three poems by the Catalan poet, “El rei dels verns”, “La Mort i el Jove” and “Paraules de la Mort”, thus converted into hypertexts. On the other hand, Torres’ two poems “Adverbis de Schubert” and “Mai” refer to the Austrian composer from the intertextual relationship with the poem “Jamais” by Alfred de Musset. At the same time Torres mentions Schubert and the Lied “Ständchen” with text by Ludwig Rellstab in “Adverbis de Schubert”, but the Catalan poet hides Schubert’s copresence in “Mai”.

Musik und Theater in der Badekultur um 1800

Zwar haben Besuche von "großen" Künstlern wie Ludwig van Beethoven in Teplice, Franz Schubert in Bad Gastein oder Johannes Brahms und Anton Bruckner in Bad Ischl bereits die Aufmerksamkeit punktuell auf Badeorte gelenkt. Die vermeintliche geografisch wie kulturell periphere Lage gerade kleinerer Badeorte und deren kaum dokumentierte und aufgearbeitete Musik- und Theatergeschichte haben jedoch dazu beigetragen, eine Beachtung, Rekonstruktion, Analyse und Einordnung in die allgemeine Musikgeschichte zu unterlassen. Am Beispiel des Comödienhauses (heute Kurtheater) im Kurort Bad Liebenstein im ehemaligen Herzogtum Sachsen-Meiningen wird dieser Forschungslücke begegnet, es werden außerdem weitere Anreize geliefert, sich Badeorten als musikhistorischem Sujet intensiver zu widmen. Dabei stehen folgende Fragestellungen im Vordergrund: 1. Für welche musikalischen und theatralischen Aktivitäten wurde das Gebäude genutzt und welchen kulturellen Stellenwert nahm es innerhalb des Kurbetriebes ein, vor allem in Bezug auf die Publikumsstruktur? 2. Wie gestaltete sich das Repertoire in der ersten Saison und welche Vergleichsmomente zu den kulturellen Zentren der Zeit lassen sich hieraus ablesen? 3. Kann man aus dem Repertoire ein bäderspezifisches Theater- und Musikleben deduzieren? 4. Welche Rolle spielte, stellvertretend für zahlreiche Kurtheater deutschlandweit, das Comödienhaus in Liebenstein für die Rezeptionsgeschichte von Oper und Schauspiel im ländlichen Raum um 1800?

Schubert’s Large-Scale Sentences

In this article, I share findings from analysis of first-movement sonata forms composed by Franz Schubert from 1810 to 1828. This work builds on prior studies of nineteenth-century sentences (e.g., ".fn_cite($baileyshea_2002).", ".fn_cite($bivens_2018).", ".fn_cite($broman_2007).", ".fn_cite($vandemoortele_2011).", and ".fn_cite($krebs_2013)."), offering an in-depth investigation of Schubert’s use of expanded sentence forms. I theorize the typical qualities of Schubert’s large-scale sentences and highlight a particularly common type, in which the large-scale continuation phrase begins as a third statement of the large-scale basic idea (i.e., a dissolving third statement). I present four examples of this formal type as representative, drawn from the C Major Symphony (D. 944/i), the C Minor Piano Sonata (D. 958/i), the C Major String Quintet (D. 956/i), and the D Minor String Quartet (D. 810/i). My analytical examples invite the reader to contemplate the negotiation of surface-level paratactic repetitions with deeper hypotactic structures. These large structures invite new modes of listening; exemplify the nineteenth-century shift away from the relative brevity of Classical precursors in favor of expanded forms; and problematize facile distinctions between inter- and intrathematic functions. This formal type would eventually flourish over the course of the nineteenth century, underpinning many composers’ strategies for formal expansion.

ANTONIO SALIERI PEDAGOGICAL SCHOOL

The article deals with the pedagogical school of Antonio Salieri, which was formed in the last quarter of the eighteenth – first quarter of the nineteenth centuries. This school was an artistic phenomenon, given that A. Salieri taught not only one instrument, but a whole set of musical disciplines (composition, counterpoint, conducting, solo and choral singing, harpsichord, stringed instruments, etc.). A. Salieri's School is also unique because of the highest professional level preparation of a whole plaid of talented and even brilliant musicians - Ludwig Beethoven, Franz Schubert, Johann Nepomuk Gummel Franz Xaver Süsmayr, Anselm Hüttenbrüsner, Ignaz Carlethal Moscheles. Cavalieri, Anna Milder-Hauntmann, Anna Kraus-Vranitsky, etc. Based on sources and scientific works, the author of the article argues that the contribution of A. Salieri to the music pedagogy of the eighteenth and nineteenth centuries is invaluable. Antonio Salieri's pedagogical legacy is a unique phenomenon – he taught composition, instrumentation, instrument, vocals, counterpoint, homophony, polyphony, and most importantly - musical thinking. Many ingenious composers have left a unique legacy, but not many of them can boast of such a large number of students who have shown themselves in all spheres of musical life in the European world. We will not be mistaken when we say that Antonio Salіeri was unique in this. It is unlikely that the pedagogical legacy of another great musician will include pedagogue and methodologist Johann Nepomuk Hummel, the genius composer of all ages L. Beethoven, one of the first romantics – F. Schubert, vocalists - "opera stars'' Catherine Valba-Kanz, Fortunate Franquette, Amalia Josef-Mozatta. And this list can go on and on because the total number is over sixty.

"Podróż zimowa" Franza Schuberta w reinterpretacji Barbary Kingi Majewskiej: estetyka i retoryka

Opublikowana przez wydawnictwo Bôłt Records w 2015 roku płyta Barbara Kinga Majewska and Emilia Sitarz play Franz Schubert „Winterreise” jest jednym z najciekawszych przejawów reinterpretacji wybitnych dzieł muzycznych przeszłości, jakich podejmują się eksperymentujący wykonawcy młodszego pokolenia. Wokalistka Barbara Kinga Majewska (ur. 1982) oraz pianistka Emilia Sitarz (ur. 1978) zaproponowały autorską wersję cyklu pieśni Schuberta, w której odnaleźć można tak typowe dla estetyki postmodernizmu łączenie różnych tradycji i stylistyk, jak również liczne przejawy dekompozycji i autorskiego potraktowania oryginału. Problematyka artykułu dotyczy analizy i interpretacji płyty oraz oceny rezultatów działań artystek, jednak zagadnienia te zostają podjęte w szerszym kontekście estetycznym i retorycznym. Zastosowane środki artystyczne, a zwłaszcza możliwa do analitycznego wyśledzenia wyrazista koncepcja narracyjno-retoryczna cyklu Schuberta w tej autorskiej wersji, świadczą o chęci stworzenia oryginalnego dzieła, które można rozumieć nie tyle jako aranżację czy cover, ale jako kongenialne przeniesienie ekspresji romantycznego cyklu pieśniowego w krąg współczesnej wrażliwości i estetyki.