GESTURE AND EXPRESSIVE PURPOSE IN SCHUBERT'S ...

GESTURE AND EXPRESSIVE PURPOSE IN SCHUBERT'S INSTRUMENTAL

MUSIC OF 1822-28

BY

NICHOLAS TOLLER

Submitted for the Degree of Doctor of Philosophy at the

University of Hull 1987

GESTURE AND EXPRESSIVE PURPOSE IN SCHUBERT'S INSTRUMENTAL MUSIC OF

1822-28

Page

Introduction 1

Chapter 1: Recreative Analysis 8

2: Schubert's Personality 25

3: The Duality of Schubert's Style 71

4: The Dramatic Aspect 76

5: The Lyrical Aspect 165

6: Schubert's Humour 186

7: Whole Movements 199

8: 'Great' C major Symphony, D944, finale 204

9: E flat major Piano Trio, D929, second movement 233

10: A major Piano Sonata, D 959, scherzo 260

Conclusion 275

Bibliography 277

INTRODUCTION

'Begin to charm, and as thou strok'st mine ears

With thy enchantment, melt me into tears.

Then let thy active hand scud o'er thy lyre:

And make my spirits frantic with the fire.

That done, sink down into a silv'ry strain,

And make me smooth as balm and oil again.'

Robert Herrick 'To Music'l

Herrick catches beautifully the intense physical reaction one

can have to the live performance of music, lifting one away from

mundane thoughts or worries to a higher level of experience. For

Sir Thomas Beecham 'the function of music is to release us from the

tyranny of conscious thought', and that, whatever its expressive

character, great music should leave one with 'feelings of wonder

and contentment.' Without sensuality of some kind, music remains in

the piano keys and the oboe reed, dry and uncommunicative.

Writing about something which can cause such enormous

non-intellectual pleasure, at times even ecstasy, is fraught with a

number of severe difficulties, paramount among which is its

fundamental tedium. Why should one step down from those

—1-

intoxicating experiences to the world of slow cogitation, of making

rational the magical? Who needs it? Nervously one can venture the

idea that words are imperfect, but all we have, and that at their

best they can heighten experience by clarification, rather than

sully it: Brendel's notion of Schubert the . sleepwalker . is. a.fine

example. Norbert Brainin helped Perahia . during rehearsals of the

Brahms G minor Piano Quartet, second movement . 'I can't remember

the actual German phrase, but it had something to do with enjoying

your sadness. Observations like that can make a world of difference

to one's characterization and inflection of the music.'4Writing

should have practical benefits for either performer, listener or

composer (Goehr admits that he analyses as a 'kind of thief': he

does it for 'the plunder!' ),3or it slips into the wastebasket of

sterile intellectual games for a minute bevy of analysts, some of

whom, incredibly, seem implicitly to accept the lack of relation

between what they are at such pains to say and what happens in

performance. Life is too short for such depressing futility.

Many critics have tackled this thorny qustion in the opening

pages of their books. Wilfred Mellers and Charles Rosen

stand at opposite ends of the spectrum on Beethoven:

'Starting from a fairly detailed description of what happens

in musical terms, I proceed to relate these musical events to

-2-

their physiological and psychological consequences. Nowadays

any attempt to talk about music's meanings" in other than

technical terms is often deplored; yet it seems to me

self-evident that description that goes no further than

musical facts can never be more than a trivial occupation.

Since music is made by human beings, any musical judgement,

however technical, is also psychological: it is not merely

Improbable, but totally impossible, that musical events could

be separable from human experience - thoughts, feelings,

actions - conceptualised in other than musical terms.'

Mellers

'To begin with what may appear the larger issues - the

spiritual content, the emotional ambiance of the music - would

be to lame discussion from the start.'‘

Rosen

Ian Kemp, in his recent study of Tippett , acknowledges the

composer's dismissal of analysis, but then most unconvincingly

asserts that 'the way his music is composed remains of great

importance.' To whom?

The analytical stance of this thesis will be set out in Chapter

1. It makes no bones about wishing to clarify in words the

-3

character of gestures made by a great composer, and takes their

continuity (one of today's obsessions,it seems) as read. An

attempt is made to find a background to the notes rather different

from Schenker's. The choice of words is of course subjective, and

none the worse for that, provided that the Choice is rooted in the

musical facts as they appear in chronological sequence, and in the

sympathy one can build up for the composer's situation and

personality. Nobody should be smarting with irritation at the

subjectivity: it should provoke healthy debate. Schubert after all

is dead, and so none of us can be absolutely sure that we are

right.

• Why Schubert? Even in view of the massive army of critics and

performers who have sunk their teeth into his music, I still feel

there is more to say in detail about individual pieces. There will

always be a fresher way of interpreting some of those many

thousands of notes he set down: a new insight which brings a

certain chord shift to life, or which gives a deeper character to a

melodic phrase. It is inspiring to believe that great works of art,

like Hardy's novels or Turner's paintings, are an inexhaustible,

and ultimatelyunfathomable

Why 1822-28? Firstly, a study like this of all his music would

run the risk of being unmanageable, particularly in view of the

source of pleasure.

4

welter of early quartets and sonatas which for good reasons are not

often played, pace the Melos Quartet of Stuttgart and Radu Lupu.

Secondly, 1822 was clearly a turning-point in Schubert's life.

The'Wanderer' Fantasy seems to have given him new impetus after a

spate of unfinished works, and thereafter his style took on a

greater strength and consistency. The 'Great' C Major Symphony of

1825-6, for which he prepared by writing his three last string

quartets and the Octet, is seen as the centre-piece of the chosen

period. In Schubert's own words, it represented one of his 'efforts

in the highest forms of art .'It is also now possible to take

into account the 10th Symphony in D) D936a of 1828, rendered

performable by Brian Newboul4 and a number of other fragments

which have come to light in the last decade.

After introductory chapters on analysis and Schubert's

personality, the thesis proceeds from small to large musical

concerns. In an attempt to rationalise his style, chapters 3 to 6

deal with local expressive details under the headings dramatic

(considered to be the most important), lyrical, and humorous. The

remaining chapters examine how those details are made to work

within three quite different whole movements, with, in the case of

the third one, a comparative review of eight recordings to

demonstrate the influence of various performers on musical

expression.

5

During the course of this thesis there are a small number of references

to my own compositions. These are unpublished, tonal pieces for piano, written

in the early 1980s in an attempt, as much as anything else, to focus my

approach to music before embarking on this research. Writing them has taught

me, more clearly than any textbook could, to appreciate the powerful ebb and

flow of tension in harmony and tonality, and how to manipulate Classical forms

to my own expressive ends. The possible impertinence of mentioning my own

pieces alongside Schubert's masterpieces is, I hope, tempered by the intended

clarification and rounding-out of certain details in the text.

I would like at this point to express my deep gratitude to Professor

Newbould, who has supervised my research with great patience and care, and

who has offered me invaluable suggestions on the structure and content of

this thesis. The long journeys from my home in Cambridge to Hull have always

been worthwhile in view of the many thought-provoking discussions we have had.

-6-

Notes to Introduction

1. Quoted in Clayton,T.(ed.): Cavalier Poets, OUP, London, 1978, p.41.

2. Interview in Gramophone Magazine, May 1987, p.1532.

3. Interview in Northcott,B.(ed.): The Music of Alexander Goehr, Schott,

London, 1980, p.105. Further references to this book, and to any other

which does not recur sufficiently frequently to qualify for an

abbreviation, will contain the author's surname and the book's title only.

4. Mellers,W.: Beethoven and the Voice of God, Faber, London, 1983, preface,

no page number.

5. Rosen,C.: The Classical Style, Faber, London, 1971, p.381.

6. Kemp,I.: Tippett - The Composer and his Music, Eulenberg, London, 1984,

preface, p. xi.

7. Vanessa Redgrave was once told by a famous film director 'don't worry

about continuity - just live the moments to the full, and make them

true' (quoted in Dilys Powell's 'History of the British Cinema', broadcast

by the BBC, 11 April 1987.)

8. Letter to Schott, 21 February 1828. All letters by Schubert quoted in this

thesis are taken from Deutsch,O.E.(ed.): Franz Schubert's Letters, Faber,

London, 1928.

9. A facsimile of the 10th Symphony sketches is contained in Hilmar,E.(ed.):

Franz Schubert:Drei Symphonie Fragmente, Barenreiter, Kassel, 1978.

CHAPTER 1 : RECREATIVE ANALYSIS

'Factitious models of rigour lead to emphasis upon analysis as

the musician's chief means of understanding his art. Goehr's

predilection is for the method that begins in the assumption of

an alleged deep structure in a work, truer than its

obviously-apprehensible stylistic surface and its immediate

deployment of its affects. Therefore for him preoccupation with

style, as with emotional content, trivializes: style is merely

decorative, affective content is "belles lettres". But suppose

that such obvious surface features were what the composer has

intended the listener to take in? In that case they would be

the truest content, to grasp which would make analysis

superfluous; mere curiosity to see how the wheels go round.

Analysis is how we hear anyway; the composer has taken pains to

make things clear for us. There are no deep secrets, for

everything significant tells sooner or later. If it does not,

the work tends towards being linguistic in the secret and

damaging sense - it becomes cabalistic.' 1

Robin Holloway

Goehr's predilection is of course Schenkerian, as is Felix

Salzer's in Structural Hearing, an anthology of analyses covering a

wide range of musical styles. His attention on page 163 turns to

1

8---8--

395• (1 -18)

4 :1, (20 -35) (35 - 38) (30)

the opening of Schubert's B flat Piano Sonata D960, boiling the

music down to its bare essentials, which thousands upon thousands

of mediocre works share, in a series of charts:

- 9 -

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This tracking down of the blatantly obvious is not only silly

but downright unmusical, denying as it does the tone colour, the

dynamic shadings, the silences, the rhythms, the actual shape of

phrases, indeed all the aspects of the music which strike the ear

when a pianist plays these bars. Are one's ears supposed to follow

these pitch lines slavishly during a performance? And what does one

do without this assistance for the rest of the sonata?

Like Holloway, Alfred Brendel is sceptical about analysis:

'I think every performer should have a sound background as a

composer, and know enough about traditional harmony and

counterpoint so that it won't give him much trouble to write a

cadenza which is without obvious faults of voice-leading

Lpart-writing:land so on. As for analysis, there are many ways

- 10 -

of analysing music, some more helpful to performers than

others. But it's interesting to note that composers have rarely

spoken at all about musical analysis. They've avoided the

subject to an extent which seems to me very revealing. One

finds, on the other hand, a lot of comment about atmosphere,

about character, about poetic ideas - even in the most unlikely

places. Performers who nourish poetic ideas are excused by the

composers themselves. Analysis should never be taken for the

key to the sort of insight which enables a great performance.

If we know that there is an extremely important harmonic

progression - if, for instance, we analyse a piece in Schenker's

way - and we do not feel, while we are playing it, the

exact amount of tension, the way atmosphere changes at this

point, the balance of all the elements involved, then our

knowledge will help us not at all. It was Schoenberg who said,

in a letter, that formal analysis is often overrated because it

shows how something is done, not what is done. This, from one

of the supreme analysts, is something valuable, I think.' 2.

Such analysis only has value in those pieces whose continuity

(not the most enticing of subjects per se anyway) is in some doubt

and needs elucidation, such as Tippett's recent 'Mask of Time', or

Manzoni t s 'Masse: Omaggio a Edgard Varse t . Frighteningly, the

American scholar James Webster, who has tackled Schubert's sonata

form with these methods, suggested during the 1978 musicological

conference at Nottingham University that Schenkerian analysis was

3merely in its infancy, and needed great development. Heaven

forbid. Nothing could be less sensitive than to apply a

pre-existing (and highly suspect) analytical strategem to any

music, regardless of its sound or purpose. Supposing the composer

had deliberately set out to create a chaotic or disorientating

effect: what then? We must ask questions provoked by the character

of the music in performance.

Quite apart from the spread of what might be called the

Schenkerian contagion, there is also a problem of pomposity in

analysis: the serious tone and the microscopic overkill meted out

here to Schubert's innocuous Moment Musical Op 94.3 is a case in

point. The pretentiousness of these seatences is appalling:

'the most immediately striking aspect of inspiration in this

composition is to be sought more in its qualities of motion, in

Its gestural dimension, than in the realm of melody and rhythm,

where the word "inspiration" is usually applied .... One might

say that the broken quarter notes have the quality of pure

process; the basic rhythm is so severely limited that its

- 12-

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uninterrupted pulsation is not actually perceived as a basic

"motion" at all. The continuous pattern in the left hand,

avoiding any rhythmic profile and articulation, as well as any

distinct quality of motion, thereby consitutes a thread running

through the composition, a "fib", along which the component

phrases appear to be strung.'

Arnold Fell

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Much to be preferred is the down-to-earth approach which

composers themselves tend to take: craftsmen talking about

materials, and how they are built up into a finished article.

'Schafer: You are a fastidious craftsman then. Let us look a

- 13-

little closer at your working habits. First of all, do you

think a great deal about a work before you begin to write it

down?

Walton: Yes, possibly for months.

Schafer: What does this planning consist of?

Walton: Everything: ideas and their development, balancing of

moods, even questions of instrumentation.

Schafer: Is there any aspect of work or class of composition

that comes more or less easily to you?

Walton: It is all equally difficult.

Schafer: Is scoring done independently of composing?

Walton: I make notes as I go along so that I have it worked out

in general terms.

Schafer: Do you ever work at more than one composition at a

time?

Walton: No.

Schafer: If a good idea comes to you which does not immediately

fit into your current work, would you note it down, remember it

in your head, or perhaps forget it entirely?

Walton: I'd write it down and save it for future reference.

Schafer: Would an idea ever inspire a category of work to you,

or do you settle the generic question first and then look for

suitable ideas?

Walton: It can't be put in quite those terms. Usually when I'm

- 14-

asked to write to commission I then know what is required in

terms of form and instrumentation in advance.

Schafer: When you sit down to work do you always expect to get

something done or do you have completely hopeless days?

Walton: There are hopeless days, despairing days.

Schafer: Does a creative set-back discolour all your day's

activities?

Walton: It makes the entire day miserable. It affects one like

a liver-complaint - no it's worse than that because at least

something can be done for one's liver!

Schafer: Would inhospitable surroundings do you as well as

ideal ones for work?

Walton: The more inhospitable the better. Wasn't it Strauss who

used to be locked up in his room each morning by his wife to

keep him at work? What one needs is a congenial prison with

windows so high that one can't look out." '

Like Schenker in one respect, this thesis tries to probe behind

the notes, not to a technical skeleton but to the underlying

expressive impulse. Tippett, often very revealing in conversation

about his creative processes (some of which he must surely share

- 15-

with other composers), explains how he is aware of that impulse in

advance of finding the actual notes to convey it:

'Meirion Bowen:

What is the most difficult stage for you in the composition of

a symphony?

Tippett:

The opening, always. A lot of premeditation and planning -

sometimes lasting years - will go into a notion of the work as

a whole and of its structure, before I come to write the notes.

But then beginning the piece, that's a real test: it can take

me hours, maybe a whole week. The Third Symphony, for instance,

took seven years of intermittent consideration and eventual

creation. Until I eventually sat at the piano to compose, the

work was simply ideas in my head, scattered jottings and

mnemonics simply recording my notions and what possibilities

might be explored in the work. Some of these were to be

discarded, others kept. The original, spontaneous conception of

"immobile" polarized against "speedy" music was always the main

structuring factor. By the time I reached the piano, it had a

structure and balance, the proportions were known. Working at

the piano, I didn't find the precise sounds on the instrument,

so much as through it. I can invent as though the orchestral

score were in my head all the time - and indeed I write

- 16-

straight onto full score, always have done. It's a search for

the right sounds, pure guesswork as to what the sharp chords at

the start of the symphony might be, and how they will have the

effect of an engine revving up for the action that is to follow

... The opening of the piece is always a problem.'

Britten seems to have had a surer grasp of the means to his

ends:

'Usually I have the music complete in my mind before putting

pencil to paper. That doesn't mean that every note has been

composed, perhaps not one has, but I have worked out questions

of form, texture, character, and so forth, in a very precise

way so that I know exactly what effects I want and how I am

going to achieve them.I.

Schafer:BCI,p.123

The notes are there to make gestures, and it is the quality of

those which makes music individual and great.

A more profitable approach to the opening to Schubert's B flat

Sonata than Salzer's structural pedantry is to begin with the

- 17-

sketch(see p.22?, as the majority of analyses in this thesis do

wherever possible: any glimpses of the workshop are liable to be

helpful, not merely in heightening the beauty of the finished

version, but also in illuminating how certain effects emerged into

their most convincing form. Analysis is inspiring when it takes the

form of recreation, and with the help of sketches one can begin to

think as it were with the composer. Of course one must beware of

reading too much into a hastily-written scaffolding for later work:

a great deal may have been taken as read and not filled in, and

some ideas Schubert knew to be weak are probably there simply to

give himself some clay to mould. It looks as if his first hearing

of the opening bars was in block chords, sounding rather hymn-like.

The rhythm of the tune is so four-square that it would be

altogether too stolid for the start of a lengthy sonata, though

possibly acceptable for a set of variations along the lines of

Beethoven Op. 109 third movement. The later addition of pulsing

quavers gives gentle impetus to the otherwise very serene tune

which constantly falls back on itself, never venturing far from the

tonic note. Schubert's original accent in bar 2 is now conveyed by

the more subtle means of a slightly jarring lower range E natural,

and the rather sentimental chords in bars 13 to 17 of the sketch

(music more suited to a slow movement) are replaced by the simpler

and stronger progression of the final version.

- 18 -

Schubert's awareness of the need for a better sense of forward

motion is again shown in the revisions to the G flat major

variation. The slip downards of the major third is aided by left

hand semiquavers (bar 19, fourth beat) absent from the sketch, and

then those semiquavers become a background ripple which carries the

music forward into the return of B flat major, now greatly enhanced

by the halting appearance of triplets in bar 34, and the dramatic

expansion of the augmented 6th link.

Schubert's early perception of the rumbling G flat trill is

extremely hard to decipher, but appears to be as below, not only an

octave higher than the final version, but also without the preceding

three-note ornament which is so capable of divergent interpretations:

,-

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What do concert pianists make of this opening? Given that they

face the task of bringing the notes to life and communicating their

expressive character to audiences, they are possibly a more

fruitful source of insight than some of the more bookish analysts.

Andras Schiff sits 'for hours balancing chords in Schubert and

- 19 -

getting the voicing I want. The opening of the B flat or G major

Sonata cannot be beautiful enough. It is something you work at all

your life',

Schnabel, who helped to bring Schubert's piano music to the

fore in the first half of this century, recorded the B flat Sonata

9in 1939 and makes the opening sing and flow effortlessly at

J . 96, with very little rubato. His left hand trill in bar 8 is

very blurred and distant: a cloud on the horizon. As the piece

progresses, he has occasional rushes of blood, such as the quite

fierce crescendo towards the accent in bar 25 and a furiously

hammered link into bar 36. Richter, whose French recording is not/0

dated in the accompanying booklet takes the Molto moderato

marking (merely Moderato in the sketch) to heart, and sets out at

j= 60. This first movement observes the exposition repeat and

lasts twenty-four and a half minutes, but heavenly length eludes

him. Long notes in the first eighteen bars are heavily accented,

and the trill in bar 8 is simply a well-played trill. The one

interesting expressive quality he finds in the music is the

insistence of the inner quavers at the start, and especially the

triplets from bar 36 which really tell at the slow speed. We await

a recording on an 1820's Viennese piano, but it is tempting to

think that the legato singing style of much of this sonata (unlike

the two previous ones in C minor and A major) is easier to realise

- 20 -

on a modern grand.

- 21 -

- 22 -

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- 22 -

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Notes to Char,ter 1

1. This quotation comes from Holloway's article 'Towards a Critique' in

Northcott: The Music of Alexander Goehr, p.84.

2. Brendel,A.: Musical Thoughts and Afterthoughts, Robson, London, 1976,

p.145. The square brackets on F.10, last line appear here as they do in

the book, presumably an editorial addition.

3. Webster,J.: 'Schubert's Sonata Form and Brahms' First Maturity'

(C19th M, July 1978, p.18) is the fuller version of his paper at Nottingham.

4. Feil's contribution comes in Frisch,W.(ed.): Schubert:Critical and

Analytical Studies, University of Nebraska, Lincoln, 1986, p.22.

5. Schafer,M.: British Composers in Interview, Faber, London, 1963, p.76.

Further references will be abbreviated to Schafer: BCI.

6. Bowen's interview with Tippett comes from the notes accompanying the

Decca boxed set of all four symphonies, record no. 414 091-1.

7. The sketch is housed in the Wiener Stadtbibliothek. A photograph (contained

in Howard Ferguson's collection) is available in the Cambridge University

Music Faculty Library.

8. Interview in Dubal,D.: The World of the Concert Pianist, Gollancz, London,

1985, p.291.

9. HMV 78 rpm recording, 1939. Reissued on LP, no. RLS 1435603.

10. In a boxed set for Le Chant du Monde, no. LDX 79 43, including two other

sonatas and some shorter pieces. No date is given with the, records.

- 24 -

CHAPTER 2 : SCHUBERT'S PERSONALITY

One of the most maddening problems for the musical analyst or

• performer is the frequent feeling of unbridgeable distance from the

man who wrote the music one is dealing with. Attempting to build

for oneself a picture of Schubert, born 190 years ago and distanced

by his native language, is predictably difficult, but is an

essential first step towards his music. In these days of

increasingly sterile analysis, it is refreshing to come across1pioneering books like Hildesheimer's Mozart and Ostwald's

„Schumann: Music and Madness which take the bull by the horns

and try to get to the man behind the notes, reading between the

lines of all the available letters and memoirs. Every note by

composers of this level of technical ability is permeated by their

personality, and we ignore it at our peril. Mendelssohn clearly

felt inspired by the closeness of Schubert when studying the

unfinished full score of the E major Symphony:

Letter to Ferdinand Schubert,

Frankfurt am Main, 22 March 1845.

'Yesterday I received through Dr. Iartel, the symphony sketch

of your brother, of which you have made me the possessor. What

joy you afford me through so beautiful, so precious a gift, how

deeply grateful I am to you for this remembrance of the late

— 25 —

University.

Library

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master, how honoured I feel that you wished to assign just to

me such an important example, unfinished though it is, of his

posthumous works - all this you can surely put into words for

yourself better than I, and yet I feel the necessity of

expressing to you, though it be but in a few words, my

gratitude for your gift! Believe me that I know how to

appreciate the magnificent gift at its full worth, that you

could have given it to no one to whom it would have given

greater joy or who would have been more genuinely grateful to

you for it! Indeed, it seems to me as if, through the very

incompleteness of the work, through the scattered,

half-finished indications, I got to know your brother

personally, and more closely and more intimately than I could

have done through a completed piece. It is as though I saw him

there working in his room, and this delight I owe entirely to

your unexpected great favour and kindness. Let me hope for an

opportunity to meet you in the flesh, be it in Vienna or in

this neighbourhood, and to make your personal acquaintance;

then I shall be able to repeat once more all my thanks to you

3verbally.'

—26—

Behind the day-to-day fluctuations of mood which people

experience lie deeper, firmer character traits which to a large

extent govern the course oftheir lives.In Schubert's case, perhaps

the most prominent of these was sadness, perceptible in a vast

number of bars he wrote. The late song 'Der Winterabend' D938,

whose words touch on the loneliness and unrequited love he must

have experienced himself, wanders gently along with a main tune

steeped in that kind of sweet sadness and sighing quality which are

part of Schubert's distinctive tone of voice, the hallmark of any

great artist:

- 27 -

34.Der Winterab end.

Leitner.-Nicht zu langsam.

legato

Nachlass, Lfg. 28,

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- 29 -

Brahms, whose own situation was not without its parallels)twice

mentions this in letters concerning the discovery of incomplete and

unpublished Schubert manuscripts in the mid-19th Century:

'I presume you know that Schubert's last symphony came by way

of Ferdinand Schubert to Mendelssohn. The introduction and half

the first movement are completed in full score. From then on

the whole symphony is apparently sketched out, and in such a

way that there are notes in every bar, a sight both lovely and

sad, as I know from my own acquaintance with Sakuntala[ an

operatic sketch left by Schubert]... This sketch[of the

Schubert symphony i has long been thought lost. Now Paul

Mendelssohn has sent it to London to Mr. Grove! This would have

seemed to me hard to believe, had I not read it in a letter

from Mt. Grove himself. If at all possible the symphony will

now presumbly be made usable post-haste for a performance.'5-

'My best hours here I owe to the unprinted works of Schubert of

which I have quite a number at home in manuscript. Yet however

delightful and enjoyable it is to contemplate them, everything

else about this music is sad. I have many things here in

manuscript belonging to[the publisher3Spina or toiSchubert's

]nephew Schneider of which nothing exists but just the

- 30 -

manuscript, not a single copy. And neither at Spina's nor with

me are they kept in fireproof cabinets

Wechsberg:Schubert,P.213

Schubert's diary entry for 27th March 1824, where presumably he

was assuming no airs, and needed to clear up a thought by writing

it down, adds a slightly mysterious piece of evidence on the

subject:

'All that I have created is born of my understanding of music

and my own sorrow: that which is engendered by grief alone

seems to please the world least of all.'

Perhaps he is referring to those passages, where, as it were,

his profound sense of grief took hold of the notes and sent them in

strange and violent directions, possibly in the substantial

chamber works he had just written,for example:

I

-31 -

P P

Octet D803, sixth movement

Andante melte

Clarinetto in B

Fagotto

Como in F

Violino I

Violino

Viola

Violoncello

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One imagines that Schubert was a relatively spontaneous, excitable

composer (are all those accents a pointer to that?) as opposed to

the more careful, cogitative type epitomised by Alexander Goehr.

Robin Holloway - is interesting on this:

VL

Vc.

Cb.

- 32 -

'Griffiths:

How do you recognize those qualities of authenticity and truth

[to which Holloway has just referred when you're composing?:1

Holloway:

When one feels intensely excited, when everything one's got

inside oneself is engaged and burnt up by the current

preoccupation. That's certainly authentic, though it's no

guarantee of quality or of interest to anyone else (one can

imagine much highly charged bad music being written in just

that state of mind). It's also rather an adolescent condition,

and one can do things that are perfectly all right without

feeling like that at all. But when I say it's adolescent, I

hope I'll still feel it when I'm 80! I think one should follow

such impulses. A warier sort of composer would say: don't

trust it, send it another way; contradict it. I think that's

where Sandy and I would now see things rather differently. I

think of him as scrutinizing every move before making it,

whereas I don't ask too many questions. When I've "surged"

like this I ask the questions afterwards. And of course

composing isn't all surge; it can sometimes be painfully

laborious .4

The reasons for Schubert's sadness which one can discern from

his letters might be divided into three: illness, his failure to

- 33 -

secure a lasting relationship with a woman, and the dreariness as

he saw it of most Viennese life. He knew after his serious illness

and hospitalisation in 1823 that his health was permanently

damaged, and probably that his days were numbered. His confessional

letter to Kupelwieser, written four days after the above diary

entry, sounds depressed enough for him to want to die, but his turn

of phrase may be a gentle exaggeration to make a point.

'To be brief, I feel myself to be the most unfortunate and the

most wretched man in the whole world. Picture to yourself

someone whose health is permanently injured, and who, in sheer

despair, does everything to make it worse instead of better;

picture to yourself, I say, someone whose most brilliant hopes

have come to nothing, someone to whom love and friendship are

at most a source of bitterness, someone whose inspiration

(whose creative inspiration at least) for all that is beautiful

threatens to fail, and then ask yourself if that is not a

wretched and unhappy being.

"Meine Ruh ist hin, mein Herz 1st schwer, ich finde sie nimmer

und nimmer mehr." That could be my daily song now, for every

night when I go to sleep I hope never to wake again, and each

morning I am only recalled to the griefs of yesterday. So I

pass my days, joyless and friendless, except when Schwind comes

now and again to see me and brings with him a ray of light from

- 34 -

those sweet days that are no more.'

Deutsch's Documentary Biography lists nearly fifty references

to Schubert's physical illnesses, including a letter by Schubert to

Frau Pachler, dated 12 October 1827:

'I herewith send your honour the four-handed piece for little

Faust. I fear I shall not earn his applause, since I do not

feel that I am exactly made for this kind of composition. I

hope that your honour is in better health than I, for my usual

headaches are already assailing me again. Pray give Dr. Karl my

heartiest good wishes for his name-day and tell him that the

book of my opera, which that sloth, Herr Gottdank, has had for

months to read through, has not yet been returned to me even

now. For the rest, I remain,

with all respect,

your most devoted

Franz Schubert'

Also, he wrote to Schober in August 1823

'Although I am rather late in writing I hope, nevertheless,

that this letter may still find you in Vienna. I am in constant

correspondence with Schaffer and am in fairly good health,

though I rather doubt ever becoming perfectly well again. I

lead here a very simple life in every way, take plenty of

- 35 -

exercise, work hard at my opera, and read Walter Scott.'

One imagines that he very frequently felt below par, with a brief

respite when on holiday in mid-1825 in the fresh air and mountains

around Gmunden, central Austria:

Anton Ottenwalt to Josef von Spaun at Lemberg.

Linz, 19th July 1825.

'We are enjoying an agreeable time and wish very much you could

enjoy it with us. - Schubert is here, so far alone. He came to us

first on Friday, but immediately went to Steyregg in the afternoon.

Thence he returned this morning and will, we hope, spend some days

here, until Vogl calls for him to go to Steyr, presumbly towards

the end of this week. Schubert looks so well and strong, is so

comfortably bright and so genially communicative that one cannot

fail to be sincerely delighted about it. He is to-day going to

occupy the room where you had your sleeping quarters for some time.

His trunk is being taken there to-day, a writing table set up, and

he will be supplied with books, and so on.'

Deutsch:DB,p.429

Schubert to his Father and Stepmother

Steyr, 25th July 1825.

'Dear Parents,

I justly deserve the reproach which you made me concerning my

long illness; but as I do not like writing empty words and our

- 36 -

present time offers little of interest, you will forgive me for

giving you news of me only in reply to your affectionate

letter. I was very glad to hear that everybody is well, and I

may say the same of myself, thanks to the Almighty. I am back

at Steyr again, but have been at Gmunden for six weeks, the

environs of which are truly heavenly and deeply moved and

benefitted me, as did its inhabitants, particularly the

excellent Traweger. I lived at Traweger's, very free and easy.

Later, when Councillor von Schiller was there, who is the

monarch of the whole Salzkammergut, we (Vogl and I) dined

daily at his house and had music there, as we also often did

at Traweger's house.'

Exacerbating whatever physical discomfort he may have

experienced, Schubert also may have felt guilty about the

sordidness of the initial cause of his venereal disease 9and his

inability to withstand the temptation to indulge in prostitutes

thereafter.

From Hoffmann von Fallersleben's Diary

Grinzing, 15th August 1827.

'The old fiddler played Mozart ... Schubert with his girl we

espied from our seat; he came to join us and did now show

himself again. Franz Lachner, the fourth Musical Director at

— 37 —

the K3rntnertor Theatre, also came to see us.'

Deutsch:DB,p.658

The probable lingering sadness over the failure to persuade

Therese Grob to marry him is reflected in the intensity with which

he set Muller's poems in 'Winterreise', and in particular the lines

(Das M;dchen sprach von Liebe, die Mutter gar von Eh

)('the girl

spoke of love, her mother even of marriage') from "ASute Nacht' must

have struck a painful autobiographical nerve.

'During a walk which I took with Schubert into the country, I

asked him if he had never been in love. As he was so cold and

unforthcoming towards the fair sex at parties, I was almost

inclined to think he had a complete aversion for them. "Oh no!"

he said, "I loved someone very dearly and she loved me too. She

was a schoolmaster's daughter, somewhat younger than myself and

in a Mass, which I composed, she sang the soprano solos most

beautifully and with deep feeling. She was not exactly pretty

and her face had pock-marks; but she had a heart, a heart of

gold. For three years she hoped I would marry her; but I could

not find a position which would have provided for us both. She

then bowed to her parents' wishes and married someone else,

which hurt me very much. I still love her and there has been no

one else since who has appealed to me as much or more than she.

She was just not meant for me."

Huttenbrenner,A., quoted in Deutsch:M,p.182

- 38 -

Again he found that the bare expression of grief could, initially,

at least, displease his listeners:

'One day he said to me "Come to Schober's today, I

will sing you a cycle of awe'-inspiring songs. I am anxious to

know what you will say about them. They have affected me more

than has been the case with any other songs." So, in a voice

wrought with emotion, he sang the whole of the "Winterreise"

through to us. We were quite dumbfounded by the gloomy mood of

these songs and Schober said he had only liked one song, "Der

Lindenbaum". To which Schubert only said, "I like these songs

more than all the others and you will get to like them too";

he was right, soon we were enthusiastic over the effect of

these melancholy songs, which Vogl performed in a masterly

way. More beautiful German songs probably do not exist and

they were his real swan-song. From then on he was a sick man,

although his condition gave no cause for anxiety. Many people

thought, and perhaps still think, that Schubert was a dull

fellow with no feeling, but those who knew him better know how

deeply his creations affected him and that they were conceived

in suffering. Anyone who has seen him of a morning occupied

with composition, aglow, with his eyes shining and even his

speech changed like a somnambulist, will never forget the

- 39 -

impression. (And how could he have written these songs without

being stirred to the depths by them!) In the afternoon he was

admittedly another person, but he was gentle and deeply

sensitive, only he did not like to show his feelings but

preferred to keep them to himself.'

Spaun,J.,quoted in Deutech:M,p.138

Because it was so hopeless, in view of the difference in their

social status, Schubert's passion for his pupil Caroline Esterhazy

is likely to have grieved him less, but there is a hint of

embarrassment in the clandestine references to her in a letter to

Ferdinand in July 1824:

'To be sure that blessed time is over when everything appeared

to us in a nimbus of youthful glory, and we have to face

instead the bitter facts of existence, which I try to beautify,

however, as far as possible with my own imagination(for which

God be thanked!). One turns instinctively to a place where one

found happiness before, but in vain, for happiness is only to

be found within ourselves. In this way I have met with an

unpleasant disappointment, and renewed an experience already

made in Steyr, though I am better able to find inner peace and

happiness now than I was then.'

and to Schwind in August of the same year:

'My good health continues, thank God, and I should be very

content here if only I had you, Schober and Kupelwieser with

- 40 -

me, but as it is, in spite of the attractive star, I feel at

times a desperate longing for Vienna. I hope to see you again

at the end of September.'

Schubert seems to have been acutely depressed by the general

atmosphere of everyday Austria, and the banality, as he saw it, of

the majority of people he encountered. He thrived on relatively

sophisticated, artistic company, and despised lesser mortals:

'Our Society (Reading Society), as you will already know, has

dealt itself its own death-blow by swelling its ranks with a

rowdy chorus of beer-drinkers and sausage-eaters, and it is

being dissolved in two days' time - though I myself have

scarcely ever attended it since you went away.'

Letter )31st March 1824.

'Schubert dragged me forcibly to an inn and I was not even

spared the coffee-house afterwards, at which he was in the

habit of winding up the evening, or rather the late hours of

the night. It was already one o'clock and an extremely lively

musical discussion had arisen over the hot punch. Schubert

emptied glass after glass and had reached a sort of elated

state in which, more eloquent than usual, he was expounding to

Lachner and me all his plans for the future. At this point a

singular misfortune had to bring a couple of professional

artists, celebrated members of the Opera House orchestra, into

the coffee-house. As these people came in Schubert stopped

- 41 -

short in the middle of his impassioned discourse; his brow

puckered, his small grey eyes gleamed out fiercely from behind

his spectacles, which he pushed restlessly to and fro. But

scarcely had the musicians caught sight of the master when they

rushed up to him, grasped him by the hands, paid him a thousand

compliments and almost smothered him with flattery. Finally it

transpired that they were extremely anxious to have a new

composition for their concert, with solo passages for their

particular instruments, and they were sure that Meister

Schubert would prove accommodating, etc.

But the master turned out to be anything but accommodating; he

remained silent. After repeated entreaties he said suddenly:

"No! For you I will write nothing."

"Nothing for us?" asked the men, taken aback.

"No! Not on any account."

"And why not Herr Schubert?" came the rejoinder, in rather a

nettled tone. "I think we are just as much artists as you are!

No better ones are to be found in the whole of Vienna."

"Artists!" cried Schubert, hurriedly draining his last glass of

punch and getting up from the table. Then the little man pulled

his hat down over his ear and faced the virtuosi, one of whom

was tall of stature, and the other more inclined to stoutness,

as though threatening them. "Artists?" he repeated. "Musical

hacks are what you are! Nothing else! One of you bites at the

— 42 —

brass mouthpiece of his wooden stick and the other blows out

his cheeks on the horn! Do you call that art? It's a trade, a

knack that earns money, and nothing more! - Youl artists! Don't

you know what the great Lessing says? - How can anyone spend

his whole life doing nothing but bite on a piece of wood with

holes in it! - That's what he said - (turning to me) or

something of the kind! Didn't he? (Once more to the virtuosi):

You call yourelves artists? Blowers and fiddlers are what you

are, the whole lot of you! I am an artist, I! I am Schubert,

Franz Schubert, whom everybody knows and recognizes! Who has

written great things and beautiful things, that you don't begin

to understand! And who is going to write still more beautiful

things - (to Lachner) that is so, my friend, isn't it? - the

most beautiful things! Cantatas and quartets, operas and

symphonies! Because I am not just a composer of Landler, as the

stupid newspapers say and as the stupid people repeat - I am

Schubert! Franz Schubert! And don't you forget it! And if the

word art is mentioned, it is me they are talking about, not you

worms and insects, who demand solos for yourselves that I shall

never write for you - and I know very well why! You crawling,

gnawing worms that ought to be crushed under my foot - the foot

of the man who is reaching to the start - sublimi feriam sidera

vertice (to me:) translate that for them! - To the stars, I

say, while you poor, puffing worms wriggle in the dust and with

- 43 -

the dust are scattered like dust and rod!"

Bauernfeld,E. von, quoted in Deutsch:M,p.231

Balancing the deep vein of sadness and depression in Schubert

is a marked sense of enthusiasm, energy, friendliness and humour

expressed in some of the letters to his close friends and to his

brother Ferdinand. The use of multi-exclamation marks and question

marks is a superficial outward sign of this:

'From all this you can deduce a fine sum-total of gaiety! "The

Magic Flute" was very well produced at the Theatre an der

Wien; "Der FreischLz" at the Imperial and Royal Klrtnertor

Theatre very badly. Herr Jacob and Frau Baberl at the

Leopoldstadt Theatre are unsurpassed. Your poem which appeared

in the Modezeitung is very good, but the one in your last

letter is finer still. Its sublime humour and comic loftiness

of sentiment, and especially the gentle cry of anguish at the

end, where you take advantage in a masterly fashion - oh, yes

indeed! - of the good town of Villach, place it among the

finest examples of its kind. - I am not working at all. - The

weather here is really terrible, and the Almighty seems to have

forsaken us entirely. The sun refuses to shine. It is already

May, and one cannot even sit in the garden. Fearful! Dreadful!!

Appalling!!! For me the greatest cruelty one can imagine. In

June Schwind and I want to go with Spaun to Linz. We might all

- 44 -

arrange to meet there or in Gmunden, only you must let us know

definitely and as soon as possible if you could manage it. Not

in two months' time!

Goodbye!'

Letter, May 1826

'The upward grade is naturally harder, but the guiding hand of

a superior could easily make something even out of this crowd.

For the rest, do not let the fact that you are so far away from

us make you grey-headed. Defy the foolish fate that has taken

you there and prove your scorn by letting your fertile fancies

blossom like a flower garden: show your divine descent, and

diffuse life-giving warmth throughout the frozen North. Base is

the grief that makes a high heart falter! Away with it, and

trample underfoot before it is too late the vulture that gnaws

at your vitals.

(continued on p.46)

- 45 -

Some very strange, one might almost say comical, notices have

appeared about Schober. First of all I read in the Viennese

Theaterzeitung about a pseudonymous "Torupsohn"??? What can

that mean? He surely cannot have married? That would be really

rather amusing! Secondly, that his best role is that of the

clown in the travesty of "Aline". Rather a mighty fall from

all his high expectations and plans! And thirdly and lastly,

that he may be returning to Vienna. I wonder what he will do

there?'

Letter, 21st July 1825

- 46 -

J)The handwriting of one of his last intimate letters written

to Anselm Huttenbrenner on 18th January 1828, looks very fast, and

the thoughts emerge in short, almost breathless sentences:

- 47 -

•

1

Wechsberg:Schubert,p.180

"N'Irr• mr."Arow.

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- 48 -

translation:

'I hope that all goes well with you, and with your dear family

and brothers too. My warmest greetings to them all. A trio of

mine for pianoforte, violin and violoncello was given at

Schuppanzigh's house the other day, and pleased everyone very

much. Boklet, Schuppanzigh and Linke played it admirably. Have

you written nothing new? Apropos, why does not Greiner, or

whatever his name is, publish your two songs? What the devil is

the meaning of it?

I repeat my request made above. Remember that whatever you do

for my brother you are doing for me.

Hoping for a favourable reply,

I remain

till death

your faithful friend,

FRZ. SCHUBERT.'

The recollections of Eduard Traweger, who was a young boy in 1825

when Schubert and Vogl came to his father's house in Gmunden,

reveal the positive side of the composer's character when he found

himself in good company:

'Vogl and Schubert lived with us; the other gentlemen sometimes

came to meals with us and often came to visit us.

I was laid up with the croup; the doctor ordered leeches but no

- 49 -

one could persuade me to undergo the operation. Vogl and

Schubert encouraged me. Finally the unbounded respect for

Schubert, which my father instilled into us, had its effect;

his words took effect. In tears I asked him if he would apply

the leeches and this he did, under the doctor's instructions.

As the blood suckers hung on my neck Schubert gave me a silver

pencil as a keepsake. I still remember this scene as though it

were today. When Vogl sang and Schubert accompanied on the

pianoforte, I was always allowed to listen. On these enjoyable

occasions relations and friends were often invited. With such

compositions, performed like this, it was inevitable that

feelings should find expression and when the song was over it

was not an uncommon occurrence for the men to throw themselves

into each other's arms, and the excess of emotion overflowed

into tears. How often have I told of such occasions afterwards!

Hardly was I awake in the morning when, still in my nightshirt,

I used to rush in to Schubert. I no longer paid morning visits

to Vogl because once or twice, when I disturbed him in his

sleep, he had chased me out as a "bad boy". Schubert in his

dressing-gown, with his long pipe, used to take me on his knee,

puffed smoke at me, put his spectacles on me, rubbed his beard

against me and let me rumple up his curly hair and was so kind

that even we children could not be without him. From a certain

Albrecht, who is now said to be a school-teacher in Haslach in

- 50 -

Upper Austria and who might know something about those days

because, as music master, he was often at our house, I learned

the first steps in writing, and when I showed Schubert my first

hieroglyphs he gave me a lead ink-stand off his table, which

was heavily laden with music, and this I preserve to this day

as a sacred relic. This ink-stand was always kept under glass

until, when I became a student, I took it with me. With much

trouble Schubert now taught me the song "Guten Morgen, sch;ne

Malerin" and to this day I can still hear how he used to call

to me: "Come along, Eduard, sing "Guten Morgen" and you will

get a lovely Kreuzer" (generally a silver Groschen) and I

squeaked as well as I could.'

Deutsch:M,p.168

The energy and speed which one senses in the above documents

applies also to Schubert's creative life. By all accounts he was an

extremely hard and regular worker, possibly needing to achieve

something compositionally before he could relax and enjoy the rest

of his day. In his obituary notice for Schubert, Spaun (a lawyer,

and one of the more dependable of Schubert's friends) wrote

'Every day, without exception, Schubert devoted the time from 9

o'clock in the morning until 2 o'clock to composition or to his

studies. The afternoon and evening, however, was given up to

his family or his friends. No festivity, no repast and no

entertainment gave him any pleasure unless it was seasoned with

- 51 -

the company of friends.'

Deutsch:M,p.25

This is corroborated in more lyrical prose by Hiller

'On one of the following days I called on Schubert in his

sparsely furnished room, near the top of the house. I can still

remember a rather broad standing-desk, constructed with the

utmost simplicity,- on it lay freshly written manuscripts. "You

compose so much", I said to the young master. "I write for

several hours every morning", he replied, in the most modest

way,- "when one piece is finished, I start another." The very

gifted painter, Schwind, whom I got to know in later years,

told me a great deal about the artist's life, so wonderful in

its natural greatness. Schwind was on the most intimate terms

with Schubert and for a year, it seems, lived in the same house

on the same landing with him. "There could be no happier

existence"i he exclaimed in his humorous way. "Each morning he

composed something beautiful and each evening he found the most

enthusiastic admirers. We gathered in his room,- he played and

sang to us,- we were enthusiastic, and afterwards we went to

the tavern. We hadn't a penny - but we were blissfully happy."

Deutsch:M,p.282

Benjamin Britten shared this need for regular work, whatever his

mood

- 52 -

'I believe strongly in a routine. Generally I have breakfast at

eight and am at work before nine, working through until a

quarter past one. Then I have a break with a walk before

returning to work from five until eight again.'

Schafer:BCI,p.123

Schubert seems to have had a voracious form of the creative

appetite described so lucidly by Stravinsky in his Poetics of Music:

'All creation presupposes at its origin a sort of appetite that

is brought on by theforetasteof discovery. This foretaste of

the creative act accompanies the intuitive grasp of an unknown

entity already possessed but not yet intelligible, an entity

that will not take definite shape except by the action of a

constantly vigilant technique.

This appetite that is aroused in me at the mere thought of

putting in order musical elements that have attracted my

attention is not at all a fortuitous thing like inspiration,

but as habitual and periodic, if not as constant, as a natural

need.

This premonition of an obligation, this foretaste of a

pleasure, this conditioned reflex, as a modern physiologist

would say, shows clearly that it is the idea of discovery and

hard work that attracts me.

- 53-

The very act of putting my work on paper, of, as we say,

kneading the dough, is for me inseparable from the pleasure of

creation. So far as I am concerned, I cannot separate the

spiritual effort from the psychological physical effort; they

confront me on the same level and do not present a hierarchy.' 12-

and Robin Holloway, talking to Paul Griffiths:

'Sketches tend to be scrawled on anything that lies to hand,

like this agenda of a dutiful meeting. Then I try to use them

as quickly as I can, catch them while they're hot. Quite soon

they don't mean very much.

Or sometimes the stimulus can be, as it was with my schoolboy

opera, the fact that someone's going to play it: that makes one

salivate with immediate musical ideas. Someone telephoned last

summer, while I was working on something quite different, and

asked if there would be a chance of a bassoon concerto. I'd

never imagined a bassoon concerto in my life, but while he was

on the phone I was already thinking about the bassoon, that

great long tube of bassoon noise that one sees and hears, and I

wished he'd just shut up so that I could begin to write it

down! I went back to where I was working and wrote an upbeat

phrase, then couldn't let it alone, until a whole paragraph of

bassoon line had been rapidly drafted. Every rational impulse

- 54-

says no, that one hasn't got time, that one's not really

interested; but the saliva says yes.

So sometimes it's as if the work is already fully formed, and

you just have to set it down, whereas at other times it has to

be sought out, and with great difficulty you realize something

that you know exists, but you follow where the music takes you,

with pleasure, surprise and gratitude.' f3

In Schubert's case, this appetite was no doubt encouraged by the

tremendous advantage of more or less immediate performance to a

circle of admiring friends, not equipped to be particularly

searching in their musical criticism. The torrent of works in his

youth again echoes Britten, who, in Tony Palmer's excellent

biographical film 'A Time there was ...', mentions vast tracts of

instrumental music written down from the age of about 5 before he

)4*could fully relate notation with sound!

'He often played me sonatas and other compositions, all of

which were already original and melodious. Complete masses,

operas, and even symphonies lay finished already, but gradually

he destroyed all these compositions again and said they were

only preliminary studies. In 1812 he composed twelve minuets

and trios, which were of extraordinary beauty. He himself was

very pleased with them. He entrusted them to me, thereby

- 55-

allowing something to leave his possession for the first time.

I showed them to art connoisseurs and they all found them

extraordinary. There was living in Vienna at that time a Dr.

Anton Schmidt, a friend of Mozart's and an excellent violinist,

who had played quartets with Mozart himself. He was astonished

at the power, freshness and originality of the minuets and

said, brimming over with enthusiasm, if it is true that someone

who is almost a child wrote these minuets, then this child will

become a master such as few have been.'

Spaun,J.,quoted in Deutsch:M,p.128

Schubert's obsession with Beethoven has been well-documented by

Rosen, Cone and others, and, according to Ferdinand, emerged in a

deathbed conversation:

Ferdinand Schubert to his Father, 21st November,1828

'Most cherished Father,

Very many are expressing the wish that the body of our good

Franz should be buried in the Wahring churchyard. Among those

many am I too, believing myself to be induced thereto by Franz

himself. For on the evening before his death, though only half

- 56-

conscious, he still said to me: "I implore you to transfer me

to my room, not to leave me here, in this corner under the

earth; do I then deserve no place above the earth?" I answered

him: "Dear Franz, rest assured, believe your brother Ferdinand,

whom you have always trusted, and who loves you so much. You

are in the room in which you have always been so far, and lie

in your bed!" And Franz said: "No, it is not true: Beethoven

does not lie here." Could this be anything but an indication of

his inmost wish to repose by the side of Beethoven, whom he so

greatly revered?!'Deutsch:DB,P.825

Possibly fuelled by the encouraging remarks about a batch of songs,

Schubert seems to have wanted to assume Beethoven's mantle

following the latter's death in March 1827, and therefore to

achieve a similar recognition in Vienna and beyond.

Anton Schindler: On Schubert's Fantasia for four hands, Op. 103

(1831)

As the illness, from which Beethoven finally died after

four months of suffering, made his usual mental activities

impossible from the outset, it was necessary to think of a

distraction for him which was suited to his intellect and his

inclination. In this way it came about that I put in front of

him a collection of Schubert's songs and vocal works, about 60

- 57-

in all, many of which were then still in manuscript. This was

done not merely with a view to providing him with a pleasant

way of passing the time, but also to give him the opportunity

of getting to know the real Schubert, so that he might form a

more favourable opinion of him, having been made suspicious by

those excessive enthusiasts, who probably also misled other

contemporaries in the same way. The great master, who

previously had not known five songs by Schubert, was amazed at

the number of them and simply could not believe that at the

time (February 1827) Schubert had already written over 500. But

if he was amazed at their number, he was utterly astonished

when he got to know their content. For several days on end he

simply could not tear himself away from them and he spent hours

every day over "Iphigenias Monolog", "Grenzen der Menschheit",

"Die Allmacht", "Die junge Nonne", "Viola", the "Muller-Lieder"

and others as well. With delighted enthusiasm he called out

repeatedly "Truly, in Schubert there dwells a divine spark!"

"If I had this poem, I would have set it to music too!"

Deutsch:M,p.307

As early as 1824 he yearned to emulate the concert in which

Beethoven premiered his 9th Symphony and began work on a long,

grand-gesturing symphony for the purpose.

'The latest news in Vienna is that Beethoven is giving a

- 58 -

concert, at which his new symphony, three selections from the

new Mass, and a new overture will be performed. I too should

like to give a similar concert next year, God willing. I must

end now so as not to use up too much paper, and kiss you 1,000

times. If you were to write and tell me about your present mood

of inspiration and about the rest of your life, nothing would

better please.

My address would then be:

c/o Sauer and Leidesdorf's music shop, for I am going with

Esterhazy to Hungary at the beginning of May.

Your faithful friend,

Franz Schubert,

Fare well! Right well!'Letter, 31 March 1824

Among the many direct copies of Beethoven (detailed by Einstein

grin his biography) the most striking appear in the last three

piano sonatas. Significantly, they use early Beethoven models

rather than in any way attempting to reply to Opus 109-111, which

would have required the fugal skills he sought to learn from Bachll°

Handel and Sechter. Although he had found his 'voice' as a

composer, Schubert still felt himself to be a student, and of

course he had not yet fulfilled himself as an opera composer when

he died.

- 59 -

Schubert wrote music first and foremost to please other people

whose friendship mattered to him, and to give them a release from

ft'the sterility and insignificance of life', At the end of all

their hard and solitary work composers want to move people. Even a

complex technician like Goehr says, in his final thought to Murray

Schafer

'The most discouraging thing in art is to have made no apparent

impression. My work may not be understood for fifty years by

those who do not possess special qualifications, but for the

present one wishes to be applauded only when one has

communicated something or booed when one has not'.

Schafer:BCI,p.172

and Maxwell Davies says to the same interviewer:

'I want to communicate with the audience right away. But I must

remain musically honest, and make no concessions to any debased

or commercial public taste. If larger audiences were to

interest themselves in my music I should be delighted

Schafer:BCI,p.182

There are countless references in the Schubert documents to a

similar attitude:

— 60 —

'I found him one morning writing at a sonata. Although

disturbed, he at once played me the first piece which he had

just completed, and when I liked it very much he said, "If you

like the sonata, it shall be yours; I want to give you as much

happiness as I possibly can", and soon he brought it, as it is

engraved, and dedicated to me. It is Op. 78.'


'This work will not be dedicated to any special person, but

rather to all who find pleasure in it. That is the most

profitable form of dedication.'

Letter, 1 August 1828

'Through some young people of our acquaintance, Schubert was

brought to our house shortly after this and I count the

evenings, which he spent with us, among the most enjoyable of

my life. Many said of him that music was superimposed on him

like a garment and that, in reality, he was a beer barrel, who

did not know himself what he wrote. But that is simply

ridiculous! No one who ever saw him at the piano, who heard

him sing one of his songs, will or can assert that, even were

he to regard his deep understanding of the finest and noblest

poetry as instinctive which, anyhow, would be rather difficult

to maintain. His young face lit up, he seemed to grow in

— 61 —

stature and when, having finished the song, he sank back into

himself, turned round and, with one arm on the back of the

chair, asked me, as I stood there breathless and often in

tears, "Well, did you like it?", the earlier impression was

certainly weakened but it did not disappear. Then the next day

he generally sent me one or the other of the songs he had sung,

for example "Totengrabers Heimweh"I "Das ZligenglOcklein",

"Schafer und Reiter" and so on.'

Mitterbacher,G.,quoted in Deutsch:M,A298

A direct emotional response seems to have been his principal

requirement from music when listening

'.... Carl Maria von Weber had fallen out with Franz Schubert.

His faction was indignant with the young composer who had done

nothing worse than express his opinion of "Euryanthe" in his

frank Viennese way.

This opinion would have been correct if, at that time, Weber

had not changed his style. And to some extent this was forced

on him, for music was already beginning to move in another

direction. It was attempting to create effects by the use of

large masses (of sound). "What is the point of these large

masses (of sound)?" said Schubert. "'Der Freischtitz' was so

tender and intimate, it enchanted by its loveliness; in

'Euryanthe' there is so little to warm the heart!"

Chezy,W.von,quoted in Deutsch:M,p.259

- 62 -

'After this I sang Schubert's "Standchen" with harp

accompaniment, then followed a Fantasy by Thalberg, played by

Capus, then I sang Schubert's song, "Sei mir gegriisst", and in

such a way that Schubert embraced me and said "No one can sing

that song as you do; you have drawn tears from us all", a

commendation which gave me immense pleasure and caused me to

sing the same song again often and always with similar success.

The concluding item was once more a Trio for violin, 'cello and

harp; then we repaired to the house, where Frau von Berthold

provided light refreshments and it was long after midnight when

we finally broke up.'

Cramolini,L.J.,quoted in Deutsch:M,p.262

'Above all, it was the glorious symphonies in G minor by Mozart

and D major by Beethoven which every time made the deepest

impression on young Schubert, and only shortly before his death

he spoke of how greatly these compositions had moved and

touched his youthful spirit.'


'On these Thursdays we four also used to sing the quartets for

men's voices by C.M. von Weber, then very popular, as well as a

- 63 -

number by Konradin Kreutzer, of whose compositions Schubert

thought a great deal. For Beethoven, to whom Schubert had

unrestricted access, he felt the highest regard. A new sonata

or symphony by this Lord of Music was for Schubert the most

blissful delight. Every bit as much did he admire Handel's

mighty spirit, and in his leisure hours he used to play his

operas and oratorios from score with great avidity. From time

to time we made the task easier for ourselves by Schubert

taking over the higher parts and I . the lower ones at the piano.

Sometimes, when playing through Handel's works, he sprang up as

though electrified and cried: "Oh, the daring of these

modulations! Things like that could not occur to the likes of

us even in a dream!" Schubert was not an elegant pianist but he

was a safe and very fluent one; he also played the violin and

the viola; he read all the clefs with equal ease and even in

the mezzo-soprano and baritone clefs no note of importance

escaped him, just like our Papa Salieri who was a remarkable

score player, as indeed he had to be, having written 52 operas.)

Huttenbrenner,A.,quoted in Deutsch:M,p.180

He was equally sensitive to the communicative power of performers:

'I made the acquaintance too of Mme Jenny, an exceptionally

brilliant pianist, though her playing seems to lack to a

- 64-

certain extent genuine expression.'

Letter, 13 June 1816

'To one such time of plenty I am indebted for having heard

Paganini. The five gulden, which this concert pirate demanded,

were beyond my means; that Schubert had to hear him went

without saying, but he simply would not hear him again without

me; he was seriously annoyed when I hesitated to accept the

ticket from him. "Don't be an idiot!" he cried ) "I have already

heard him once and was annoyed you weren't there! I tell you,

we shall never see this fellow's like again! And I have stacks

of money now, so come on!" With that he dragged me off. Who

could have resisted such an appeal? So we heard the

diabolically sublime violinist, on whose flights of imagination

Heine's own imagination plays so beautifully, and our delight

over his wonderful Adagio was no less great than our utter

amazement at the rest of his devilish tricks; we also derived

not a little amusement from the incredible bows of the

demoniacal figure, which resembled a thin, black puppet

operated by wires. According to custom I was also treated at

the inn, after the concert, and a bottle more than usual was

charged up to enthusiasm. ?

Bauernfeld,E.von,quoted in Deutsch:M,p.238

- 65 -

'To the great impression made on Schubert by Gluck's

"Iphigenie", the masterly playing and glorious singing of the

Court Opera singer Vogl made an outstanding contribution.

Schubert's enthusiasm for this great artist increased with

every performance and excited in him the ardent desire to make

the acquaintance of this master of song.


'These I played alone, and not unsuccessfully, for several

people assured me that under my fingers the keys were

transformed into singing voices: which, if it be true pleases

me very much, as I cannot abide that cursed hacking of the

instrument to which even first-class pianists are addicted: it

pleases neither the ear nor the heart.'

Letter, 25 July 1825

Through the slightly effusive recollections of Hartmann one can

catch the atmosphere of the Schubertian circle:

'1825 (Vienna). There was music-making from time to time at

Frau Appellations-Rat Spiegelfeld's. Dini sang Schubert's

songs, of which Fritz brought her several.

The Schubertiads were a great delighttoo, leaving the most

deep and lasting memories. The Court Secretaries (afterwards

- 66-

Councillors to the Hofkammer) Enders and Witteczek invited

several friends to their joint apartment: Schwind, Schubert,

Court Secretary Gross, Baron Schlechta, Clodi and his brothers,

Konzepts-Praktikant Derffel among others. Schubert and Gahy

played Schubert's marches for duet, Schubert also played the

most glorious solo things, Schubert songs sent us into

transports of enthusiasm; Schlechta sang "Prinz EugOnius, der

edle Ritter" and amusing things. Delicious wine made us very

gay (Clodi immoderately) and these evenings were on 29 January,

10 and 26 February, and to finish up with we went, with Schwind

and Schubert, to Leibenfrot's and finally to Neuner's

coffee-house where Fritz, and proba* I too, drank Schmollis on

26 February with Schwind and Schubert.'

Deutsch:M,p•274

This last memoir carries with it an implied warning to those of

us who analyse, and fittingly it comes just before the main part of

this thesis gets under way. Much of Schubert's music (especially

the piano duets and dances) was written for these happy parties,

and so too earnest an approach all the time would seem

inappropriate. We must keep in the back of our minds the great

bonhomie and fun Schubert and his friends so often enjoyed in their

living rooms.

- 67 -

Notes to Chapter 2

1. Hildesheimer,W.: Mozart, Dent, London, 1983.

2. Ostwald, P.F.: Schumann:Music and Madness, Gollancz, London, 1985.

3. Quoted in Deutsch,O.E.(ed.): Schubert:Memoirs by his Friends, 'Land C.

Black, London, 1958, p.414. Further references to this anthology will

be abbreviated to Deutsch:M.

4. The complex about Beethoven; women; loneliness.

5. Wechsberg,J.: Schubert, Weidenfeld and Nicholson, London, 1977, p.205.

The words in brackets on p.30 are Wechsberg's additions.

6. Interviewed in Griffiths,P.: New Sounds, New Personalities, Faber, London,

1985, p.117. The words in square brackets on p.33, 1.3 are an addition by

the present writer; those in round brackets on p.33, 1.8-10 are as in the

book, and presumably Holloway's own words.

7. The round brackets on p.34, 1.15 are as they appear in Deutsch's anthology

of Schubert's letters, and one assumes that they are Schubert's own. There

is no indication otherwise.

8. Deutsch,O.E.: Schubert:A Documentary Biography, Dent, London, 1946,

hereafter abbreviated to Deutsch:DB.

- 68-

9. Deutsch:DB, p.287: 'After a few earlier hints we find here the first

definite mention of a serious illness suffered by Schubert. There is no

doubt that it was venereal, probably syphilis. (A clear distinction

between gonorrhoea and syphilis was made possible only in 1837-8 by

Philippe Ricord, the chief surgeon of the Htpital du Midi for syphilitics

in Paris.) Kenner, in a letter to Luib of 1858 (Vienna City Library),

mentions "an episode in Schubert's life which only too probably caused his

early demise, and certainly accelerated it."

See also Sams,E.: 'Schubert's Illness Re-examined', MT 1980, p.15.

10. The round brackets on p.40, 1.1-2 are as they appear in Deutsch's

book. As in DB, one assumes that they are the original author's.

11. Most of his last letters are wrangles with publishers.

12. Stravinsky,I.: Poetics of Music, Harvard University Press, Cambridge,

Massachusetts, 1942, p.51.

13. Griffiths: New Sounds, New Personalities, p.122.

14. 12 piano sonatas, 2 symphonies, tone poem 'Chaos and the Cosmos', 4 or

5 string quartets, and dozens of songs.

15. Einstein,A.: Schubert, Cassell, London, 1951.

- 69 -

16. The most remarkable evidence of this study is his Fugue in E minor

D952. See Mann,A.: 'Schubert's lesson with Sechter', C19th M 1982,

p.159.

17. Letter of 21 September 1824.

— 70 —

CHAPTER 3 : THE DUALITY OF SCHUBERT'S STYLE

Schubert's style in the 1820's exhibits a sharp dichotomy, more

pronounced than in any of his Viennese contemporaries or immediate

predecessors, between the dramatic and the lyrical, a

characteristic already appreciated by Tovey, and interpreted by

2Mellers in psychological terms. No work illustrates this more

vividly than the A major Sonata D959, where in the slow movement it

is almost possible to talk of two (apparently incompatible) styles

juxtaposed. A clearly defined theme, mostly in four-bar phrases,

making play with emotionally sensitive parts of the minor scale

gives place to practically themeless, unpredictable tremolandi,

trills and scales:

13

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-71 -

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The sharpness of the divide here should not blind one however

to the untidy truth that elsewhere things are less straightforward.

Even the stillest, most serene of Schubert's lyrical episodes are

liable to contain a dramatic surge midstream, and a peppering of

slightly nervous dynamic inflections:

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— 72 —

Allegro con lime° ma non troppo

- 73 -

Plenty of dramatic passages are actually based on, or at least to

some degree infused with, song material. For example, the quiet,

slow and dark chords from 'Der Wanderer' D489

n,

—. 5 4 (1) •..n•n

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are transformed almost beyond recognition into the brassy3

opening passage of the 'Wanderer' Fantasy D760:

Then of course, in a Schubertian context, the very label 'lyrical'

is loaded with confusions when one remembers how many of his songs

are intensely dramatic, though perhaps none can equal the

near-hysteria of the A major Sonata slow movement. 'Lyrical' is

taken in this thesis to denote any passage whose purpose is

relative relaxation away from dramatic pressure and whose content

is relatively melodic rather than merelyinotivic. Ultimately one s

ears must be the judge. There is sufficient audible difference in

essential character between the two elements in Schubert's style to

justify a separate discussion of each, as happens in this thesis.

- 74 -

Notes to Chapter 3

1. Foss,H.J.(ed.): The Heritage of Music, OUP, London, 1927, p.103.

2. Harman,A. and Mellers,W.: Man and his Music, Barrie and Rockliff,

London, 1962, p.661. The sharp divide in Schubert's style is also

referred to by Brendel in Musical Thoughts and Afterthoughts, p.65,

and by Hugh Macdonald in his article 'Schubert's Volcanic Temper' in

VT November 1978, p.949.

3. As Badura-Skoda points out in his notes to the tiener Urtext Edition,

several passages reveal the influence of orchestral thinking, sometimes

made more pianistic in revision (bar 15, for instance).

- 75 -

CHAPTER 4 : THE DRAMATIC ASPECT

Many pieces of music in the Classical style can helpfully be

approached as dramatic structures, juxtaposing sections of

contrasting intensities (wide-ranging in Schubert, as suggested

above), lengths, and types of motions, which excite en route, and

eventually coalesce into satisfying wholes. Indeed it is possible

to argue that the dramatic structure is the essence, the point of

the music, the background of greater importance than Schenker's

alleged pitch frameworks which completely ignore the audible

timings and weights of musical events. Lutoslawski puts it so:

'I distinguish, in all music, moments of greater concentration

of musical events and moments of a certain relaxation or dilution

of content. This is as indispensable to the process of

listening to music as breathing. Listening to music is in fact

rather like breathing: greater concentration is followed by

lesser, effort by rest, tension by relaxation. This natural

rhythm of man's receptive apparatus in listening to music is an

important element in the construction of major form'.

2.The present writer's own 'Dance for Pollini' was conceived

largely as a dramatic shape, as the chart overleaf demonstrates.

— 76 —

The notes, rhythms and chords simply clothe a pre-existing dramatic

idea. Hundreds of movements whose overall character (summed up by

the listener after the final bar) is not dramatic still have some

kind of dramatic shape, and a composer can handle this aspect with

infinite freedom. If he can make it sound convincing3there is

no reason why he should not start a movement with a climax, and let

the remainder gradually unwind from that point.

A detailed discussion of three complete movements by Schubert

takes place in a later section of the thesis. The present section

examines those points in Classical forms where Schubert is likely

to use overtly dramatic music, and attempts to define as precisely

as possible the intended characterof details which give rise to the

drama. Such details are to some degree dependent upon performance,

but it is an injustice to a great composer to suggest that they are

wholly so. Musical meaning is more substantial than that.

Schubert's instinct for localised drama is very starkly

demonstrated by his rethinking of an episode in the Andante from

his Sonata in G D894 (and countless improvements made between

sketch and final draft of other works reveal the same during this

chapter).

-78 -

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His rather tender D major opening paragraph (bars 1 to 30) was

originally followed by

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1 3 2

— 79 —

a) Openings

The musical gestures at the opening of a movement, most

particularly the first, in a multi-movement Classical instrumental

work lasting half an hour or more, must arrest or gradually

persuade the listener's attention which the composer wishes to hold

throughout. Nothing is more likely to burn itself into a listener's

memory than the sound which cuts a silence : indeed, huge tracts

of music, buried in the subconscious, can be recalled at the sight

of an opening theme in a catalogue. The character of that initial

sound hangs over the remainder of the movement, fixing its

essential mood so that, for instance, despite the vehemence of many

of its inner passages, one tends to regard the opening movement of

6the B flat Sonata D960 as serene.

In the vast majority of modern performances by conductors who

appear not to have visited the Gesellschaft der Musikfreunde in

IFVienna

Schubert's 'Great' C major begins with a benign and

rather casual four-in-a-bar stroll which accelerates in the final

variation (bar 61 onwards) to a speed which allows the horns,

cellos and basses' part in bars 76 and 77

- 80 -

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- 81 -

P.

Ob.

Cl.(C)

• leg.

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Tbni

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80

Fl.

Ob.

Cl.(0)

Fg.

Car.(C)

The.(C.)

— 82 —

rto become the Allegro ma non troppo's main theme

Klaus Tennstedt's recent performance with the LPO did without

an acceleration, having started at the usual amble, and abruptly

changed gear into a very fast unrelated Allegro ma non troppo at

/0bar 78. Giulini

)who has confessed to being bothered by this

problem for years until he studied the autograph full score, is

probably closer to Schubert's intentions. He takes the Andante at a

0flowing two-in-a-bar (the time signature is clearly

)

)

exactly half the speed of the ensuing Allegro ma non troppo, into

which it then joins with no need for an accelerando.

It is unthinkable that in his largest and most powerful work,

Schubert would be careless about tempo markings and inflections.

There are no signs of accelerando or stringendo leading to the

Allegro ma non troppo in the autograph, and he was not averse

12..

elsewhere to such markings where necessary: interestingly

enough, one occurs in the roughly contemporary D major Sonata D850

second movement. One cannot help remembering the two pieces of

documentary evidence on the subject. In a letter to Probst about

the E flat major Piano Trio D929, he pleads that (in the first

performance, presumbly to be arranged by the publisher) 'where the)3

time changes in the last part, the rhythm is not lost.' And

Sonnleithner remembered that when Schubert rehearsed his own songs

he 'above all kept the most strict and even time, except in the few

cases where he expressly indicated in writing a ritardando,

- 83 -

morendo, accelerando.' There is no reason to suppose that Schubert

would have in mind any greater freedom in large scale instrumental

pieces, where a sense of pulse would seem more vital.

The theme and variations which make up the Andante are designed

as a gradual crescendo in orchestral forces and dynamics to bar 78,

with plenty of intervening stoppages and denial to cause momentary

uncertainty in the listener.

At first the building process is reasonably consequent, moving

from the theme for two unison horns to a chamber orchestra

variation at bar 9 and then to a full orchestral tutti at bar 29.

In this second variation, Schubert's aim is to tantalise. No sooner

has he unleashed his full force than he withdraws it to a soft

woodwind continuation (bars 31 and 34) and then drifts away into

the distance of E minor's dominant which he had quitted reluctantly

ten bars earlier. One senses his lyrical instincts tugging against

the main dramatic sweep of the music. But for a lack of rhythmic

momentum, a main allegro could arise from the dominant build-up

which follows in bar 38, and Schubert plays intensely on the

listener's expectation, shortening the oboe phrase separating the

upward-driving tutti bursts, and squeezing the tension into a

dominant 9th at bar 47. The denial which follows is one of

Schubert's slightly deadening shocks, which receive attention in a

- 84 -

later section of this chapter. Variation three at bar 61, the

actual link into the Allegro ma non troppo, is partly propelled by

the unreleased tension of that dominant 9th (picked up again in bar

74). To give himself orchestral room for an enormous crescendo,

Schubert reverts to the slight scoring of bar 9, but injects for

the first time a constant flow of relatively quick notes: quiet,

off-the-string violin scales loaded with the expectation of action

the ear has begun to crave. (Any reasonably sensitive Viennese

listener in the 1820's well-versed in the larger instrumental works

of Haydn, Mozart and Beethoven and a host of others we now consider

lesser talents, would expect some dynamic musical action either at

or near the start of a work. First movements tended to be the

most tense of the sequence, the remaining ones generally speaking

tending to relax towards the finale). Variation three performs on a

small scale the function of the whole Andante, that is, a bridge

between the horn tune and the dotted Allegro ma non troppo theme,

but would be unthinkably weak without the preceding sixty bars,

just as the dotted theme to come would be without any introductory

foil. Context is everything in a dramatic structure.

Movements starting at the main tempo, without the advantage of

a dramatic 77-bar preparation, have to find a way of becoming

airborne, as it were. A movement should take flight through time

and land naturally in the final bar: too heavy a landing at the

- 85 -

)Pf-0,

point of recapitulation might emasculate further momentum; as

Schubert appears to realise by removing weight at that point in

several movements.

He uses the technique of building from a quiet single line in

several other places besides the 'Great' C major, often centring

around E natural:

This might suggest a slight obsession with, or simply a liking for1‘

that particular sound.Several of the examples were written at

approximately the same time as the symphony, and so there may have

been some cross—fertilization. The onset of harmony following the

austerity of a single line gives an immensely pleasurable sensation

of enrichment and growth.

The atmosphere conjured up in the opening bars of the Sonata in

- 86 -

A minor D784 brings to mind Schoenberg's advice to composition

students tand reminds us that Schubert spent much of his time

building with notes under the pressure of poetry: 'in composing

even the smallest exercises, the student should never fail to keep

in mind a special character. A poem, a story, a play or a moving

picture may provide the stimulus to express definite moods ....

such practice will help him acquire the capacity to produce the

manifold types of contrast necessary for larger forms.' Such moods

frare almost beyond words)but nonetheless they are the point of

the notes in performance, and one's own strongly-felt reaction to

them can be heightened by some degree of intellectual focus. Our

brains, after all, operate with words.

In the case of this particular sonata's opening an

approximation to the expressive point might be suppressed tension )

which finally breaks out through the semiquaver rumble into the

fortissimo transformation of the main theme at bar 26. The one

significant swell in bars 16-18 quickly dies back to pianissimo;

full chords are touched in, as if harmonic enrichment is starting,

but are then followed by the original bare octaves (for instance

bars 3-4); the thick bass ostinato chords starting in bar 9 can be

made to sound heavy and slightly ominous. Added to this sense of

imminent drama, there are suggestions of great tiredness in the

melodic shapes which obsessively fall away after the gentle surges

- 87 -

of effort:

Schubert can be seen to be improving this feeling in an alteration

made to the fair copy. Bars 15 and 16, now emphasising the F

natural to E natural fall, originally moved straight up the A minor

scale:

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- 88-

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The dramatic action starts in earnest at bar 26, which provides the

thrust towards the second key, and in a number of other openings

Schubert likewise keeps the listener waiting. His Grand Duo D812

opening also has a fortissimo version of its main theme about

twenty bars into the movement, but builds towards that point in an

expressively ambiguous fashion. Rather weak lyrical answering

phrases, in particular bars 6 and 7, carry no impetus beyond their

own limits, and jar in flavour against the strenuous motivic

build-up which immediately follows:

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Once the dominant tension has been planted, however, the

pianissimo E major aside in bar 15 is a wonderfully effective

moment of delay in the link to bar 20:

One cannot deny the somewhat jumbled effect of the opening

paragraph in this case, which only settles with the arrival of the

A flat major theme in bar 50, as if Schubert is stumbling along

Ifhaphazardly without the tighter sense of expressive and

dramatic purpose shown in the A minor Sonata.

Expressive uncertainty and hesitation dominate the opening 25

bars of the C major Quintet D956, which then builds reasonably

smoothly into more fluent and dynamic action at bar 33. It is

particularly difficult for the ear to adjust from the painful

diminished 7th of bars 3 and 4 to the immediate sweetness and ease

of the returning tonic chord, particularly with the first violins'

essentially relaxed 6-5 move above it

AllegromanmItroppo Franz Schubert, Op.16312:97->1.828

Viol ino I

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-91 -

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The flick of tension provided by the pianissimo motif between bars

9 and 10 becomes in 22 an unprovoked outburst, pulling towards E

minor, and bringing what momentum there was to a sudden standstill.

After such uncertainties, the build-up on a familiar chord in bars

26-32 comes as some relief:

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In a handful of opening paragraphs, Schubert uses the idea of

soft, quickly repeated notes for a slight degree of tension in the

atmosphere, learned principally from Rossini and Weber in the opera

house. It is bound to remind a human listener of shivering either

with nerves or cold, and manifests itself a great deal in

'Winterreise'. More maniacal and extended tremolando effects are

reserved for inner climaxes: in these openings it is usually a

background to the main matter.

Without the gently insistent semiquavers in the two lower

instruments propelling the musical action, the opening of the A

minor Quartet D804 up to bar 31 would be too relaxed, unclouded by

- 92 -

(J so) • •-Q Andante

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uncertainty which makes later outbursts seem right and inevitable.

Verdi uses the same opening motif at the start of his Requiem for a

sense of enormous calm and expanse, before the choral mutterings of

bar 7:

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— 93 —

Violin° I.

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A far denser, continuous tremolando (coming as an unexpected

texture in the wake of smoothly sustained violin chords) gives

suppressed excitement to the entire harmnnic backdrop to the themein bar 15 of the G major Quartet D887:)

PP

In the case of the B minor Symphony D759, where the pianissimo

semiquavers (bar 9) likewise contrast effectively with the

immediately preceeding long notes, the sound is a far gentler,

relatively melodic roam around the notes of the tonic scale, and

reveals itself as a secondary strand to the woodwind theme of bar

13:

- 95 -

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The main substance of the Quartettsatz D703 opening is a

tremolando effect, building in dynamics and depth of texture to the

Neapolitan climax of bar 9, then falling away into a second version

of the opening, with its tremolandi removed to a viola pedal: the

resultant withdrawal of some excitement (unless the violist

exaggerates the sound of his part beyond what is marked) is the

first stage of the smooth transition into the quite different

texture and expressive mood of bar 27:

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In several of the openings mentioned above (in particular the

Quintet D956) one senses the onset of fluent action at some

distance from the start: Schubert reverses this procedure in the A

minor Quartet D804, with equally telling results. The first violin

1.9melody, which is the focus of our attention here, moves with

great ease through long phrases, settling warmly into the tonic

major at bar 23. Incidental arrestations of pace, and dynamic

inflections are swept along by the melodic tide. Bar 32 (the

beginning of the modulating thrust in this case) comes therefore as

a tremendous shock locally and in a broader sense:

30

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- 97 -

The violent, double-stopped A minor chord, and the stabbed

second beat are dramatic enough in themselves, but more

significantly, the effect of bars 32 to 43 is to completely break

the tidal flow: the new first violin triplets of bar 33 wander

upwards rather aimlessly and come to an uninevitable halt on C,

unaccompanied, and so interrupting the textural warmth the opening

led one to expect.

An abrupt, calling-to-attention idea, which one might have

expected from Schubert at the opening of his 'Great' C major (with

which he so clearly wanted to make a substantial public mark), is

used to begin several works for slighter forces, notably piano

trios, the last two string quartets, and two of the the last three

20piano sonatas. The sketch for his Impromptu No. 1 D899 reveals

the final version's opening stab on G as a later insert, necessary

to prevent the danger of monotony in the repetitive minor key

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The first of two sketches for the Sonata in A major D959 first

movement lays out as a basis for further work a bald chord

progression, which he knew needed greater urgency and bite,

particularly in view of the simple progression used for his

2)contrasting second theme. Schubert's insertion of a staccato

or"aesk

- 98 -

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crotchet octave-leap, and a vigorous, momentum-giving quaver upbeat

to bar 2 caused him to rethink the movement in 4/4 rather than 2/2:

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- 99 -

'Death and the Maiden' D810 and the G major Quartet D887 both call

to attention by the immediate juxtaposition of sharply contrasting

fragments, after which the music begins to flow more evenly. The

sheer cutting force of four bows starting at the heel makes the

opening octave D of 'Death and the Maiden' arresting, but more

broadly, the fourteen-bar prelude is split by a severe expressive

contrast, the harbinger of manifold uncertainties to come. Two

lacerating gestures, based on mostly bare chords, give place to

tender (probably sul tasto) echoes of the triplet rhythm, and then

a richer chord sequence, drifting with great ease into a

temporarily calm F major, to which (as after the diminished chord

at the opening of the C major Quintet) it is difficult for the ear

to adjust. The long build-up to bar 43 achieves some of its

apparent momentum and insistence by following such a disturbed and

broken prelude, but even this is delayed later on by a

sweet-sounding major mode diversion in bars 28 and 29:

- 100-

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A contrast between sweet and aggressive (they seem as good as any

other words) makes the opening gesture of the G major Quartet.

Silence is quietly broken by a closely-scored, sustained major

chord, which builds by steady crescendo into its exact opposite in

texture, dynamics and mode, after which some fragmented dotted

afterthoughts spill out. The expressive contradiction could hardly

be greater:

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21

it turned out, his only substantial concert in Vienna with

this movement, sensing its great power as a curtain-raiser.

Several of his less equivocal, grander opening sections derive

in spirit from the military march, a genre characterised by loud,

staccato repeated chords, somewhat mechanical rhythms (the monotony

of which Schubert appeased with his melodic gift) laced with the

occasional dotted 'snap' or sudden burst of quick notes. The B flat

Piano Trio D898 strikes up immediately with the most confident

aspiring of themes above a martial piano part, which one has good

reason to expect will continue in a long paragraph:

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The sudden dominant 7th arrestation in bar 4, although a surprise,

is playful rather than deeply dramatic in character, confirmed by

the more elaborate joke between bars 12 and 26, where Schubert with

beautiful deftness of touch, denies a powerfully prolonged

dominant and returns to the opening theme.

23The D major Sonata D850 gives a suspicion of the

stumbling tendency noted in the Grand Duo: the opening idea is

strong enough, but neither the minor key answering phrase in bar 5

nor the fortissimo version at bar 16 develop well out of it. A

major to minor switch can, with dynamic, textural and rhythmic

inflections, be invested with great local power (as the G major

Quartet opening demonstrates), but as the basis for antecedent and

consequent phrases, each starting with identical loudness and

rhythm, it is slightly weak. The other problem, essentially a

dramatic one, is that the strenuous building from a C sharp major

chord at bar 12 to the tonic in bar 16 gives rise to a version of

the opening theme which is not significantly more powerful than

before, despite Schubert's thickening of the left-hand part and

marking up from forte to fortissimo:

- 103 -

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Both the C minor and A major Sonatas D958 and 959, and the

'Wanderer' Fantasy all take the more effective option of a

substantially quieter re-run of their opening gestures.

- 104 -

b) Local Contrasts

Taking a broad view of Schubert's instrumental output from the

Quartettsatz to the B flat Sonata, it is possible to form the

impression of a relatively 'shocking' composer, a natural result of

the daring and excitability proposed in Chapter 2. The present

writer's own initiation to Schubert came as a second violinist in

an informal play-through of the C major Quintet 24-and the one

impression left indelibly on the memory is of extraordinary warmth

and delight felt in response to the easy downward slide into bar 60

of the opening movement, following such a long and intense

upward-striving passage (bar 49 onwards) on what turns out to be a

misleading dominant. What happens to thatsurpriseon subsequent

listenings? Of course, it is unrealistic to pretend that the same

nonplussed exhilaration recurs, but residues of it persist. In

these days of self-defeatingly repetitive concerts and recordings,

it is as well for us to remember Vienna in the 1820s, with

Schubert's music still drying on the manuscript paper, performances

less frequent and (in his circle at least) cherished as one of the

few escape routes from a depressed society. They had good reason to

hang onto every note when the chance came to hear music, and for

them, one of Schubert's musical shocks would remain so. Even for

us, on twenty-fifth hearing, it is possible to concentrate on the

musical present so intensely that the memory of what one knows will

- 105-

happen is not at the forefront of one's consciousness. A composer

needs to think forward to perfect his design, but a performer or

listener has no pressing need to do so in the concert hall.

Contrasts are vital in preserving the essential nervousness of

good drama. A particularly violent shock, especially at or near the

start of a piece, can make the listener fear the next: its effect

can reverberate through an apparently relaxed succeeding episode,

as happens during the famous duet passage mentioned in the last

paragraph. The sweetness of the musical substance there (the legato

3rds and 6ths) is tempered by the listener's memory of two

ferocious double stops which punctuate the preceding build-up, and

the offbeat stab on G which actually does recur in due course. The

next dramatic double-stop wrenches the music back to C major at the

double bar. A listener at the first rehearsal in 1828 would

probably have held on to his seat.

Examples of 'reverberant shocks' abound in the music of other

composers: the fussy chromatic flute solo six bars before figure 14

of Strauss' 'Ein Heldenleben' takes place as the listener is still

quaking from the tremendous shock of a loud, and brusquely cut off,

dominant 7th chord, with the weight of a long and sumptuously

scored orchestral tutti pressing towards it in the preceding

minutest

- 106-

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Similarly, the extremely loud semitonal wrench upwards in bar 396 of

Bartok's Concerto for Orchestra first movement greatly influences

one's perception of the following tranquillo. The actual sounds of

the six-bar tremolo A flat and final A natural can still ring in

the ears long after they have finished:

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— 108 —

Some of Schubert's more extreme local shocks not only dislocate

the musical action, but cause a kind of deadening effect, a sense

of complete non-sequitur. The anonymous reviewer in the Allgemeine

26Musikalische Zeitung of Vienna/dated 30 April 1823,

commenting on the recently published 'Wanderer' Fantasy, seems at

least mildly offended by some of Schubert's wrenches, while

appreciating that a fantasy 'meanders like a stream running in all

directions and in any ramifications, freed of all obstructions.' In

pargraph six of his review, he 'offers the esteemed author the

observation that he has really gone too far here and there in the

matter of chord progressions, all of which may not be found

tolerable to every ear,' and uses the insistent, bell-like low A

which Schubert strikes between bars 91 and 95 of the first movement

as his evidence. To raise an eyebrow at a pedal A during a passage

so firmly rooted in A minor is surprising in view of the far more

eccentric progressions elsewhere in the piece, and in the later

sonatas of Beethoven (particularly Op. 106) which any

self-respecting reviewer would surely have known. A rather more

disturbing harmonic idea appears in the join between movements two

and three. Schubert's lunging dotted-rhythm climax is assuaged by

the 'Wanderer' theme towards A minor, a pull confirmed by the D

natural in the second half of bar 56, turning the rippling E major

chord into a dominant 7th. The Presto which follows, echoing the

- 109 -

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inner shape of the ripple and making a dance from the central idea

of the whole work, has plenty of vigour, counteracted by the

inevitable disappointment of a key a semitone below that which one

expected. Surface tension goes hand-in-hand with background

relaxation:

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Given his consummate ability to modulate between any key he

chose for the Presto and the C major finale to come, his options at

this juncture were reasonablyopen:a semitonal step upwards to B

flat major would have provided greater local harmonic tension, and

the chance for a dramatic B flat - B natural switch in the

subsequent link to the tonic.

- 110-

45

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Three years later than the 'Wanderer' he tried a similar

harmonic slip downwards at bar 53 of the first movement of his

incomplete Sonata in C D840. Following an opening paragraph which

defines the tonic as clearly as it is possible, Schubert, in an

equally long passage, drives towards a dominant minor 9th of C,

made particularly expectant by having as it wee defeated the

aberrant modulatory thrusts en route:

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The denial of this chord causefa certain expressive ambiguity, as

in the 'Wanderer' Fantasy's Presto. Bar 51 is intensely dramatic,

very clearly marked by the dynamic inflection, but more

specifically the G sharp - F sharp fall in the upper part is

resigned and weary, and the harmonic wrench to B minor deadening.27'

Only those with perfect pitch, or those reading the score,

would notice Schubert's premature stumbling into his 'surprise' key

at bar 36.

Schubert places a peculiar shock within a few bars of the start

of his C minor Sonata D 958, loaded with echoes of Beethoven's C

minor Variations and 'Pathe' tique' Sonata. Having built up in eleven

bars a great deal of rhythmic and harmonic tension, driving

steadily bar-by-bar up the scale from C to G, and then strenuously

building with thick chords, he dives unceremoniously onto a

grotesquely spaced A flat unison (left hand four octaves below the

very high single A flat in the right hand) which dislocates both

the texture and the harmonic sequence: the superficially

hollow foundation, confirms the peculiarity'.

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Such use of flat VI makes nonsense of theoretical attempts to

categorise too precisely the expressive function of chord and key

relationships: Schubert can make I - flat VI anything from a warm

relaxation (bars 26-27 of the same movement) to the disorientating

wrench just described. Context and treatment determine the effect.

Schubert occasionally gives his developments a galvanising

stab, which provides a new impetus towards renewed dramatic action.

In the case of his Allegro in A minor for Piano Duet D947, he

chooses to follow a pre-double bar link (used as first and

second-time bars) back to the tonic by flat VI minor, inherently

peculiar because its minor 3rd contradicts the tonic note of the

whole movement, but made to serve its purpose here by the sheer

rhythmic and textural power of the main theme Schubert brings with

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-113--

The reverse dramatic effect arises at the equivalent point in the

10th Symphony first movement, where Schubert follows quite a

strenuous arrival in A major with a slower and quieter passage for

trombones in B flat minor, reminiscent of the Masonic passages from

'Die ZauberflOte'. Taking Brian Newbould's realisation of the

sketch as structurally correct, Schubert then whips up excitement

following this surprising lull with fast rising scales and sudden

downward plunges:

- 114-

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The lulling repeats towards the double bar of his C minor

Sonata D 958 first movement (bar 95 onwards) are swept aside by a

loud outburst, but in this case on the more usual major

mode of flat VI. It is a crushingly effective interruption of the

pre-double bar V7, thicker and louder than the tonic chord which

followed if the repeat was made. The turbulent events which

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Schubert's 'Great' C major Scherzo is a masterpiece of internal

contrasts of more than just the harmonic variety. Much of the

interest in its development section, which, like the C minor

Sonata's, is given a tremendous initial thrust by a fortissimo flat

VI (much more dramatic in the context of a major tonic, as he

demonstrates elsewhere in the symphony), derives from the sprightly

antiphonal interchanges between instrumental groups, breaking up

the musical line prior to more fluent action in bar 89:

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A similar, exquisite contrast between broken and fluent occurs

before the double bar. Schubert's build-up to chord V is fragmented

by the abrupt changes of texture at bars 17 and 23 (changes which

the opening twelve bars partially led one to expect) and the

rhythmic arrestation of the double-stopped cadential chords in bars

28 and 29, initially sketched in the full score as

Following these switches of texture and rhythmic halts, the D

major theme at bar 30 flows effortlessly to the double bar in one

long sweep of violin melody, rolling freely over a wider compass

than the tighter confines of the Scherzo's main theme:

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This symphony contains other impressive examples of his control

over musical pace. The E minor interlude, with which he begins the

first movement's transition at bar 134, breaks free delightfully

from the shackles of the preceding C major passage, which has just

landed heavily on the last of many perfect cadences in bar 130, and

which has insistently harped on the same dotted rhythm throughout.

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quavers, but also to a much greater variety of rhythm in the

melody, heightened by the quirky mordents in bars 140 and 141:

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Part of the impression given by the development section of the

first movement of the A major Sonata D959 is likewise one of sudden

freedom, greatly needed by the listener as relief from the

extraordinary choppy alternations of the exposition.

Unpredictability and angularity give place to a long flow of

chattering quavers, which penist in the background right through

the development until arrested by the return of the main theme's

30crotchet pulse, and to ease of modulation. Tovey's criticism of

of Schubert's occasional failure to contrast exposition and

development does not apply here:

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The danger of monotony from the relentless rhythmic charge in

the 'Wanderer' Fantasy's finale is averted roughly halfway through

by a dotted motif, landing heavily on the second beat, which pulls

the music momentarily away from C major (ringing loudly in the ear

after the strong preparation at the end of the third movement, and

the subsequent landings on it in the early stages of the finale)

and halts the flow of semiquavers from bar 62. As if unsuccessful

the first time, the semiquavers re-emerging immediately, Schubert

fires in the arresting motif a second and third time, whence he

builds it into a four-bar stampede (bars 77-80), eight times

repeating the rhythm while the chords reach V7. From the release at

bar 81, the rhythmic surge to the end of the work is almost

entirely unchecked:

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By far the most dramatic event in the exposition of the G major

Sonata D894's first movement is Schubert's interruption of the

semiquavers which had begun to flow during his second theme group,

with an almost identical dotted motif:

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The event is a most judicious disturbance of what could have been

an overbland exposition, without dramatics in its transition (bar

23) or in its contrast of themes, and it makes possible the

exquisitely smooth and quiet link back to D between

bars 49 and 52.

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In his later years Schubert rarely bothered with the kind of

well-behaved smooth transition he composed for the exposition of

his 5th Symphony's first movement (bars 41-64), which makes its way

31neatly and economically to the appropriate dominant. By and

large his later examples are either very brief, leaving the

adjoining sections starkly contrasted, or they are extremely long,

often dramatic and misleading, and become a major contrast in their

own right. Some of these lengthy transitions are themselves

approached by an abrupt one.

In the case of the three linking bars (45-7) which precede the

F sharp minor to F major bridge passage in his final piano sonata's

first movement, Schubert's abrupt, wrenching effect was added in

the reworking stages of composition. This hastily penned

through-sketch reveals no interruption of the B flat theme's final

cadence and only a chromatic semiquaver rumble in the left hand,

descending to F sharp:

43

His later insertion again demonstrates his acute dramatic sense:

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final version, but not apparent in the sketch) charge straight

through the brief transition, enabling the final group of four

semiquavers beneath the right hand's dominant 7th to come as an

effective shock, giving extra impetus to the upbeat chord. The

triumphant return of the B flat theme ends with two bars of great

mystery (of a darker, more sinister variety than the dreaming

withdrawal into G flat earlier) which deny the expected cadence,

and then one bar (47) stabbed by a dominant minor 9th. The sudden

dramatic force of this wrench (easily the loudest event in the

piece so far) to a key a semitone higher than expected ensures the

nervousness and momentum of the long bridge passage from bar 48.

A comparison between the sketch and final version of the B

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minor Symphony's first movement likewise reveals dramatic surface

being added to raw material. Schubert's initial lulling repeats of

the chromatic cadence into D major are out of place so soon after

the rhythmic excitement of the F sharp minor cadence: they might

well have worked in a different context. The transition from a

dramatic to a lyrical passage is far more convincingly made by the

final version second beat stab on A (onto which the weight of the

build-up to F sharp minor now appears to fall), dissolving into two

bars of stillness during which the listener can recover, and wonder

what will happen next: one is then ready to be delighted by the

surprise of an easy slide into a quite different expressive

territory:2

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First time bars are nearly always fairly abrupt 'flicks' back

to the starting point of a movement: the rarely-played example in

the B flat Sonata's first movement is more complex, and again our

appreciation is heightened by significant improvements made between

sketch and final draft. Schubert felt instinctively that time

needed to elapse between the playful last bars of the exposition

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and the returning opening theme of far smoother character

Molt° moderato.

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- although a single sforzando dominant 7th, similar to the (probable)

first time bar in the C major Quintet's first movement, could have

been made to work. His sketch of this passage (4 bars to the final

version's 9) shows no signs of the two injections of the motif from

bars 115 and 116 which gently delay the otherwise rather obvious

descent towards the outburst, itself enormously strengthened by the

sudden octave leap in the right hand. Schubert's extension to the

rumble delays what the listener now knows must happen after the

dominant 7th: the rumble itself is an ominous forewarning of the

same to come, a few bars into the B flat theme:

- 126 -

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His more substantial transitions between the two main keys of

32an exposition referred to above as misleading because so

often, after a significant thrust away from the tonic, Schubert

(again as if stumbling) returns to it. In the case of his G major

Quartet first movement, he builds back to the tonic with great

excitement and triumph (bars 51-3) having made modulatory hints

during the forcefully imitative passage from bar 43. Three times,

with palpable glee, he repeats the climactic phrase whose jaunty

rhythm gives birth to the second theme, following what turns out to

be the real and much shorter transition from bar 54:

- 127-

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Once again, the autograph source reveals this as an inspired second

thought. In a six-bar passage which Schubert crossed out in the

fair copy, he originally followed bar 49 with the following rather

crude semitonal slip from C-B:

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- 128-

g3a repeat in bar 158:kat:b4:

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The 'Great' C major's first movement transition (bars 134-173)

contains, admittedly at greater distance from the last statement of

the tonic than in the Quartet, a homeward pull of equivalent

dramatic power: following the E minor interlude, he chooses to

initiate the firm modulation to G major with V7 of C, massively

scored (leaping from a chamber orchestra texture) and emphasised by

Simultaneously, the gesture amounts to a rhythmic arrest of the

prevailing quaver flow,and anextraordinarily startling tonal

arrest, in view of the clear departure from C at 134. Whether a

listener without perfect pitch would feel the tonic pull in bar 156

is a moot point: perhaps the enormous combined weight of a 77-bar

Andante, and the stark prolongation of C major in the 56-bar

- 129 -

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prevailing quaver flow,a VL

arrest, in view of the c

listener without perfect

is a moot point: perhaps

Andante, and the stark pVc

Cb

The 'Great' C major's first movement transition (bars 134-173)

contains, admittedly at greater distance from the last statement of

the tonic than in the Quartet, a homeward pull of equivalent

dramatic power: following the E minor interlude, he chooses to

initiate the firm modulation to G major with V7 of C, massively

scored (leaping from a chamber orchestra texture) and emphasised by

a repeat in bar 158:

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- 129 -

opening group of the Allegro ma non troppo might linger in the

memorysufficientlyduring the 22 bar E minor pasage for the effect

33to be felt even so.

Other transitions return to the tonic with less flamboyance.

Schubert drifts towards (bar 64) and into (bar 71) C major during

the duet passage from bar 60 in the C major Quintet opening

movement, as if to confirm that the delicious slide at bar 59 was

in no way sufficient to establish a new key. He still toys with the

idea of the tonic in the last moments before G major is finally

fixed in bar 100. In similar fashion, his Octet D803's first

movement quite nonchalantly slips back to F major at bar 61 during

its transition from D minor to C major. The drama lies in the

apparent mischief of such moves. He delightedly marks another such

moment of return in the B flat Sonata with high, delicate right

hand octaves, which stand out in relief from the prevailing single

line and Alberti bass texture:

sketch

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— 130—

final version

66

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Part of the success of this event is due to the fact that it

eases out after an eight-bar B minor passage (bars 59-66) whose

intensity derives from the immediate and enlivened repeat of its

opening phrase. This sequence is exactly what Lutoslawski means by

his analogy between music and breathing, effort followed by rest:

Schubert's improvements to his sketch reveal a kindred awareness.

Originally he led much more tamely from the A major end of the

transition theme (now bar 58) to the passage which slips back to

the tonic: the whole, increasingly tight B minor section is a later

insertion to enhance the relaxed effect of an event he had already

fixed.

- 131 -

d) Climaxes

Given that music is dramatic in essence, both on a local and a

large scale, it is self-evident that it will be riddled with minor

climaxes (at the peaks of every phrase) and perhaps a handful of

substantial ones. Elgar heard the climax of a movement and its

31kgeneral shape first)and he would try bringing a

35-newly-invented theme to a climax as a basis for detailed work.

Sadly, Schubert confessed no such workshop secrets to his friends.

These peaks of tension not only appear early on to composers: they

tend to impinge on the listener's memory by sheer force, as readily

as beginnings and ends do by virtue of their juxtaposition with

silence. The flippancy of the aphorism 'make sure you get the

beginning, middle and end right - the rest will take care of itself)

ought not to mask its grain of truth.

Essentially there are four stages in a substantial climactic

passage: the onset of tension, usually a fairly ominous moment,

which whets the aural appetite for trouble to come; the build-up,

usually not in a straight line of increasing tension, but

unpredictable and teasing; the climactic moment itself; and the

unwinding, which often carries echoes of the climax. Schubert's

extraordinary rush of blood in the middle of his A major Sonata

D959 Andantino can be approached in this way.

- 132-

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The purpose of the link from 69 to 84 is to meander under very

little pressure from F sharp minor to C minor (a process virtually

doubled in length between sketch and final version) and gently

plant the demisemiquaver motion to be used in the next section. His

meandering to C minor could end following bar 76, but he chooses to

linger for eight further bars over the pedal G. The only slight

hints of drama come in the form of swells to the peaks of the

arpeggios, and the gentle acceleration from semiquavers to

semiquaver triplets to demisemiquaver between bars 72 and 75.

As if feeling his way towards the climax at bar 122, Schubert

immediately works up his colourless C minor theme at bar 85 by

fairly consequent rhythmic acceleration to a C sharp minor spasm of

octaves, and then, in the most deadening fashion imaginable, lands

on an E minor chord to restart proceedings from a new key. The

blatant contradiction of excited G sharps in bar 93 by the

prominent G naturals in 94, combined with the sudden textural

dislocation, contribute to the acuteness of the shock.

The build-up towards bar 122 which now starts, and comes to

fruition, likewise arrives at C sharp minor early, dramatically

6marked in bar 107 by a newly dense left hand chord and the fastest

scale so far in the piece, plummetting six octaves from a high E.

There is not the slightest hint of the possibly expected 5/3 in the

- 135-

subsequent bars: Schubert chooses to drive towards his climax by a

more strenuous route. This chromatically ascending bass between

bars 109 and 115 gives rise to some thrilling harmonic aberrations,

notably a dominant 7th of D in 111 (from which a Neapolitan cadence

might have arisen, and indeed does, after the climax, from bar 128)

and two bars, jolted by a new syncopation, of C major in 114 and

115. The remaining build-up to the climax is shot through with the

kind of contradiction encountered in the discussion of shocks: by

simply sitting on a C sharp minor chord for six bars before bar

122, Schubert denies harmonic excitement, but against this

deadness, he winds up surface tension with a locally sensational

crescendo and rhythmic acceleration.

In the wake of such enormous strain and sheer loudness, he

needs a considerable time to elapse before any thought of a return

to the gentle F sharp minor theme. The 'recitativo' forcibly

unwinds material still red-hot from the preceding turmoil, finally

cooling it down with the delicious major mode injection at bar 140.

At bar 147, Schubert still needs 'Wiegenlied'-like repeats to

prepare the way for his reprise.

Two extremely powerful and lengthy climactic passages written

within a few months of each other, linked by use of the same dotted

rhythm, pounding chords at the moment of highest tension, have

- 136-

PLAUTO PICCOLO

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other points in common too. Both climaxes are initially triggered

by the stealthy introduction of relatively quick notes, akin to the

nervous rustle noted in a number of Schubert's openings. Hints of

the 'Wanderer' Fantasy's outburst (incidentally pre-echoed between

bars 18 and 26 of the second movement) begin at bar 39 with a

raindrop-like patter of hemidemisemiquavers, and is rather similar

in effect to the onset of Beethoven's 'Pastoral t storm:

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The motion there established flows right through the turbulent

build—up until broken suddenly by the interruption of the dotted

rhythm during bar 46:

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— 138—

104

— 139—

'3

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Beneath the minim climb to bar 110 of the A minor Sonata D784's

first movement Schubert uses a drum roll effect (oscillating left

hand semiquavers) which contrasts well with the predominantly

minim motion in the preceding passage, but is not used further in

the action:

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Both climaxes lunge furiously between chords loaded with harmonic

possibilities which are at the core of dramatic effect. By leaping

onto A major chords at bar 124 of the sonata first movement,

Schubert raises the distinct chance of a sudden return to the D

minor he quitted at 118: the brusque denial of F major seems potent

enough, and he lingers further in bar 125 (which could so easily

add a G natural). This makes possible the delight of bar 126 and

the beautifully jaunty theme for which it prepares:

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The tonal guesswork forced on the listener by the 'Wanderer's'

dotted climax is more protracted. By harping so strongly on F sharp

minor's dominant 7th and minor 9th in bar 46 (the arrival point of

the accelerating ascent from bar 44) and (like the A major Sonata

second movement) including a 6/4 in his stampede in bar 47,

Schubert hints at a potential resolution by perfect cadence: the

last chord of that bar could conceivably have been C sharp major

followed by F sharp minor in 48. The dramatic force of the

secondary dominant is due partly to its denial of the more obvious

progression, and its powerful landing on the dominant of F sharp

minor in bar 48 keeps tension alive for the linking passage to the

third movement.

Schubert's development climax in the 'Great' C major first

movement is most judiciously preceded by an airy A flat major

interlude, which allows the ear to settle after the great surge of

power towards the double bar just before. He lulls the ear for 22

bars, at which point he slips ominously by thirds to F minor, D

flat major and then A major, from where he starts to build in bar

280 suddenly removing the quavers which contributed to the delight

of the interlude:

- 141 -

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43

Following the same principle, Schubert places 14 bars of stable C

sharp minor at the start of his B flat Piano Sonata first movement

development, before the gradual climb to D flat major at bar 149,

initiated by the slightly ominous A major interruption at 131. The

right hand triplets in that bar sound jolly enough superficially,

but the immediate repeat in 132, and the reinforced left hand

rhythm (compared with the source at bar 80) are both loaded with

tension:

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12

— 143—

e) Endings

One senses that Schubert was more interested in codas, where he

could inject new ideas, or at least new angles on old ones, than

recapitulations, where so often the latter stages are a

straightforward transposition of exposition material. The

rounding-off of a movement, and more particularly a work - as it

were the final taste in the listener's mouth - is never in

Schubert's case tonally vital (although it could conceivably be

used to re-establish the tonic after an especially wayward

recapitulation) but is of importance to the dramatic shape. It is a

matter of great delicacy as to whether the coda should build,

unwind, or do a mixture of both, and only a sense of what is right

following the accumulated tensions of a movement up to the end of

the recapitulation can be the guide. The sum of these tensions is

hardly quantifiable: just instinctively felt.

Schubert's sketched idea for the coda of his B minor Symphony

D759 looks impossibly short and bland as it stands (counting from

the entry of the cello/bass theme, 23 bars in the sketch becomes 41

in the final version), but the seeds for later expansion and

intensification are sown:

- 144 -

sl41/44

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The major mode ending, which here sounds facile, is saved for the

triumphant end of the probable finale (see p.206), the extremely hard-won

goal of a dramatic and tragic symphony. His final version's last

bars are fierce and uncompromising, cutting into the smooth

cello/bass line at bar 364 with an abrupt fortissimo chord, and

closing in a gloomy rumble of drum and tremolando strings. The

rising semiquaver arpeggio, noted in the sketch, is in the later

revision made to squeeze free from one of the most intense building

passages in the entire movement, made from the material of bar 122

onwards. Tightly-packed imitation, the first long drum roll and a

slow acceleration between bars 336 and 347 eventually force their

way into the climactic gesture of the coda. Equally significant to

the expression is Schubert's reworking of the plagal harmony baldly

jotted in the sketch: in the later version it precedes rather than

follows stabbed chords, and invests the reiterated opening theme of

the movement with infinite weariness for the first time.

The B flat Sonata's first movement coda was sketched separately

at the bottom of a page devoted to the previous sonata, and

likewise reveals important excisions and enhancements to raw

substance: the difference in length between the sketch and the

final version is far less than in the B minor Symphony, 23 bars

growing to 25 (counting from bar 333, where the sketch starts). Two

tonic chords added to the close in the reworking give a

- 146-

satisfyingly restful effect, especially the 5-beat last one

following a significant silence. The tragic major-minor-major

repeats of the main theme considered in the sketch (B flat minor is

saved for the Trio of the third movement, and the recapitulation of

an outburst at bar 430 of the fourth) give place to a more powerful

last surge of energy in the tonic major (bar 347, last beat) with

the top part significantly starting a third higher than the

preceding phrase, unlike the sketch. Before this passage, the two

asides into C minor are given substantially more dramatic force

with the addition of heavily accented dominant minor 9ths in bars

337 and342, which in turn enhances the essentially calm purpose of

the movement's remainder:

- 147-

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- 148 -

15 3

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final version

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,

One of Schubert's most curious deletions occurs at the end of the B

minor second movement of his 10th Symphony (see page 153).A 32-bar

coda, which grows upwards from a single line, brightens briefly

into the relative major (just as the coda of the 'Great' C major

second movement had done), and then fades away into the tonic

- 149-

(--"••n

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major, is quite emphatically crossed out by diagonal pen strokes.

As Brian Newbould has said, 'the music .... is so marvellous that3t

one cannot think he was displeased with it

A possible

scenario is as follows: during work on the third movement Scherzo,

Schubert's thoughts suddenly appear to have returned to the

Andante, and at the bottom of a page he wrote the following F sharp

major continuation to the second subject in the exposition:

At the same time, he realised that this new tune (which gives a few

bars of relief from the otherwise sad and austere mood of the

movement overall) should also be the basis for the coda, and

accordingly put his pen through the 32 bars sketched for that

purpose earlier. Professor Newbould's realisation inserts this

theme (transposed into the tonic major) at the point where

Schubert's crossings out begin, and then restores all 32 bars with

— 150—

24.0

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a slightly expanded final chord. The only problem with this arises

from the three loud fanfare bars (bars 240-2):

(i1 pOCc leinte

171TO_

- 151—

These not only outstay their welcome in the movement, but spoil the

soft arrival at B major made in the last bars of the inserted tune.

In my view, these bars should go, leaving the 5 semiquavers of bar

239 to lead downwards to the single viola line in bar 243.

— 152—

Schubert 10th Symphony second movement,last

_ 4

page of sketch.

•t...

4 i

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--(I,•••.-- ,...,• ,...

1-,.;'..,

F-'

,lc

- 153-

The remnants of Schubert's earlier idea for the approach to

what is now bar 650 of the 'Great' C major first movement, crossed

out on page 40 recto of the autograph full score, are far more

cramped than either of the two (bar 590 and bar 612) he added to

the score on different paper during the revision stage. Bar

590 probably linked, via music on the jettisoned,original page 37,

with these bars to form a single original approach passage:

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At the stage of writing the 9 bars he subsequently crossed out,

Schubert appears to have envisaged none of the Brucknerian rising

arpeggios at bar608, or the greatly expanded repeats at 634, or

the harmonic approach over a chromatically descending bass (602,

and again at 624) which so dramatically delays the release of

tension.

Schubert's dual use of the horn tune at 662 and 672 (with its3,

original fourth bar missing for good reasons) gives the coda

hitherto made from brilliantly orchestrated chord progressions

necessary thematic focus, neatly ends the movement where it began,

and most importantly brakes the almost unstoppable momentum

accumulated since the onset of Piu moto at bar 570. The tutti

- 154-

070

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version at 662 reduces quavers to crotchets and triplet crotchets,

which none the less persist, stamping on a pedal C right through to

bar 671. In perhaps one of the great dramatic coups of the

movement, Schubert then violently breaks up the chorale, firing in

a martial blaze of brass at bar 676 in answer to the stark severity

of the unison strings. Although intensely dramatic within itself,

the purpose has been to ground the movement, which it does with the

aid of only two additional chords at the end:

Fl.

OD.

Cl.(C)

Pg.

n,

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ft

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If

- 155-

Hints of weakness occasionally seep into his closing bars, most

obviously those of the Grand Duo in C D812 finale. The chorale-like

perfect cadence, complete with expressively suspended C, jars slightly

with the slavonic dance-like exuberance urging forward for

a considerable span beforehand: is this perhaps a touch of private

humour which, for once, does not work musically?„,

- 156 -

- -

•,-x,„c.ba,0 Ara ,t,k7 4 ih:41,

- _ - - - - - - _ - - _

......................................................................... ,5 8

11%;e: 21-1:

Schubert's chromatic oscillation three bars from the end of his

'Wanderer' Fantasy finale might be justified theoretically on the

grounds of such widespread chromaticism earlier, including plenty

on the last page, but it sounds rather ordinary, as if he had at last

exhausted all the possibilities of tonic chord prolongation:

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- 158 -

1.112MAIRIMMAIMENI

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The final two chords of the A minor Allegro D947 are too four-square

to be of use: a quiet descending close two bars earlier would have been

possible, and arguably stronger:

Equally forced is the closing echo of the first movement in bars

377-82 of the A major Sonata D959 finale. They sound like, and

judging from the sketch, are an insertion:

sketch

4.r

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final version

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- 159 -

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On a more positive, respectful note, it is in other codas possible

to detect signs of deliberate disquiet not to be confused with

3qaccidental weakness. If it has a descrescendo rather than an accent

[415], the final unison C of the string Quintet D956 very tellingly

falls exhausted after the screaming intensity of the coda:

It is perhaps a trifle far-fetched to claim for it a return to

the starting point of the entire work, although bars 265 and 266

earlier in the last movement overtly echo bar 18 of the

first. Just as one expects the F minor Fantasy D940 to end with, or

immediately after, the descending triplet scale, Schubert's quiet

echo heaves up to a crushing subdominant chord with added 6th,

finishing the work in utter tragedy which the ensuing quiet tonic

chord cannot dispel:

Notes to Chapter 4

1. Kaczynski,T.: Conversations with Lutoslawski, Chester, London, 1984, p.49.

2. A fast and loud piano piece written for and sent to Pollini in summer 1983,

intended as homage to his playing, and to Schumann.

3. Britten, quoted by Schafer in BCI, p.120, says: 'All that is important is

that the composer should make his music sound inevitable and rignt, the

system is unimportant.'

4. A whole page of the second movement fair copy is crossed out (the opening

theme and the original B minor passage): Schubert restarts the movement

on the next page. His later B minor idea appears to be the germ for the

third movement. The printed transcription of the original passage is from

Mandyczewski,E.(ed.): Revisionsbericht, Franz Schuberts Werke, Breitkopf

and Hartel, Leipzig, 1897, Serie X, p.8. This volume is the source of all

further printed transcriptions of sketches quoted in this thesis, with the

exception of those in Chapter 9.

5. How quiet were audiences in 1820s Vienna, one wonders ?

6. Perahia remembers Britten's view that 'every great piece had some specific

emotion to impart, and it was the artist's duty to find that.' Quoted in

Blyth,A.(ed.): Remembering Britten, Hutchinson, London, 1981, p.168.

7. The home of the autograph full score.

8. Originally even closer to the preceding bassline:

A. Aaill•SMINIIIINumimmonommIlmos*N111111111111111n11111111MINIMINIMMIN111111111

,1. 7 ir

9. Royal Festival Hall, London, 1984.

10. He recorded the work with the Chicago Symphony Orchestra for DGG in

1977, no. 419 108-1.

- 161 -

11. Althougn Schubert writes 'corni in and 'bleibt in 4', his 4/4

time signatures are clearly 'C' without a line (second sketch of

A major Sonata D959, for instance.)

12. See Newman,W.S.: 'Freedom of Tempo in Schubert's Instrumental Music',

MQ 1975, P.528.

13. Letter of 10 May 1828, referring to changes from 6/8 to 4.

14. Rosen: The Classical Style, p.100.

15. The present writer's own obsession is a Schumann-like A flat major ft

chord, which manages to crop up in every piece.

16. Schoenberg,A.: Fundamentals of Musical Composition, Faber, London,

1967, p.95.

17. Schoenberg tries to catch moods in words on p.150 of the same

book, while discussing scherzi.

18. D784 is marked Allegro giusto.

19. It is natural for the ear to fix onto a melodic line as the

main expressive source, with items like d, in

the background as a foil.

20. Pencilled in a tiny notebook.

21. Present in less expansive form in the first sketch

22. 26 March 1828.

23. Possibly his 'reply' to Beethoven's infinitely more complex

'Hammerklavier' Sonata Op.106, just as the 'Great' C

major'replies' to the 'Choral' Symphony premiered in 1824.

24. Cambridge, summer 1970.

25. See Fiske's 1981 Addenda to the Eulenberg score, which asserts

- 162-

effect:

I

that this double-stop is a first-time bar.

26. Deutsch DB, p.277.

27. Compare Sibelius 3rd Symphony, first movement, bar 410 ;also Schubert's

own Klavierstuck D916b bar 70, where B minor is followed directly by

C major in a very loud chordal passage.

28. in the sketch notated as a quite impossible one-bar 'glissando'

29. Yet another

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30. Foss: The Heritage of Music, p.106.

31. The Sonata in A D959 I moves to V of E but with considerable

labour: the transition in the C minor Sonata D958 first

movement is smoother.

32. Pinpointing the end of a transition is easy enough, and the

settlement of the second main key is generally obvious:

pinpointing the start is less so, unless it begins with an

independent theme.

33. As Rosen points out in The Classical Style, p.299, the

performer will know.

34. Kennedy,M.: Elgar Orchestral Music, BBC Music Guide, London, 1970, p.14.

35. Reed,W.H.: Elgar as I Knew Him, Gollancz, London, 1978, p.129.

36. Newbould,B.: 'Completing Schubert's Unfinished Orchestral Works',

article in Ovation magazine, New York, December 19841r.22L.

- 163 -

37. See Badura-Skoda,E. and Branscombe,P.(eds.): Schubert Studies, CUP,

Cambridge, 1982, p.263. NB the bar numbers in the Eulenberg score

are printed a bar late from 300 to the end of the first movement.

38. So bald an outline of the dominant chord would sound impossibly weak

in such a grand context.

39. Autograph lost. Compare with the last note of the 'Great' C major.

- 164 -

CHAPTER 5 : THE LYRICAL ASPECT

It was of course entirely natural for a composer whose initial

recognition in Vienna resulted from songs to make widespread use of

them in his instrumental works: one can imagine the delight of his

friends on hearing a favourite melody from a few years before

reappear in a new guise, growing into larger musical shapes. It

would guarantee his audience's attention, and might have given him

compositional confidence.

As is clear from the preceding analyses, song-like material is

inextricably bound up in the dramatic action of Schubert's

instrumental music: this chapter turns its attention to those

places where his lyrical vein is given its head in temporary relief

1(perhaps for the composer as well as the listener) from

surrounding turbulence. A more personal type of expression, rooted

in the clearly defined intervals of a single melodic line/rises to

the surface.

Of particular poignancy is the new melody Schubert introduces

at bar 213 of the G major Sonata D894 finale, during the second

episode of the rondo. Taking a broad view of the movement, the

melody provides the only significant contrast to the pattering

quavers which are the substance of the three other themes:

- 165-

3 5 44

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and the only deeply expressive moments in a predominantly

lightweight atmosphere. More locally, Schubert points up its

character by placing it in an overtly dramatic context:

- 166-

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The E flat major episode works itself up once abortively (bar 203)

and then successfully (207) to a thickly textured and powerful iT 3

C minor cadence, in the wake of which the pianissimo single

line of bar 213 seems especially spare and sad, leaning on its

first beat suspensions and falling downwards after the rising

aspiration of its preparation. As noticed in a number of opening

passages, he then gives a sense of warmth by adding harmony to the

melody on its repeat at bar 221. The vehement fortissimo

development which follows, thundering out the new theme in octaves

in the style of bar 203, makes possible the extraordinary release

and beauty of the pianissimo major mode version of the falling

theme in bar 245, its contours simplified, and smiling through

tears.

— 168—

Two other finales are similarly enhanced by a pianissimo

lyrical surprise in a central episode, and, as in the above

example, expressive poignancy centres on the third of the scale. A

song composer of Schubert's stature and prolificity could at will

make any degree of the scale tell, but he shows in a great many

cases a preference for that one at the peaks of phrases. The C

sharp minor melody which appears halfway through the finale of the

G major Quartet D887 (bar 323) is a delightful haven, all too

shortlived, in the midst of a frenetic tarantella. As a contrast in

the larger context its chief merits are a smooth legato line in

relatively long notes, its sustained quietness, pointed up by the

fortissimo octaves it follows (greatly increased in number by a

revision to the autograph score), and the strangeness of its key

(wrenched upwards from the preceding C minor). On the other hand,

it grows naturally from the rising minor 3rds at bar 307 and the B

minor theme at 209.

With a hint of slight obsession, the melody returns several

times to E natural from above or below, and most expressively at

its quietest moment after two Neapolitan bars. Its beautiful

smoothness is set against the almost pizzicato-like cello part and

the background first violin triplets:

- 169 -

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The repeat offers no warmth or brightness: Schubert's three octave

transfer of his melody to the cello part in bar 339, and his hints

of tarantella material above, significantly darken the atmosphere.

His B major episode at the start of the development of the C

minor Sonata D958 finale (bar 243) sounds distinctly bright and

– 170–

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fresh in its context, and, like the equivalent point in the A major

Sonata D959 first movement, needs to free itself from a jerky

exposition. Immediate expressive prominence is given to the major

third, and in the second phrase to the 4-3 progression which is

undeniably one of Schubert's hallmarks:

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The slightly impersonal horn tune which opens the 'Great' C

major (made more incisive in revision by the replacement of one-bar

slurs with first beat accents) uses a 4-2-3 in its third bar

without much stress I but the third movement Trio, built

(unconsciously?) from the same tune, centres around 4-3 and 5-4-3

with far greater expressive warmth (the whole point of the Trio in

relation to the hard-driven Scherzo):

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The Scherzo of the contemporary Sonata in D, D850 is interrupted by

a complete tune (bar 50) of similar character, redolent of Viennese

entertainment music at its most nostalgic, again focussing on the

sensitive area of 5-4-3 in B flat major and using slightly painful

chromatic altertions to simple chords:

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- 173 -

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The Andante of Schubert's 10th Symphony, mentioned before in

connection with endings, and possibly one of the most poignant

movements he ever wrote, has a main theme which puts expressive

weight on a different part of the scale: a new melodic departure in

the last weeks of his life. The original idea, just visible below

crossings out in the manuscript was quite ordinary

4JA4iir

but then became:

A pre-echo of Mahler's 9th Symphony, first movement, perhaps, which

leans downwards onto the supertonic?

/1441•16 emir),

More significantly, it appears to be another exploration of B minor

material already used for the 'Unfinished' Symphony D759 of six

years before:

4111r.

- 174-

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estl-amosag

At the opposite extreme from the almost hysterical intensity built

up by Schubert at points of great climax, he is equally able to

create a sense of absolute peace and stillness, during which the

listener may forget the pressure and momentum of time. This was

possibly his outstanding gift to the musical world, unequalled by

Beethoven, and developed by Bruckner and Mahler in particular. Just

before the reprise of his A minor march at bar 160 of the 'Great' C

major's second movement, with its immediate trumpet foreboding,

Schubert lets the F major hymn drift to a standstill of enormous

space and peace: vast holes appear in the texture (between high

horn and low, independent double bass), and it recedes to even

greater quietness in bar 151. The delay in resolving the harmony

suspends the passage of musical time:

Stillness of main substance in the second movements of the

contemporary C major Quintet and B flat Sonata is pointed up by the

tiny dotted flickers in other registers: they contribute to, rather

than disturb, the essential mood. In the first few bars of each the

pianissimo marking is left absolutely undisturbed by dynamic

inflection of any sort (a feature they share with bars 245-60 of

the G major Sonata finale quoted above):

Adagio

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- 176-

In a related fashion, the ppp sordino turns between phrases of the

A minor Sonata D784's Andante are an effective foil to the

character of the theme, emphasising its richness and fluency:•

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Just as repetition can bear fruit by sheer insistence in the

more dramatic zones, it can enhance the sense of relaxation in

lyrical ones, and several sketches for such passages reveal that

Schubert was alive to this in the revision stage. His first

statement of the E major second theme in the A major Sonata first

2.movement was sketched as 19 bars, but expanded to 27 in the

final draft, adding an immediate, octave higher repeat of the first

•

phrase which modulates smoothly towards G adding a repeat of the

warm G major phrase, and darkening the final repeats by removal

down an octave:

— 177—

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An even more substantial revision occurs in the same sonatab slowmovement. To further lull the ear into relaxation before his

tremendous outburst, Schubert decided to add a wholesale repeat of

his 32-bar F sharp minor theme, gently brightening the first

version with right hand octaves. The sketch went from the

equivalent of bar 32 straight to the plagal harmony at 65.

The previous sonata's slow movement main theme also underwent

some expansion. Schubert's octave higher repeat of the drift to D

flat major in bar 14 (an effective contrast of register with the

persistently middle-rangesurroundings), and the two pauses which

highlight the modulation, are afterthoughts:

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- 179-

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It is apparent from alterations to the fair copy that the delicious

A flat major, French horn-like repeats near the start of the

incomplete Sonata in C D840 were also afterthoughts, bar 15 leading

directly to the equivalent of bar 20, which Schubert then crossed

out. As in other instances, the delay so increased enhances the

forward drive of the passage to come:

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Some lyrical contrasts (i.e. gentle changes of mood rather than

abrupt shocks designed to unsettle) were improved during revisions

to the last three piano sonatas. Schubert's initial hearing of the

C minor Sonata's Menuetto was in the form of a thickly chordal

theme which would sound dull after the predominantly chordal

Adagio, and unattractive in its own right: his reworking transforms

raw harmonic substance into a clear-textured song, complete with

1'SchOne Mallerin-like accompaniment:

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- 181 -

In the Trio he drops the sketched opening (a most neutral use of

the major 3rd compared with some of the melodies quoted above) down

an octave to allow the answering phrase greater brightness:

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The original A major episode in the slow movement of the B flat

Sonata also started at a higher pitch

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and very early on included some semiquaver tracery, tinkling to a

very high region of the piano, with which the final version

dispenses entirely:

- 183-

His theme at bar 43 (whose rhythm and key he heard, but not the

required character) is now far more solemn, sounding like a dark

transformation of the sonata's opening, and, unlike the sketch, it

subsequently brightens into a repeat an octave higher, the melody

standing out in a single line, with its accompaniment enlivened:

- 184 -

Notes to Chapter 5

1. He could fall back with pleasure on his strophic song experience,

and temporarily forget any long-range building problems incurred

elsewhere.

2. This refers to the first of two sketches for the first movement, both

housed in the Weiner Stadtbibliothek.

- 185 -

CHAPTER 6 : SCHUBERT'S HUMOUR

The great pianist Alfred Brendel's courageous talk on humour in

1Classical music)which ignored all worries about the

subjectivity of musical expression and went straight to the heart

of what he believes in as a player, took Schubert's alleged denial

2.of funny music seriously, and used no examples from his music.

Sentiment and looseness of form are not, in Brendel's view, the

most promising backdrop, providing insufficient strictness against

which the humour might rebel.

There are a number of reasons why this matter bears

re-examination . Did not the humour of Beethoven's Sonata Op. 31

No 13

which Brendel so brilliantly expounded, rub off in any

way? Were the Schubertiads, at which new pieces were tried out,

entirely poker-faced occasions? Did any of Schubert's personal

humour, to be gleaned from several of his letters, spill out into

compositions? Could a composer for a time so obsessed by Rossiniit

(residues of which obsession can be seen in the 'Great' C

major) ever rid himself of the influence?

Most of Schubert's apparent jokes result from the absurd

contradiction of a serious mood by a playful one, but some of his

material regardless of context, is itself potentially funny. His

- 186-

Allegro seherzandoM3 2 2 3 3 , 2 4 2525

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Allegro Scherzando marking on the fourth Impromptu D935 invites the

pianist to make cheeky music from the snaps, off-beat accents and

cackles

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- 187-

and bizarre music from the heavily accented trills and manic scales:

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Brendel might reassess his view, and make the listener jump out of

his skin with the peremptory E flat 7 chord in bar 86.

- 188 -

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His most absurd contrast occurs in the coda of the B flat Piano

Trio D898 first movement, whose opening was discussed earlier in a

comic light. In possibly the most dramatic passage of the entire

movement, he builds with great rhythmic excitement from B flat

towards the crushingly powerful, exceptionally loud chords of A

flat in the depths of the piano, followed by stunned silence. Very

gingerly, the piano then takes the C from the top of the A flat

chord, makes two attempts to move upwards, then trips gaily back to

B flat as if the preceding outburst had not occured at all. For a

pianist to play those bars with anything but a sense of glee would

be to miss their point entirely:

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. 1)

Towards the end of the B flat Sonata first movement exposition,

Schubert's enharmonic excursion to A minor, sketched in flowing

form

9.1°

•

— I -L.• • - _• — 4— ,„.• — -4—

-114*

tP.

—C1.—Yar-5p • :I

I —FT

I

I I

Ip pat- 7 —

but broken up in the final version, and followed by a pause over

the rest,leads to the most light—hearted dotted figure, landing

playfully on a top F, and repeated a few bars later with an even

jollier upward ripple:

•

Salzer's analysis seems totally irrelevant to such

obvious wit:

Motto moderato

ran.:1=,.nA="=&•Mt7•2:..•nn ...MMEnNIMWV WI

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CreST.

In order to confirm the existence of Schubert's musical sense

of humour, one needs to turn to a comic vocal trio with piano)

'Die Hochzeitsbraten' D930, written in November 1827 shortly after

'Winterreise' and the E flat Piano Trio. Alfred Einstein rather

dryly dismisses the piece in his biography of Schubert, making no

' attempt to enter into its jolly spirit:

'The model for this kind of banality 1 la Dittersdorf and Weigl

was Mozart's "Standchen" (K441c) which was published in

1810 Mozart kept trivialities like this strictly to

himself.'

There are superficial signs of humour in the animal noises made by

Therese (the bride) to scare the hare she and her groom Theobald

are trying to catch:

--_____I -

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Therese (Sopran).

Theobald (Tenor).

Caspar ( B ass).

Pianoforte.

Allegro moderato._Wei)

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N? 2 Duet Susanna and Flgaro

Allegro Figaro

F.

my Ia - dy should want you.ma - da - ma ti chia -ma,

Ting, ting!din, din,

ting,ting!What adin, dinl in due

in the pattering semiquaver runs (quite often to be heard in

Schubert sonata finales), and in the reminiscence of Mozart's

(Figaro right at the start:

Therese.ra' MMIMEMPMM

aim'swal....1...•n••=116=wMMEMMMMAM

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11n11

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-0-

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But the humour comes mostly from the mock-earnestness and musical

strength Schubert applies to the farcical text. The tremendous

vigour of these bars (which recall Beethoven's Choral Fantasy)

flies in the face of 'you arch fiend, you'll get what's coming!'

and 'oh, what a plump meaty hare':

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But the humour comes mostly from the mock-earnestness and musical

strength Schubert applies to the farcical text. The tremendous

vigour of these bars (which recall Beethoven's Choral Fantasy)

flies in the face of 'you arch fiend, you'll get what's coming!'

and 'oh, what a plump meaty hare':

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fei_sten, feisteia.

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Then Schubert produces a lamenting passage of great intensity for

'oh dear, now we've had it' as the two poachers are caught by

Caspar the gamekeeper:

S.iCI

, M M I MA I I I I I I I I I M I I I I Mr l 11 a ,r. • w arn aw '

_ ___ o

(

weh I - wch 1 mit uns ist's aus, mit uns ist's aus, o

.

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weh! o• wchl mit uns ', ist's aus, o weh 1.o weh! mit uns ist's aus,

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a =Nam surawasumww raw. Ammo.

4111n111 I

. ich trei13 cu.-eh scion das

=g.VM"'EMI.7..

Stzh _ len aus, ich

__.

rammairMilfMI

MNIIIMME•MIN'

MENIMMINIrMINEL111/11=•••WW12 n MIIIMIMIIIIMMIIM

ar-III

:=431/M

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•

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— 194 —

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The song ends with joyful 'Shepherd on the Rock'-like yodelling,

incidentally a passage where triplets and semiquavers need not be

- 195 -

aligned. The semiquaver 'snap' effect is quite appropriate here:

a .- n am gsgmaeossmir am= ..M

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gut be

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-197-

Notes to Chapter 6

1. 'Does Classical music have to be entirely serious?', Cambridge

University, Autumn 1984.

2. Interestingly, Schubert was an early owner of the autograph score of

Mozart's 'A Musical Joke' K522.

3. Which Schubert used as a model for D959 fourth movement. Evidence is

offered by Rosen in The Classical Style, p.456.

4. See Einstein: Schubert, p.156.

5. An item on the Songmakers' Almanac 'Schubertiade' recording for

Hyperion, 1983, no. A66131/2.

6. Joshua Rifkin, in his article 'A Note on Schubert's "Great" C major

Symphony', C19th M 1982, p. 13 ,links the first Allegro with Leporello's

first aria in Mozart's 'Don Giovanni'.

- 198 -

CHAPTER 7 : WHOLE MOVEMENTS

So far this thesis has dealt with expressive minutiae, which,

as it were, flash past the listener's ears and are gone, supplanted

by the next phrase. It is these moments in music which the listener

tends to remember more vividly than the larger spans which are so

much harder to assimilate: paradoxically, large-scale organisation

is, for some composers at least, the biggest headache, and without

it the moments go for nothing. The following three chapters each

trace a movement through from beginning to end, as well as taking a

panoramic view of the whole, to examine the place of details within

the fundamentally dramatic classical forms-Schubert chose to

use. The selected movements are considered to be significant

examples of three types: fast and vigorous, with lyrical

interludes; lyrical with a central eruption; and finally a scherzo.

To judge from his sketches, Schubert appears to have needed a

complete structure to be worked out before he returned to perfect

the details. The 7th Symphony was composed right through in full

2.score, but with only one or two parts filled in and the

'Great' C major manuscript shows evidence of a similar technique,

with Schubert's later work apparently done in a different coloured

ink. Humphrey Searle concurs:

- 199-

'Since you've asked about my method of working, I might add

that I sketch out a composition very quickly and then go back

and fill in the details. If you looked at some of the

unfinished scores of Schubert you would get an idea of what

mine look like after this first stage — just the briefest

indications for later reworking. I like to have a framework

before me and I like to get it erected as quickly as possible.

I sketched my third symphony in three weeks; then I went back

and spent three months on the details.'

Schafer:BCI,p.132

Goehr, as one would expect, puts great emphasis on form, and talks about

it in terms of dramatic structure:

'If you look at the existing modern text—books, you do not see

harmony, counterpoint and rhythm regarded in their larger

context; you only see a series of short examples. You never

hear about functions. One never explains that "this has to go a

certain way because it serves a certain function in a work".

— 200—

Many new works fall down because they don't manage to penetrate

the formal question; they rely simply on rather mock sonata

forms, or worse, they simply juxtapose blocks of musical ideas

regardless of whether they have any relationship with one

another or not. Too few composers stop to consider the genuine

need to find substitute or parallels to the great divisions of

the classical sonata. There must be a way to "bend" musical

material to serve a certain

because the composer has drawn a double bar; there is no

logical reason for it ending as it does. In reality, the kind

of music you expect in a climactic section can't possibly be

derived in the same way as the kind for-a coda. And it's no

good saying, as Stockhausen does, "I am not trying to write

nineteenth—century dramas". That has nothing to do with it. The

listener's mind will wander unless you "lead him by the ear".'

Schafer:BCI,p.170

Tippett spends months, even years, pondering the overall design of

pieces in advance of producing any actual notes at all, and this is

also true of the present writer. Rubbra takes the opposite view:

'My method of working at a lengthy work is to continue steadily

from the opening idea. The excitement of discovery would be

function, So much music ends simply

— 201 —

lost if I "graphed out" where certain climaxes, etc., would be.

When I begin, my only concern is with fixing a starting point

that I can be sure of. I work each bar as I go along until I

have expressed exactly what I want. When I am at work on one

bar I never have any idea where the next is going to lead. But

I have a feeling that it is there and will be discovered as I

need it. My imagination discovers the architecture for me. I

never force it to confirm to formal rules. I never, for

example, consciously search for a second subject; I'm only

happy if this comes spontaneously, unexpectedly, and in the

right place.'

Schafer::kI,p.71

Listening to Schubert's music, for instance the finale of the A

major Sonata D959, one could quite easily be lulled into thinking

that Rubbra's view would have been his too. All that 'sleepwalking'

is however the result of much calculation.

— 202—

Notes to Chapter 7

1. This takes up the idea of dramatic structure first suggested on

page 76.

2. Except for the first movement Adagio and part of the Allegro,

which Schubert fully scored.

- 203 -

Symphony No. 6 of 1818, Schubert seems to have chanced on the idea

for something far grander and stronger in C major,

i.possible inklings for his 'Great' Symphony:

:s

11.

one of the many

On.

CI.

Cor.lC)

The(C)

CHAPTER 8 : 'GREAT' C MAJOR SYMPHONY D944, FINALE

Suddenly, at the end of an otherwise rather lightweight finale to

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finale, evidence of Schubert's realistion that symphonic movements

are best built from short motifs rather than expressive,

self-contained melodies.

The finale of the 'Great' C major seems to spring from the

- 204 -

Fl.

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energy accumulated towards the end of the Scherzo, bustling along

with loud, off-the-string quavers from bar 229 towards two tutti

chords added later to the full score:

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No attacca is marked (such a marking is rare, if not absent from

Schubert's scores) but would seem appropriate and convincing in

performance. The Scherzo to finale 'link' (as it were) is

pre-echoed in the B minor Symphony D759, assuming that one accepts

the hypothesis that the inappropriately long and serious march-like

movement Schubert presented as an entracte for (Itp

samunde is

actually an attempt at a finale. A Beethovenian 'three-note motif,

hammered out in the bass at the end of the fully-sketched

Scherzo, is immediately picked up as an introductory

call-to-attention in the next movement:

V‘ jrin` • n

CI, 4,[fg-,E-41-=-------f-47f,

- 206-

In other ways, the 'Great' C major's finale is in contrast to the

Scherzo, and needs to be, given the heavy landings on the notes C

and E in both movements. For someone so adept at, and obviously

fascinated by the effect of key relationships, it is perhaps

surprising that he did not more often set his scherzi in foreign

keys, allowing the finales to restore tonal order. The G major

Quartet, at one time intended to be the last piece of preparatory

2instrumental work before the Symphony )of course does just

3this, moving the Scherzo to B minor. Be that as it may,

Schubert counteracts the possible monotony of key in the Symphony

by a marked contrast in rhythm. The Scherzo is made from

predominantly smooth, swinging rhythms (and the Trio uses dotted

rhythms only very gently), but thefinale has a welter of martial

snaps which contribute to the urgency and tension of the music from

the outset. It is a march too fast for anyone to march to.

The flavour, the gesture of the movement

so easy to feel,

but so elusive to pin down in words, is extremely vigorous, with

non-stop momentum pulsing from start to finish, and constant tiny

shocks in the form of accents or changes of texture to keep the

listener nervously awaiting the next. Written in 2/4 and marked

Allegro vivace (a marking removed from the first movement in

Schubert's autograph), it is the fastest movement in the Symphony,;-

which is overall a gigantic acceleration. Had he written it out

- 207 -

— 208 —

.0.•

SO:

a less weighty, less rhythmically dynamic impression might have

been given to its performers. It is suitably long and related in

material to round off a large symphony. Schubert, in details so

daring, did not share Chopin's daring in large—scale layout which

allowed him to end his B flat minor Sonata with a minute's worth of

themeless rumbling triplets, with practically no interpretive

guidance. Like the finale of the 'Wanderer' Fantasy, which seems to

have triggered a new compositional lease of life for Schubert after

a spate of disappointments, the 'Great' C majorfinale uses

germinal material in its barest form. The horn theme from the

opening of the work, possibly an echo of Beethoven's 'Ode to Joy'

theme on solo cellos and basses, and of the Austrian National

Anthem (written by Haydn in the year of Schubert's birth)

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The coda of Schubert's finale is very much a coda to the whole

work, grounding the music with massive power on C, and echoing the

first enormous landing on that note in the first movement:

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Schubert's diminuendo marking for the final unison (in one case in

the autograph score he appears to have retaken his pen so:

which argues against an accent mark), not always respected by

conductors)ends the work with a beautiful question mark, an

idea also used by Berlioz at the end of his Requiem's Lacrymosa:

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- 211 - (CLoir• s4tirktimti 049)

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Some might find the Schubert version difficult to perform

convincingly, and indeed he might have had second thoughts about it

himself, given the opportunity, apparently denied him by unwilling

players, of a full performance.

To digress for a moment onto the matter of key choice, C major

was for Schubert a great favourite, as John Reed's recent list

helps to illuminate. The present writer's own favourite is A

flat major, and I would cheerfully write almost all my pieces in

that key, without being able to say much beyond having an affection

for the look of it on the page and for the feel of it at the piano.

- 212-

Greatly influencing that 'feel' are memories of the opening of

Beethoven's Op. 110 Piano Sonata, and a few piano miniatures by

Schubert himself. Any expressive significance I might attach to it

can be clarifiedapproximately as 'warmth' and 'softness', probably

in contrast to the bright, open string sound of A major. Having

some difficulty with my own feelings on the matter suggests that to

tackle Schubert's at 150 years and 1000 miles distance might be in

vain, but it is interesting to try. Thinking practically, C major

is of course the easiest key in which to write a lengthy score. It

implies clarity and openness of thought, and generally speaking a

meditative quality. Possibly it is significant that

Schubert is said

to have loved Beethoven's Mass in C above all:9

Wandering in the hills around Gmunden in summer 1825, when he

probably mapped out the 'Great' C major,/0

Schubert's ear was

certainly full of his home key. Several times in the course of the

work, during passages based in other tonalities, the music is

pulled back to C major with delightful effect. As Rosen rightly

_11

points outIno composer can expect the average listener to

respond with rapture to such things, but Schubert would have been

aware of them, performers should be, and those with perfect pitch

can relish the surprise. To the sketched outline of the Scherzo,

Schubert actually adds a passage which drifts into C major:

- 213 -

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original link between bar 83 and 105

- 214-

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- 215-

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The searing climax of the second movement marches implacably

through a dominant 9th which could conceivably resolve to C in

orthodox fashion (one can imagine Richard Strauss or Mahler doing

just that, with the assistance of brass bands and harps!):

- 216 -

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Another climax, this time in the Trio of the third movement, also

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- 217 -

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The finale, whose overall plan is illustrated on page

218, is a masterpiece of musical drama, the main concern of a

composer in the Classical style. Balance and coherence, so often

the fanatical obsession of some musical analysts, who concentrate

on the scaffolding rather than the content of music, are largely

taken care of by tonality and the formal outlines Schubert

inherited and chose not to abandon. To give maximum weight to the

arrival on C at bar 1057, he steers the recapitulation of the first

. group well clear of home. Indeed he wrenches it quite markedly out

of shape, putting the onus on the remainder of the movement to

assuage the disorientating effect of those 150 bars. As the

detailed chronological discussion of the movement will perhaps

suggest, it contains some brilliantly effective large-scale

contrasts. The woodwind interlude at bar 385 allows one to draw

breath after the very intense arrival in G at bar 333 and before

the next winding-up towards the development's climax, and is

reminiscent in its effect of the A flat major episode at the double

bar of the first movement (bar 254). Perhaps the most telling

contrast of all, which would not have occurred had Schubert kept to

his initial sketch, comes between the fiercely accented, rather

choppy first theme group,which ends with an aggressive (as it were)

offbeat sforzando 1-and the beautifully expansive, gently

scored second theme at bar 165. Schubert's instincts compelled him

- 219 -

to cross through the following rather cramped tune after 12 bars: /3

sketched 2nd theme

One of the most striking aspects of thefinale 's opening is

Schubert's control over musical pace: the absence of any particular

interest in melody or harmony leaves rhythm to dominate. The first

36 bars are extremely tight, bursting at the seams of the dogged

home key, very much as the initial stages of the first movement

Allegro had done, and bringing to mind Alfred Brendel's rather

perceptive comment about the opening of the late C minor

Sonata D958: 'it gives the impression less of majestic grandeur

than of panic. The leading character in this tragedy is being

chased and cornered, and looks in vain for a way of escape.' From

the start there is a sense of powerful momentum being held in

check (a feature in miniature of the germinal horn theme, with its

— 220—

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- 221 -

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halting minims). When in bar 8 Schubert allows the rhythm to whirl

upwards in fast triplets, it is at once forced into a three-bar A

minor cadence, grandly scored with brass chords and timpani roll.

This rising idea echoes not only the horn theme but also passages

in the finales of both the D minor and G major String Quartets,

where less dramatic use is made of similar material. In both cases

It is used as a separate and contrasting theme in its own right,

rather than as an immediate check to forward motion:

D minor Quartet finale

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G major Quartet finale

After the A minor cadence in the symphony, the music springs

forward again into brisk cadences, broken up by the antiphonal

scoring and constantly stabbing accents. This all allows bar 37 to

— 222 —

. .===.1

.11.111"-A111

achieve its most effective sense of flow by comparison.

Schubert's first group is clearly in his dramatic vein, making

loud and bold gestures suitable for a large hall. It is

interesting to speculate how a composer so used to the intimate

milieu of a friend's living room, and the comparative delicacy of

utterance suitable there, would feel, trying-his hand at something

so different, especially when the chances of actually hearing the

piece played were so slim. Then for nearly 100 bars, he allows

himelf a self-contained tune which grows effortlessly from the

four-bar phrases in the preceding transition. Again, there is a

slight sense of arrestation in the four horn notes at bar 165

before the tune frees itself, and indeed it might be tempting to

emphasise this with a touch of ritardando, but Schubert's accent

marks argue to the contrary. The tune itself is fairly neutral in

expressive character, with a possible tinge of melancholy

brought about by the chord in

bar 209 : its chief purpose in the broad design is streamlined

flow, helped along by the amusing precursor of a New Orleans rhythm

section below the woodwind and brass. It is quite rare for a

Schubert tune to begin on a chord other than the tonic. Another

example from his later works which springs to mind is the second

theme of the G major Sonata D894, first movement

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which distinctively pulls the leading-note of D major downwards.

The clear virtues of such a practice are to ease the music forward

towards the anticipated resolution, and to give the tune therefore

a less weighty start. It is impossible to determine from his score

what, if any, harmonisation, Schubert had in mind for his original

second theme in the symphony (quoted on page 220), but the

suspicion would be a straightforward G major ehord under the first

D.

To have a double bar at this point (bar 256) would have been

possible but weak: G major needs a stronger affirmation,

particularly in view of the transition via the dominant of C to the

second group. To serve this purpose, and to complete the length of

design he envisaged before the development, Schubert uses a

technique of large-scale repetition common both to this movement

and to the whole symphony: a 36 bar build-up is immediately

followed by an 88 bar expansion and intensification of the same.

Again to striking effect, especially in the light of a fluid second

theme, he holds the music back for 12 bars (bar 265+) before

releasing it again. The newly-thick brass scoring and timpani roll

in the third of the four-bar units here (bar 273+) increases the

sense of witholding forward motion before the string scales in bar

277. In the extended repeat, Schubert obtains great dramatic power

from the chord progression which now springs from the diminished

7th of bars 309-12: the listener has no idea (assuming he or she is

- 224-

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concentrating solely on the musical present, and ignoring theIc-

possibly familiar future) where the 'improvisation' above the

bass C will stop. Such is the force of the second arrival at bar

333 that Schubert then needs a further 48 bars to unwind, which he

does by soothing repetitions of the descending scale idea, rather

like pealing bells.

The exposition repeat marked by Schubert after a cursory

first-time bar is rarely carried out by modern conductors, and like

most wholesale exact repeats of this kind, it probably stems more

from the composer's desire to ensure the listener's familiarity

with main material than from any high-falutin reasons of structural

balance. It adds nothing to the length of a piece (except by the

clock, which is largely irrelevant in music) and, unless the

linking bars are of importance (as in the B flat Sonata first

movement), it simply keeps the dramatic unfolding in abeyance.

One of the most electric contrasts in the whole movement comes

in bar 433

•n•nn

when, by sequence, the listener expects a smooth oboe duet in D

flat major, but actually hears a nervous stab and shiver of tremolo

violinsAin C sharp minor, and pinpricks of woodwind above. It

is the first really ominous moment in the movement, indeed in the

work, since the trumpet fanfares, insidiously hinting at the climax

to come, were added to the reprise of the second movement at bar

160. Schubert maintains the shivering idea (like some of those

gusts of wind in 'Winterreise') through his dominant minor 9th

chord, tugging away at the listener's ear, particularly with the

two extra bars of 465 and 466, and apparently heading for G minor.

- 226-

C.,

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Elgar's 'Enigma' Variations

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Schubert's previously quiet and soothing second theme is rendered

crude and four-square at the climax of this development (bar 467):

without the delightful inner rhythms from its first outing it

sounds banal, and his heavy wind addition to the ends of phrases

- 227 -

(bars 472 and 480) is emphatic but somewhat gauche. The canonic repeat

at bar 490 invests it with greater tension, but, in the opinion of the

present writer, not quite enough to bring off the climax.

Difficult though it is to imagine the music taking a radically

different course at this point, it is conceivable that Schubert

could have led his substantial dominant preparation from bar 515

back to C major. After 16 bars of stasis, touched with a quiet drum

rumble and a hint of the main theme's rhythm (bars 559-574), he

begins a driving minim rhythm which the ear could interpret as V V7

Ic in C minor, expecting another 8 bars of V after bar 598 and a

tonic resolution to follow. Part of the effect of the E flat major

recapitulation at bar 599 is of appearing before the link passage

is over: indeed I the trombones, horns and bassoons drive straight

through the first 14 bars of the main theme, previously broken up

by silences.

The main dramatic point of the recapitulation of the first

group is dishevelment, mostly by tonal means, after which the exact

repeat in C major of the second theme will convey an even more

acute sense of relief than before at bar 165. At this speed, any

abrupt modulation will be hard for the ear to absorb, and two in

particular here are made with a sense of struggle. The wrench

upwards from E flat major in bar 631 to G minor, fixed by bar 645,

- 228 -

sounds forced: it needs a cadential repeat in an attempt to seal

it, and it brings with it a rare moment of syncopation (bar 635) in

a symphony which is almost entirely locked to the main beats of

bars. The flowing middle section is now given infinitely more

dramatic power by being cast over a bass steadily rising by thirds

(again the listener may wonder when this sequence will end) and

eventually arrives at F major in bar 689. From there, Schubert had

the option, in 'Trout' Quintet fashion, of a straight transposition

starting on the subdominant, which would take him to the required

chord of C major before the second group: instead he chooses the

dangerous course of letting the tonality slip a semitone to E

major, unavoidably deflating tension, but brought off by sheer

force of rhythm. It is another example, to go with those in Chapter

4, of surface bravura covering a weakness of substance. The ear

feels battered at bar 752. As if realising this, Schubert softened

his original thought for a link, which was to follow the sforzando

E major chord with 4 G naturals, possibly one shock (however

slight) too many.

There is also an alteration to the scoring of the coda's climax

apparent in Schubert's autograph full score. The stamping Cs at bar

1057 originally included trumpet and timpani:

- 229 -

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stand: the main sound one must hear from the repeated C's is the

bite of the heel of the bow.

- 230-

Notes to Chapter 8

1. Detailed in Brown,M.J.E.:Essays on Schubert, MacMillan, London,

1966,p.29.

2. According to his letter of 31 March 1824 to Kupelwieser,

Schubert intended to write a third quartet presumably before

embarking on a symphony. As it turned out, sketches for the

symphony came first. The 10-day burst of work on the G major

Quartet (20-30 June 1826) may have been preparation for summer

1826's work on the Symphony: there is a large gap between D891

(July 1826) and D892 (September 1826) when this may have .

occurred.

3. B minor is the original key for the second movement: 9 bars of

an opening in that key are crossed out in Schubert's score.

4. Alexander Goehr, talking to Paul Griffiths in New Sounds, New

Personalities, p.16,says this about the origins of a piece: 'For me

it's a whole impression. I could say to you, at the danger of

being completely misunderstood, that I might write a "green"

piece. The "green" is the total idea which I then evolve: it's

a pre-shadow of the whole piece, its slant, and its gesture.'

5. Particularly evident in Giulini's recording, already cited on

p.161, note 10.

6. Giulini, elsewhere so punctilious, keeps the last chord very

loud. John Glofcheskie has researched this marking in some

- 231 -

detail (in his paper 'Interpreting the Final Chord of Schubert's "Great"

C major Symphony', 1980) without coming to a firm conclusion about it.

7. Schubert must have felt rather like Robin Holloway (quoted in Griffiths:

New Sounds, New Personalities, p.124) who has written,and plans more,

enormous operas on the scale of Aagner's, but is 'resigned to probably never

hearing these great white elephants'.

8. Reed,J.: The Schubert Song Companion, Manchester University Press,

Manchester, 1985, p.484.

9. Huttenbrenner's recollection for Liszt, quoted in Osborne,C.: Schubert and

his Vienna, Weidenfeld and Nicholson, London, 1985, p.181.

10. The mapping out in his full score is done in considerably lighter brown ink

than the later revisions.

11. Rosen: The Classical Style, p.299.

12. If one thinks of the movement in 4/2.

13. Badly misquoted by Tovey in his Essays in Musical Analysis I, OUP, London,

1935, p.210.

14. Brendel: Musical Thoughts and Afterthoughts, p.64.

15. Tovey: 'a true analysis takes the standpoint of a listener who knows

nothing beforehand, but hears and remembers everything.' Essays in Musical

Analysis I, p.68.

16. At this speed, repeated semiquavers amount to a tremolo effect.

- 23 2 -

CHAPTER 9 : E FLAT PIANO TRIO D929 SECOND MOVEMENT

In the last months of Schubert's life, the E flat Piano Trio

loomed large as a work of great popularity among his admirers, and

as a means of spreading his name further afield than Austria. A few

increasingly desperate letters to the publisher Probst of Leipzig

testify to this. Schubert used it as by far the most substantial

item in his public concert at t Zum roten lgel) (Red Hedgehog3, and

because of the impression made by the Trio he was asked to consider

a repeat of the same programme at a later date. It is further

distinguished by being the subject of one of Schubert's extremely

rare detailed comments about music in his letters: we are

depressingly short of clues relating to how he imagined his music,

and what mattered to him in performance. In one of the letters to

Probst (10 May 1828) he is most emphatic that the contrast between

minuet and trio should be maximised:

'The minuet is in moderate time, piano throughout; but the trio

on the contrary is to be played with power except where it is

marked piano or pianissimo'

but he mentions nothing of the first or second movements. How do we

account for this special popularity? Viennese ears were of course

- 233-

particularly attuned to the piano trio medium from domestic music

making and probably from meal-time entertainment in local inns. It

must however be more to do with musical substance. All the

hallmarks of their prodigiously gifted and prolific friend were

felt to be at their best here: the slightly wayward dramatic

tendency (more acute in the E flat Trio than the B flat, written at

roughly the same time), the dance elements, the gently rambling

quality in places, and above all the ability to touch by melody

with a combination of sheer beauty and sadness. Also his audiences

probably appreciated the two delightful returns of the slow

movement tune during the finale, a technique rarely explored by

1Schubert elsewhere.

C minor, not one of Schubert's most often used keys, was for

him, and is probably for us, loaded with Beethovenian associations,

hammered into the memory by the 3rd Piano Concerto, the 5th

Symphony and the last Piano Sonata, which is gently saluted by

Schubert in his closing bars:

Schubert D929 second movement

b-- 210

- 234 -

2 22 +

422 +11,-2

trzmu-sme!*

442 ; s,

EE :41 3

4 24. 4 124

--'"411.411r-r, O.

•

Beethoven Op. 111 first movement

...._

Zt n-

r•_.,.,.,.,..,...i-..-.„,,.''f'!iP•ii•-=---...r.-s=° =M...IS0W=11 . ' • NM ,-0-

— 235 —

4 4 42

It could also be a faint echo of his own Allegretto in C minor D915

(April 1827):

NIman=mtnFEZ IMInr0111====n•

iiii.' I=13

-0-decresc.

I•Miaalr"tg 6-Erimmeala

EMI OMNIIM MENIIM=MMIMAn11VMn11n1•11IMO=Mt

glp=111, CM= =

1161n1=g1111•NoSPIIIIM W ,•IMMIMI. MIIMIIIMImo

NO .11=111J

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P 1

_ , 'thilill

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INIIMIllion n

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'''Illig.-..

I=— 5,_4 IMP lan• i

1' 3 12 j21 4 g 2

Fin

Wisely, Schubert avoids this key in the surrounding movements of

the Trio, using it however to some extent in the finale. The

movement contrasts tellingly with the general style of the first,

and particularly with its coda. An almost orchestral tutti manner

towards bar 631 gives way to solo cello 'song' with extremely

sparse, dry accompaniment. It gradually burgeons towards the first

big tutti at bar 67.

- 236 -

sam und oh _ no Gra. Ach, daB die Luft so ru- hig! ach,

Eala MMIIIIMELM•IMPEINUMn1=1.-W=0,,,111•••n••11111!MMITM=Me Mal

NMI411111111111nn n 11111• n•n•1111•11•811111

IMMINn1•11•nn••n•••••n•Moir-5111111Whivin11111•1111.MITIMIIM • IIMININIPnMINIn711Miel•IllIM

trem.

daB ie "Welt so licht!

Schubert's predilection for slow movements as it were erupting

centrally was, like other features of his late work, triggered by

the 'Wanderer' Fantasy: from 1822 onwards, those which have no

strong, tremolando middle episode of some sort are greatly

outnumbered by those which do. This happens in miniature, but with

no less intensity, in a number of his slower songs, for instance in

'Einsamkeit' from 'Winterreise'

immon4mw-erIGONINUMM.11•11n11/M11n111/ wAMMINIMEMILMIr.

WU • 11n 11.21•n•

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war ich so e_lend, so e_lend

a. •--- —.__. -mei

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— - —- n..... .....ow N. wrz

Irj.0 1 ..i.......n1-m—..•nn•.....mirwerm I.=I•......, =I 1........-me 11--

IIvitiorim....

. snWi milileaM1M111111 M1111111=111n••=1IMIM

PIM,: rr 11..-..i....... ........

IreNI .

4 m t.1.42,:.,•,-, m.m.s.,==...a... ..-2.,_

....„- .1=Mill Kar-m

1 ,—jz mos wimr-N.nLW

n41/ malIMMINPVW•PN•Fmr. , lawsBiral MIIMMEIRICBM.AMIIM-. B=1!1. MELJIMMIlf

NIAINMIINIONNadaMIGAIIMINEI 1.11111/..1.111.1+ 4

no ch die Stiir_ t obi en,

mmimmiliar'41110... ri

— 237 —

where he conjures up very quickly a sense of nervousness and anger.

In a substantial instrumental work, a big outburst roughly halfway

through is a point of focus (Eugen Jochum always saved something

for a single climax in his performances of Bruckner symphonies) and

allows a relaxed aftermath to be more effective. It is significant

that after perhaps his most manic and impassioned outburst during

the Andantino of his late A major Sonata D959, Schubert felt the

need for a most lighthearted, tinkling scherzo, and a finale far

more relaxed than its Beethoven model,the Sonata Op.31 No.1,finale

(see p.198, note 3).

The 'storm' in the E flat Trio second movement (final version

bar 104+) is surprisingly absent from the full-length sketch, now

printed in the New Schubert Edition, in contrast to the D959 sketch

which fixes its second movement outburst fairly precisely. Schubert clearly

felt that the rather literal recapitulation of his C minor tune

(sketch bar 97) and bland modulation to the subdominant in bar 119

were too weak in themselves, and did not prepare for the second

theme with sufficient contrast of weight: as in the 'Great' C major

Finale, the more lyrical second theme needed to convey a sense of

relief following an upheaval in the recapitulation:

- 238 -

umnmomismo aimmiap.i.mrpor 41111111•••••••0•611111

..:11nNommorAr •=raw. jarmmr.g., Nf MEI

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wvarstvralmieminormgc...nr...tsamitmoswar

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Tir

nINMI=nNI 1ny

glill====% MN,

E flat Trio second movement : sketched version of 1st theme reprise

97

=1=4.=7.rws.=. grA.

• 4

nnowlowinmlnMliMINn11•11=1.101n1•n IN=MIN1M1111•Mmill

n••lew•MMII•n••••=wwwI M11n11n1•0n111•MINEnIMMMnn•••nnn1111n1••••= IMINUM91

#

MIP2•MnI =MIMI=AIM

•Immo=.nn poommi wanssnrimAIMEMPou nIIIMPI1/71M.1stra=

weranstra immunt , r ,.... MIN- n alsIw.••••••••m,:mmpw :Ilbl=1W111n1•1•1=111111=1•1•1 RIM R.,..,.....m.....,,...m.:Qm. . Zji IM MIINTSMIPTINIor,EMP.1•n••WM ISMNIn .e...1=1WO MErn INMEI Ems NI MhZidERAIIII --- nI IMMIOMMIROM

•

- 239 -

=MIN MEM MN

IlMor-m•AINVriln ••71•111nEr

126•1•••=nnwnmmil••••n•• 1111111.7 /1,nMMIr n.1111,/nn=2n •

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aWANNWinINI•n•••••• 1•1••••••n•••n11VITIIMMIMMEMMINNIMI•M••••11111•11 IIIMIN;i1wAINI:7•M•11111•IIIM• /...MMERIN .A• ' .01•r•••211.6.•M il,--.W,AS.:M..imm sr. ff,:,wer mom- m • .rnmemr, or .m •.st .mme.W..., ,,mirmr-sw-mwasimmilmommM••n••111•11 RPM=

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rwmiwynommomnIIMMMEBINIEMMINIMMIIMM • MI .1nn• n••wn...MIMI

I 135

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PP

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'a .MnMt 'BM •••n= n•••••nnnYnB2m,n=1 MnE

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nnnn•noMME=Ml

woole isme

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n•=1 n. /EMMEN IMINaMIMMI •••n •••111MO MIIME. 1min nIIIMM..=.=.=.._......n7zr, ,,.. . .-,..z______.

MIN111,01,,n..... .77=.. r==. • AM 'Vr-MMIENn1 C. .7E7,7. 1!-InmI/MMV: [3n1•IN n0111MmlownY ___ ....n;M:2n1M.IMMEIM IMB ?OM= M1n1

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NO MIMI'.OAS

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1•11:1•ICW.r=:=wwnIr.

=fir•nnnnnn•••••••1•111•1 111M117•••IM•MIIMMIMI•M•1•11 1•11,n=111=f. MEM'.1=1•1•11••••11•110•1=M• M M . SIM

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1E1111==IMIMININNME •IMMI

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— 240 —

.impoorwhim

41,7 Me ••••nOM...•n•n••11•SI•CMINn411..•n •••••••••n•••••

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MN =mom.E.E.11.85

E flat Trio second movement : final version of 1st theme reprise

MINlaSOMMI/. MIMM.n WINO IMAINNOM

WILAIMINaN SEM MM.. MS

ppp

fr

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MIIM/4EW .1n11,1•1"...

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anmim

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- 241 -

P• •

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n11n7=.. 17nOunnEMMI•nn•n,tMEN•ELMEn1.n1_7,d•WIMMIIM .M1

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As the comparative tables on the following page attempt to show,3

the sketch contains other ideas later removed or rearranged)

most significantly in the exposition. First of all, eleven bars in

E flat minor (and their equivalent in the sketched recapitulation)

are completely jettisoned. They followed the equivalent in the

sketch of bar 56 in the final version, and, particularly

- 242-

11

1(I0 741%.l.,

kk.1

-14--)e.., 4--%'

M 1/4.3

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2M111 mim14-1.-

77

I,

harmonically, are of intrinsic beauty and interest:

_____,............

.k iir PEE ___;__ ....,_.,:a °I " '5aa . • ,t g a ..'d ..i . .6iWite lir.l .117110D,W 41n :•••n ••••••11.11M•=11M

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n..110-.n ------

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MUM • .

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1.4-

- 244 -

i

...,....,n....4n

nladc.sIor i r , . -

1•11. IInlnimiannAinalm• ean^21nM loW,M1r2:1.4•1=M M•11.11.MIPIWMIM01. /hi MiTlwoMIir,operspnMMIMIN111•111111W111111 1=11177177.1WtatIr • JEliIMMIINNIIIMMIIMIIMMINIIMMINIIIIMIMININ

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Possibly the very rapid piano chromatic scale, covering four

octaves in two bars is a little out of character in this movement

(the most regular event in composition is to invent jarring

elements, which Walton spent most of his day rubbing out, so he

said): more importantly, in view of the final version, it is a

redundant lull in the dramatic progress of the movement. The subito

fortissimo outburst (bar 67 of the final version) is now the aiming

point for the second theme, and particularly for the passage which

creates suspense over an E flat pedal from bar 57. It also serves

to inject substantial tension before the reprise of the C minor

tune. In the sketch, this loud material was used much earlier in

the proceedings as a link between the two main themes, rather

brusquely switching to the major mode after forty bars in C minor:

- 246 -

35 4)

MInIMINE • in1=.1n1=MMI 1n1MMIn1•1•1111

moim Irma /MrIM=0.1n 1n1MEMInIIMIN

=.i1.11n=WM=

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=.4V•IL.MIAM=.!MR,

)

- 247 -

• filaMm.•n•nIwonvnI•

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•

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W

Mq:MEMMIIIIM+EMIMMIsonsMIIMIIIIIMMENEM13.MMIMnIIII IIMMIIMMIIIM.711IMEMMIMMIMMPMEIE. AIM. MIEEMM.MEIM.AIEn11.4=MiMnMEMImEMMINIMMnEIMMEIM•WMIMI Y - . ,011IMMI IMEMIIIIIMPIrf /I'M. El, •

43

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om<n••n•• 11:•n• MEMMMINInIMMANnIIINVnIr ====••nn' 11n 1nnn•n•n 1n11.

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19- :fisa.

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111151.1 SE 1r711nIMMInPÎMMEP.MEMEENEML.MIEFIMMEIPMn611nE6111n1.•n••••nn••n•isams..dvm=IN•Tosew-rorman—.. alw:Amen• 0 .

MME

40

PPP

, ire=aatiine:-

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cresc.n11

In the sketched recapitulation, and in the final version of this

juncture in the exposition, he decides on a very easy, drifting

link between the two, and to keep the listener waiting a little

longer for a show of force. Schubert's instincts for musical drama

were fully engaged in this operation.

E flat Trio second movement final version

- 248 -

In the cello melody at the start (surely remembered by Faure in his

Elegie) there is a gentle insistence on the tonic note, which,

technically at least, is reminiscent of the (Grea2C major's horn

tune. The two phrases in bars 3-10 in particular are pulled quite

firmly back to middle C. Another element in the expressive compound

is the mild clash of accidentals as Schubert shifts between

flattened and naturalised submediant and leading-note. With telling

effect he lets the theme hesitate for three bars in G (bars 14-16)

before the rounding-off phrases, which contain the largest leap so

far, and thus the greatest sense of effort. The 'Gute Nacht'-like

preparatory piano bars are cut from three to two, removing a bar of

straight quaver chords which slightly lose the nervous edge given

by the two sna.s in the preceding bars:

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His rescoring of the tune in bar 21 (in substance a straight

repeat) fascinatingly alters its effect on the ear. The

accompaniment is rendered more spiky by the off-the-string

staccato, and the 'Trout' Quintet-like piano writing in high

octaves gives the previously solemn melody a hint of jauntiness in

bar 23.

- 249 -

The contrast following the tune could not be less like the

sketch, as suggested above. From bar 41 the effect is of gradual

sprouting of counterpoint (the violin-cello duet is a new sound in

the movement), of a greater tendency than before for melody to

climb, and of slightly more fluidity lent to the music by the new

piano sextuplets, which persist right through the delayed

fortissimo outburst to bar 80. Schubert lulls the ear first at the

end of this episode with two repeats of his cadential motif (bars

54-6), and then even more in the ten bars over an E flat pedal. The

insistence of the cello part (which has been that low before in the

movement, but only fleetingly) is contrasted mysteriously with

harp-like ripples which go very high on the piano, producing a most

thought-provoking ambiguity of expression.

Then for the first time Schubert creates overt pressure by

dramatising a tight chord progression towards the home dominant

chord. Contrary motion and cross-rhythm between the three

instruments in bars 69, 72 and 75 give thrust towards each change

of chord, and Schubert quite aggressively marks the piano's arrival

on top G with a surprising, accented double-stopped chord. The bar

of silence allows the sudden welter of events to sink in, and then

he uses the lighthearted effect of piano spreads and trills to ease

the music back into the main tune. Quick arpeggios are a

It-

stock-in-trade of musical humour; as Schubert reveals in some

-250-

ScherzoAllegro vivace

of his piano dances, for example:

Z..41M4M da:1I NIIIImMIMIEMU

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Valses nobles (1827), No.8

and in the Scherzo of the Sonata D959:

and, as Brendel pointed out in his Cambridge lecture, as Beethoven

knew when he poked fun at the extraordinarily hard-won dominant

chord at the end of his longest cadenza for the C major Piano

Concerto:

41.-4mn••n —'Tholosrxm=proz......pr

-251 -

slambotr.annwan-

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Schubert's sketched scoring of the recapitulation of his first

theme was identical to the repeat in the'exposition (bar 21), but,

following his own pencilled note 'Variirt' at this point, he places•

the trudging quavers rather heavily in the piano left hand, leaving

the two string players free to add some new, yearning counterpoint

above, making particular use of flat 6-5. The additions do ' not form

a continuum: rather they enter occasionally like fragmentary

comments.

His dramatic continuation from bar 104 begins with a rumble,

used again in 'Am Meer'

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which interrupts the expected C minor cadence..To cut through the

increasing volume and density of the piano part, the two stringed

— 252

instruments come together for the first time in a unison, forcing

the music up by fourths from A flat minor to C sharp minor and then

to F sharp minor, where they break free from the melodic sequence.

Here, Schubert brings in one of his obsessively repeating, rather

shut—in episodes, manically repeated in high piano octaves

struggling against an orchestral bustle. The climax of tension in

the whole movement is the first beat of bar 122y where he wrenches

the bass up a semitone, and then remains on the resultant chord

under terrific harmonic pressure: while the atmosphere is still

electric from the force of the wrench, he touches in the sweet,

legato timbre of strings in octaves to soothe the music back to C

major by bar 129. His pizzicato scoring so soon after the rage up

to bar 122 is a masterstroke, conveying a sense of recovery and

renewed lightheartedness.

Not content with this as a recapitulation change, he then, as

visualised in the sketch, swings the fortissimo link passage (bar

67 in the exposition) into A major, and from there makes two runs

towards C major, the second a greatly dramatised extension of the

first, making use of the power of stark contrary motion between

violin and piano left hand, and bringing to mind the prolonged use

of the same effect in Beethoven's 5th Piano Concerto:

— 253 —

Lez.

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— 254 —

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Schubert subjected his sketched coda to considerable revision

(as in the case of the B flat Sonata first movement), the most

obvious example of which is his marking 'un poco piu lento' to

heighten the sense of energy spent. He leads into this, after the

massive C major chord arrival in bar 187, by the use of a cello

motif which simply delays further events for a few bars while the

dust settles, in contrast to its use below the final cadence of the

C major Quintet:

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- 255 -

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and by the use (as in bar 82) of piano argeggios. The sense of

dramatic timing between bar 187 and the un poco piu lento is

absolutely perfect.

His sketch jots down both the first and second phrases of the

main theme as the substance of the coda

far less effective than the repeat of just the first phrase in the

- 256 -

final verson (bar 199, then 203): the sketch is too pat, and also

rather weakly comes to a tonic cadence before the two-bar dominant

minor 9th. In the final version, Schubert's first statement of the

opening phrase tries vainly to touch in the major mode of IV in bar

200, with bitter-sweet effect in the circumstances (F minor chords

are of course prominent in the accompaniment from bar 196), and

then the repeat surges powerfully over a chromatic bass, sinking

finally into bar 208. As at the end of the String Quintet second

movement, and in the closing bars of the F minor Fantasy, the coda

has a slight sting in its tail.

- 257 -

:hardly a

Notes to Chapter 9

1. The String Quintet fourth movement, bar 265

exactly

echoes the first movement bar 18

momentous exception.

2. Feil,A.(ed.): Franz Schubert:Neue Ausgabe samtlicher Werke, Barenreiter,

Kassel, 1975, Vol.VI/7, Anhang.

3. M.J.E. Brown deals witn this briefly in Essays on Schubert, p.17, with a

different analytical method and result. I see this movement as a sonata

form without separate development, where he calls it a rondo. Stephen

Carlton also deals with the movement in 'Sketching and Schubert's Working

Methods', CM 1984, P . 75, without discussing the musical results of the

creative process he attempts to piece together.

Assuming they are played in that light: lighthearted enjoyment

seems to be an old school relic (to be heard in Edwin Fisher's

playing of Mozart concertos, for instance), too impertinent and

risky for today's recording-obsessed musical world, in which

accuracy rules the roost at all costs. Brendel proves to be an

exception in his recording of the Sonata D959 Scherzo,

- 258-

discussed in Chapter 10.

- 259-

ScherzoAllegro vivace

•

CHAPTER 10 : SONATA IN A MAJOR D959,SCHERZO

Perhaps one way to appreciate the Scherzo of Schubert's late A

major Sonata is to remove it, and follow the extraordinarily

disturbed F sharp minor Andantino with the expansive Allegretto

Rondo. This renders the whole sonata too ponderous: the listener

needs a breath of fresh air between. The Scherzo not only throws

slightly humorous light on material from the Andantino, but also, by

virtue of its speed and concision, points up the far greater

breadth of the finale.

Its relation to the preceding movement is of most immediate

impact on the listener. Firstly, the very thick, gloomy spread

chords with which Schubert unwinds the Andantino are immediately

taken several octaves up the keyboard and transformed into a light,

tinkling dance. An attacca (though not marked) serves to reveal

1this point, as Imogen Cooper showed in her recent Bristol recital.

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-211—

decresc.

Then, midway through the Scherzo, Schubert parodies the climactic

6plunging scale of C sharp minor above a if chord, placing it in a

quite different context and giving it considerable shock value.

Prepared by a dynamic, textural and harmonic build-up in bars 103-6 of the

Andantino it recurs in the Scherzo after a build-down in C

major between bars 31 and 33:

8 et

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The G major Sonata's Menuetto parodies the first outburst in the

preceding Andante (bar 31+) with its main theme, confirmed again by

the identity of key:

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There is a relation, seen also in the companion B flat Sonata,

between Scherzo and first movement in D959. The octave leap and

stepwise bass come from the same source as the opening of the whole

sonata:

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- 262-

(Tra

•

The B flat Sonata shows a similarity between the shapes of the

right hand melodies and the constant quaver motion below:

Molto moderato•

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Both cases seem to hark back to the idea first carried out in the

'Wanderer' Fantasy, in which the Scherzo is an overt,

thorough-going transformation of the first movement's opening.

With delightful surprise for those with perfect pitch, the block

chord and octave leap which start the A major Sonata return in more

or less original form after the double bar of the Trio: it would be

pretentious to confer on it any more than hint status, as a cross

reference (as at the end of the sonata) could have been made so

much more obvious, but nonetheless it suggests that a single

reservoir of material with particular distinguishing features was

used to build much of the piece. Professor Macdonald's dismissal of

- 263 -

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unity in music as 'bunkum' is perhaps a little overstated.

Schubert's Scherzo also has Beethovenian echoes, not surprisingly

in view of his apparent obsession with and study of that composer's

music during 1828. The Scherzos ; though much briefer, from

Beethoven's Sonatas Op. 2.No. 2 and Op. 28 have mildly comic

features which appear to have interested Schubert:

Beethoven Op. 2 No.2

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Schubert's sketch for the movement is very close in esentials to

the final version: his revisions amount to self-editing rather than

anything more deep-seated, as could be seen for instance in the

case of the E flat Piano Trio slow movement. There are three minor

changes of notes:

The final version's crotchets in bars 6 and 10 (to which he changed

in the sketched recapitulation) allow the following quavers to

spill out with greater effect. A turn in bar 49

was removed later, possibly to avoid weakening the impact of the

spread chord in bar 50 by ornamentation just before it. A number of

important expression marks were added to the final copy, notably

the decrescendo in bar 34, which is ignored by all the pianists to

be compared later in the chapter. It gives a chance for the fz in

bar 36 to come as an abrupt shock. The third beat accents in bars

• 18 and 19 are missing from the sketch, as is the decrescendo at bar

106 during the Trio. Dozens of dots and arpeggio marks were also

- 266 -

omitted in the probable haste of setting down an aide-memoire.

Much present day analysis treats music as something solid and

monumental, implying a kind of permanence to masterpieces as if

they were Turners hanging in the Tate Gallery. The scores in which

some extremely able analysts bury their heads are the equivalent of

the words of a play: a starting point from which the performer

recreates, by a mixture of knowledge and improvisation, the

author's idea. The character of expressive details, which are,

after all, the most immediate source of pleasure for people at a

concert, and with which this thesis has largely concered itself,

are to some extent dependent on the character of performer and his

instrument: each performance as it were gives birth to the piece

4-afresh. Schubert's A major Sonata Scherzo can assume many

different guises, as the following eight pianists reveal. For the

purposes of this chapter, it will be considered in isolation,

although one must be aware that many performers like to sense the

overall shape of a work, which guides their treatment of specific

details. Stephen Bishop-Kovacevich, when asked whether it was

difficult to keep works fresh season after season, replied

'No, not in the case of very great works like the Schubert B

flat Sonata. The deeper you go into a work such as this, the

more creative you will be in performance. For instance, you

- 267 -

might begin the first movement a little quicker one day, which

will change the entire character of your performance. It will

change the way you play the second movement, which will affect

the way you play the third and fourth movements. But again, I

must emphasise that these new insights can only come from deep

knowledge of the score.'

-268-

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- 269 -

The spectrum of performances . ranges from Arrau playing like an

editor pedanticly explaining every detailed marking, and in the

process turning an Allegro vivace dance into a rather lumbering,

hesitant trudge, to Brendel who finds a great deal of playful

humour in the piece, helped by his much faster tempo. Pollini

(whose studio recording of the last three sonatas is due to be

issued in Autumn 1987) stands midway between these poles in a

characteristically accurate, but bland reading. Klien, Cooper and

Schnabel in general choose a lightness of approach, making no great

fuss of the dramatic inner phrases of both Scherzo and Trio; Lupu

and Rose are a great deal more fiery, but perhaps too serious

overall. Lupu's sympathetic breathing can be heard distinctly as he

builds the Trio's climax, testifying to his great commitment and

striving for power. There is a hint of this too from Rose, whose

recording is astonishingly vivid (as if on compact disc) but whose

playing is brash and eccentric.

For all his lack of spontaneity, Arrau is the one pianist of

this group to observe the arpeggio markings absolutely

scrupulously, taking time particularly over the first chord in the

piece to make the point. Pollini and Schnabel observe very few of

these spreads, while Lupu and Rose take an even more cavalier

approach, adding some where not required and omitting others. Arrau

also makes a great deal of the grace notes in bars 7 and 11, for

- 270-

instance, giving them as much tone and weight as the main notes in

the bar.

The subito f in bar 17, when Schubert lunges into C major,

reveals a lot about the character of a performance. Schnabel's

skittish concept of the Scherzo leads him to completely underplay

this moment, and it goes for nothing, along with,the ff scale to

come. Some pianists, especially those in a live performance, might

well feel the need to keep things relatively gentle in the wake of the

Andantino's outburst: too much intensity and drama can be

wearisome. Lupu assaults bar 17 onwards with such force that the

piano jangles suddenly with the third-beat accents. Arrau,

well-known for his taste for Steinway's with almost organ-like

richness of tone in the lower register, leans on the first beat of

bar 17 and then produces a very thick cloud of sound in the

following bars. Imogen Cooper opts for a sforzando, and then allows

the tone to drop away.

Schubert's paired quavers in the passage leading to the ff are

pointed out by Arrau, and in exaggerated style by Schnabel, whose

rhythmic distortion amounts to fl,PJ, I 177,1The decrescendo which follows, giving the C sharp minor 6/4 its great shock, is,

as noted above, in most instances ignored. Imogen Cooper manages to

reduce her dynamics the most here, but then fails to obtain the

- 271 -

maximum purchase from bar 34; Rose makes a pronounced ritardando

instead of the marked decrescendo, following it with a snatched and

impulsive descending scale. Alfred Brendel (although dismissing

Romantic music in general as an unsuitable background for humour,

there being too little propriety to assault) finds perhaps the

right spirit here. He bathes bars 31-3 in pedal, observing the

diminuendo, and then races down the C sharp minor scale to two

surprisingly short, stabbed chords: his mood for the melody of bar

38 is very light and playful, with short left hand chords, and a

sense of springing from the last quaver of the group of five onto

the accented dotted minim. Arrau's pedantry spoils this moment: he

makes a crescendo towards each accent, hesitates, and then gives

the accents themselves so much tone that they protrude

unattractively from the line.

Arrau's performance in particular raises the whole, very debatable,

issue of the use of rubato in Schubert. Do the remarks on this subject

quoted on p.83 preclude any flexibility of rhythm at all, or do we take

them as a more general guideline? In the absence of any firmer evidence (one

of the most disappointing accidents of fate is the century-late start of the

recording industry) we are left with subjective judgements as to what sounds

right and natural in performance, and what does not.

- 272 -

Arrau's widespread rubato eventually becomes tiresome, and stifles

the dancing flow of the piece. Placing the first chord to make the

arpeggio tell (as noted on p.270) is one thing, but to do it practically

every time is quite another. He even hesitates before the flourishes

in bar 72, spoiling the excited momentum building up towards the close.

Like most of the other pianists under review, he opts for a pronounced

ritardando in bars 48 and 49 before the recapitulation, which, as much

as anything, helps technically with the big right-hand leap to follow.

Klien, conversely, slightly rushes bar 49. Rose, in a manner which

typifies his whole performance, offers both a Wagnerian-slowing-down

and a long pause on the last chord of bar 49, sounding portentous and

out of character with the piece. Klien is the one player to make a

ritardando in bars 20 and 21, attempting to link smoothly from the

double..bar burst of forte to the gentler mood of bar 22. Like Rose's

quirks, this sounds forced and unnecessary: a subito piano in bar 22

would have a much more lively effect. On the whole, the Trio would

seem a more appropriate place for rhythmic yielding than the Scherzo..

The most poignant notes in the melody there need extra time to resonate,

and it actually helps the music's atmosphere (in contrast to the Scherzo)

to relax the sense of forward momentum a little.

Brendel makes delightful amusement with the IMUSic from bar 70, which

directly recalls similar events in Beethoven's Op. 28 Scherzo (see p.265).

Bars 70 and 71 are played rather grandly, contrasting with the frivolity

of semiquavers in very quiet, very high groups of three, the last note of

each very short indeed. The second version of these semiquavers in bar 76

- 273 -

plummets downwards towards an abrupt final A without the slightest hint

of a ritardando. Klien also chooses to play a very clipped final note,

his lasting about a semiquaver. Schnabel and Cooper play the groups of

semiquavers in bar 72 onwards so fast that they sound like chords spread

downwards.

Klien is the one pianist here to find a marked change of tone

colour for the Trio: he appears to use una corda for the first time in the

movement, he observes the pp, and he 'sings' the middle-range melody in

long phrases, sustaining tone through the long notes. Brendel, carrying on

his apparently humorous intention, plays the upper D's extremely short,

which detracts attention from the main line. In the middle part of the

Trio, very much played down by Imogen Cooper, and conversely dramatised by

Lupu, Arrau is distinguished by a hugely resonant bottom C in bar 94

onwards, producing a booming effect below the intensifying right hand

harmony. Brendel, in the same pasaage, introduces a five-bar crescendo

leading to the climactic chord in bar 99, and it is he who produces the

most magical link to the da capo, touching in the last chord of bar 113

very delicately, and then gradually winding the Scherzo back to its original

tempo during the first six bars.

- 274 -

Notes to Chapter 10

1. St. George's, Brandon Hill, Bristol, 26 March 1987.

2. To be compared witn Beethbven's 'Hapul:erklavier Sonata 01— 106,

in which the Scherzo parodies the first movement. See Rosen: The

Classical Style, p.423.

3. In a letter to the present writer, 29 November 1984.

4. Tippett: 'I've never felt drawn to the idea of the definitive

performance. Yusic is a performing art which keeps on changing'.

Gramophone, May 1987, p.1526.

5. Dubal : The World of the Concert Pianist, p.72.

6. A cassette tape of all eight comes with this thesis.

— 275 —

CONCLUSION

It is fitting that this thesis should end with one of the great

present-day Schubertians, Brendel, playing the piano with such

sensitivity. Writing and reading a long series of analyses such as

this can make one's 'spirits frantic with the f'ire', leaving one longing

just to listen to the music again, uncluttered by the plankton-like

shoal of thoughts surrounding it. Nevertheless, one's great pleasure

in the sheer beauty of the notes is possibly heightened by a deeper

understanding which lurks in the back of the brain: it is better for

our approach to the music to be focussed rather than awash. It is

tantalising to wonder what the composer himself would have made of

such studies, unheard of in his day. Would he be flattered by the

attention heaped upon him, or insulted by the grubby hands of lesser

mortals picking through his sketches ? All I can say is that this

thesis was written with affection, out of the desire to play and

listen better, and most of all out of the desire to compose. A piano

concerto, long-planned, will now be completed under the direct spell

of all those strange harmonic twists and tremulous climaxes. Had he

lived, might Schubert himself have tried this genre ? Hummel, the

intended dedicatee of the last three piano sonatas, might have

persuaded him to.

- 276 -

BIBLIOGRAPHY

List of abbreviations

AcM Acta Musicologica

AMw Archiv fur Musikwissenschaft

BMw Beitrage zur Musikwissenschaft

CM Current Musicology

Cl9thM 19th Century Music

ML Music and Letters

MQ The Musical Quarterly

MR The Music Review

MT The Musical Times

NZM Neue Zeitschrift fZir Musik

- 277 -

-014z Osterreichische Musikzeitschrift

PRMA Proceedings of the Royal Musical Association

SMw Studien zur Musikwissenschaft

THES Times Higher Educational Supplement

ZMw Zeitschrift fr Musikwissenschaft

- 278 -

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MR 1969, p.131.

- 279 -

Carlton, S.: Schubert's Working Methods: An Autograph Study with

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- 280 -

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Gillett, J.: 'The Problem of Schubert's G major String Quartet

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-281 -

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- 282 -

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- 283 -

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- 284 -

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