Franz Peter Schubert (1797-1828) began composition of the Sonata in C Major, D. 840 (“Reliquie”) during April of 1825. It was first published in Leipzig in 1861 and dubbed the “Reliquie” by the publisher K.F. Whistling, based on the mistaken assumption that it was Schubert’s last piano sonata. Following the complete Moderato and Andante movements, Schubert left the Minuetto: Allegretto and Rondo: Allegro movements unfinished. The primary purpose of this treatise is to compare and contrast the published completions of the unfinished Minuetto: Allegretto and Rondo: Allegro movements as finished by Ludwig Stark, Ernst Krenek, Walter Rehberg, Harold Truscott, Armin Knab, Paul Badura-Skoda, Dieter Einfeldt, Noël Lee, Martino Tirimo, Geoffrey Poole and Brian Newbould. / text

Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.

Inaug.-Diss.--Munich. / Lebenslauf. Description based on print version record. "Literatur-Verzeichnis": p. vii-ix.

Thesis (M.M.)--University of Wisconsin--Madison, 1944. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 87-88).

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed Aug. 22, 2007). PDF text: 74 p. : music. UMI publication number: AAT 3237872. Includes bibliographical references. Also available in microfilm and microfiche formats.

Akademisk avhandling--philosophie--Uppsala, 1999. / Résumé en allemand et abstract en anglais. Bibliogr. p. 296-302.

The diploma thesis discusses the Piano Quintet "The Trout" by the Viennese composer Franz Schubert. It includes the circumstance of it?s origin, pieces which inspired the composer to creat this work, but also the pieces which were inspired by this particular one subsequently. It includes formal and interpretive analysis of the work. A special chapter deals with two dramatic pieces that were directly inspired by Schubert?s Piano Quintet in A major. Last but not least, it lists 18 other works of the same instrumentation, created between 1799-2011.

No description available.

Sehnsucht (longing) and alienation were two central themes of 19th century German Romanticism in literature, music and art. Franz Schubert was one of the great masters of the Romantic era to understand and express these intense emotions through his compositions. This paper discusses Sehnsucht and alienation in Schubert’s settings of the Mignon songs from Johann Wolfgang von Goethe’s novel Wilhelm Meisters Lehjahre (Master William’s Apprenticeship). Mignon, a secondary character in this novel, is a prime example of one who experiences these emotions and whose principal medium of expressing herself is through her five songs. My thesis focuses on how Schubert portrays Mignon’s longing through use of dissonance, harmonic progressions, melodic contour and shifts in vocal register. / iv, 46 leaves ; 29 cm

Thesis (MMus) - Stellenbosch University , 1986. / INLEIDING: By die instudeer van 'n aantal Schubert-liedere het die skryfster onder die indruk gekom van nie alleen die skoonheid van die poëtiese en musikale inhoud nie, maar veral ook die pedagogiese waarde daarvan. 'n Behoefte om die potensiaal van die Schubert-liedere as onderrigmateriaal te ondersoek, het ontstaan.