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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.

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.

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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.

Performances of Fitrabras and the other Schubert operas have been very rare. Parts of Fierrabras were given in concert form in Vienna in 1853 and again in 1858. The first stage production was in Karlsruhe, February 9, 1897, but the music was revised for that performance by 0. Neitzel and the text by F. Mottl. The text was translated into French for a production in Brussels in 1926. A concert version was also heard in London in 1938. None of these performances, with the possible exception of the one in Brussels, was in the original version. It has always been assumed that the work could not be performed as it stands; at any rate, no one has ever tried. True, there are certain problems in production, especially in the rapid shift of scenes in the third act, but modern stage technique could undoubtedly conquer such difficulties easily.

The arrangement of movements in the Grand Sonata in B flat follows traditional classical lines, as is true of almost all the Schubert sonatas. A complete structural analysis of the work reveals some modifications in the architecture of individual movements; this is especially evident in the first movement. The departures from usual treatment of first movement sonata form may be classified as follows: 1. Developmental procedures begin in the exposition. 2. The second subject begins in a distantly related key. 3. The development section stresses melodic treatment rather than contrapuntal technique. The second movement is in ternary form and exhibits little irregularity in structure. The movement is an excellent example of the employment of an accompaniment figure as a unifying element.

The significance of a complete analysis of Schubert's orchestral larger works is self-evident to musicians and scholars. In the literature today one may find adequate analysis of many of the larger choral and orchestral works of the various masters, but rarely is it possible for one to secure a scholarly and intelligent analysis and interpretation of the smaller forms, especially the vocal works. Perhaps the reason for this state is the lack of interest in many of the aspects and phases of song literature as vocalists and teachers have probably been more concerned with the artistic rendition of the songs rather than an academic approach. But with the turn of the present decade, a decided interest has become apparent in musicological scholarship and the present study is but one evidence of the trend toward critical and academic analysis of smaller forms heretofore omitted in music literature.