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9781409421221

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'In the ongoing project to refute earlier writers' characterization of Schubert as less than Beethoven , Susan Wollenberg's analytical study is among the most important new entrants into the field. Everyone who listens to Schubert's instrumental compositions soon becomes aware of a unique style, one composed of an intricate mesh of particular rhythmic and metrical practices, formal procedures, tonal processes, harmonic thumbprints, and much more. Wollenberg devotes a chapter to each of Schubert's foremost predilections, with - one of this book's many strengths - ample attention to exceptions. Those who read this beautifully written book will emerge from it with a much greater understanding of what makes Schubert so great.' Susan Youens, University of Notre Dame, USA 'Those in the fields of musicology and music theory who are studying Schubert or who have a scholarly focus on the music will welcome this important new contribution to Schubert research... Highly recommended.' Choice 'This book organizes and develops the discussion of various areas of Schubert's style in new directions. Freed from the pre-conceptions of the Beethovenian aesthetic, Schubert is allowed to be assessed as a master composer on his own terms. This is recommended reading for all who wish to stay abreast of modern Schubert scholarship.' The Schubertian 'Wollenberg's authoritative and richly detailed attempt to put several of Schubert's most distinctive fingerprints under the analytical microscope results in a valuable contribution to our understanding of a composer whose formal complexity and coherence remain relatively unexplored.' Notes '... erudite and enlightening...' The Musical Times '... what shines through on every page is Wollenberg's deep knowledge of Schubert's music, as she draws subtle connections across the history of his output. Her numerous reconstructions of what Schubert might have written, had he been inclined to follow common practice, illuminates what make

'In the ongoing project to refute earlier writers' characterization of Schubert as less than Beethoven , Susan Wollenberg's analytical study is among the most important new entrants into the field. Everyone who listens to Schubert's instrumental compositions soon becomes aware of a unique style, one composed of an intricate mesh of particular rhythmic and metrical practices, formal procedures, tonal processes, harmonic thumbprints, and much more. Wollenberg devotes a chapter to each of Schubert's foremost predilections, with - one of this book's many strengths - ample attention to exceptions. Those who read this beautifully written book will emerge from it with a much greater understanding of what makes Schubert so great.' Susan Youens, University of Notre Dame, USA 'Those in the fields of musicology and music theory who are studying Schubert or who have a scholarly focus on the music will welcome this important new contribution to Schubert research... Highly recommended.' Choice 'This book organizes and develops the discussion of various areas of Schubert's style in new directions. Freed from the pre-conceptions of the Beethovenian aesthetic, Schubert is allowed to be assessed as a master composer on his own terms. This is recommended reading for all who wish to stay abreast of modern Schubert scholarship.' The Schubertian 'Wollenberg's authoritative and richly detailed attempt to put several of Schubert's most distinctive fingerprints under the analytical microscope results in a valuable contribution to our understanding of a composer whose formal complexity and coherence remain relatively unexplored.' Notes '... erudite and enlightening...' The Musical Times '... what shines through on every page is Wollenberg's deep knowledge of Schubert's music, as she draws subtle connections across the history of his output. Her numerous reconstructions of what Schubert might have written, had he been inclined to follow common practice, illuminates what makes Schubert so distinctive. Moreover, in assiduously avoiding comparison with Beethoven throughout her study, yet in sharpening the comparison with his Classical predecessors, Wollenberg draws out the humor and wit in the music-a side of Schubert we rarely get to hear about.' Music Theory On-Line '... a thought-provoking and engaging piece of scholarship ... easily accessible to all students, and indeed the book is particularly well suited to accompany undergraduate courses on Schubert's music and on nineteenth century music more generally'. Music Analysis

'Those in the fields of musicology and music theory who are studying Schubert or who have a scholarly focus on the music will welcome this important new contribution to Schubert research... Highly recommended.' Choice 'In the ongoing project to refute earlier writers' characterization of Schubert as less than Beethoven , Susan Wollenberg's analytical study is among the most important new entrants into the field. Everyone who listens to Schubert's instrumental compositions soon becomes aware of a unique style, one composed of an intricate mesh of particular rhythmic and metrical practices, formal procedures, tonal processes, harmonic thumbprints, and much more. Wollenberg devotes a chapter to each of Schubert's foremost predilections, with - one of this book's many strengths - ample attention to exceptions. Those who read this beautifully written book will emerge from it with a much greater understanding of what makes Schubert so great.' Susan Youens, University of Notre Dame, USA 'This book organizes and develops the discussion of various areas of Schubert's style in new directions. Freed from the pre-conceptions of the Beethovenian aesthetic, Schubert is allowed to be assessed as a master composer on his own terms. This is recommended reading for all who wish to stay abreast of modern Schubert scholarship.' The Schubertian 'Wollenberg's authoritative and richly detailed attempt to put several of Schubert's most distinctive fingerprints under the analytical microscope results in a valuable contribution to our understanding of a composer whose formal complexity and coherence remain relatively unexplored.' Notes '... erudite and enlightening...' The Musical Times '... what shines through on every page is Wollenberg's deep knowledge of Schubert's music, as she draws subtle connections across the history of his output. Her numerous reconstructions of what Schubert might have written, had he been inclined to follow common practice, illuminates what makes Schubert so distinctive. Moreover, in assiduously avoiding comparison with Beethoven throughout her study, yet in sharpening the comparison with his Classical predecessors, Wollenberg draws out the humor and wit in the music-a side of Schubert we rarely get to hear about.' Music Theory On-Line

Author Information

Susan Wollenberg is Professor of Music at the University of Oxford, Faculty of Music, and Fellow and Tutor of Lady Margaret Hall, as well as Lecturer in Music at Brasenose College. Among her publications are contributions on Schubert to various journals and symposia including Schubert Studies, ed. Brian Newbould (Aldershot: Ashgate, 1998), and Schubert durch der Brille, Journal of the International Schubert Institute (2002 and 2003). Her paper given at the international Schubert bicentenary conference in Paris (1997) appeared as 'Schubert's Poetic Transitions' in Le style instrumental de Schubert: Sources, analyse, évolution, ed. Xavier Hascher (2007).

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