This book re-examines the notion of Schubert's instrumental
lyricism and explores its aesthetic and technical links with the
discursive strategies of idealist lyric poetry. While Schubert's
lyricism is most often associated with cantabile style, it is also
implicit in the composer's paratactic approach to form and in his
tendency to emphasize the materiality of musical gestures through
unprepared chromaticism or sudden changes of texture. Such
unorthodox instrumental designs are further considered with
reference to two idealist views of musical form, A. B. Marx's
Formenlehre and Schenker's brief discussion of form in Free
Composition. Schubert's departures from sonata norms are, at the
same time, manifestations of structural patterns typical of the
Liedsatz and forms derived from combinations of Liedsatze, such as
the theme and variation. His incorporation of these patterns within
the context of the sonata evokes the lyric as both an Arcadian
ideal and as a means of critical engagement with convention. This
study reaffirms the centrality of the poetic imagination for
Schubert through an interdisciplinary approach that combines the
literary and the musical."
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