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19th-Century Music (2019) 42 (3): 157–183.
Published: 01 April 2019
...Jennifer Ronyak Scholars who have analyzed performances of Schubert’s Lieder have generally focused on the voices of masterful professionals, whether looking at performances before or during the age of sound recordings. This tendency overlooks one historically important group of performers: the...
19th-Century Music (2018) 41 (3): 206–224.
Published: 01 March 2018
...Natasha Loges Franz Schubert's song cycle Die schöne Müllerin makes enormous demands not only on the performers but also on its audience, a factor that shaped the early performance history of the work. In this article, the pioneering complete performances of Die schöne Müllerin by the baritone...
19th-Century Music (2017) 40 (3): 189–200.
Published: 01 March 2017
...Scott Burnham Carl Zelter, Carl Loewe, Franz Schubert, and Franz Liszt all composed settings of Goethe's famous Nachtlied “Über allen Gipfeln.” Gathering multiple layers of rhyme and rhythm, Goethe's poem achieves a rare cogency that invests every syllable with musical significance. Each of the...
19th-Century Music (2014) 38 (1): 53–78.
Published: 01 July 2014
...Dragana Jeremić Molnar; Aleksandar Molnar In Aesthetic Theory Adorno refers to Schubert as “the mimic par excellence.” The connection between Adorno's conception of mimesis and his notion of Schubert has remained unexplored. In his essays “Schubert” and “Franz Schubert: Grand Rondo in A Major for...
19th-Century Music (2011) 35 (1): 3–33.
Published: 01 July 2011
...Rufus Hallmark In Winterreise , poet Wilhelm Müller frequently used apostrophe, the rhetorical device of “turning aside” to address absent, abstract, or nonhuman listeners. In his songs Schubert responded to the poet's use of this evocative figure of speech. Schubert probably studied a contemporary...