Franz Schubert's music has long been celebrated for its lyrical melodies, 'heavenly length' and daring harmonic language. In this new study of Schubert's complete string quartets, Anne Hyland challenges the influential but under-explored claim that Schubert could not successfully incorporate the lyric style into his sonatas, and offers a novel perspective on lyric form that embraces historical musicology, philosophy and music theory and analysis. Her exploration of the quartets reveals Schubert's development of a lyrically conceived teleology, bringing musical form, expression and temporality together in the service of fresh intellectual engagement. Her formal analyses grant special focus to the quartets of 1810–16, isolating the questions they pose for existing music theory and employing these as a means of scrutinising the relationship between the concepts of lyricism, development, closure and teleology thereby opening up space for these works to challenge some of the discourses that have historically beset them.

Of all the great composers, none - not even Mozart - has been so dogged by myth and misunderstanding as Franz Schubert. The notion of Schubert as a pudgy, lovelorn Bohemian schwammerl (mushroom) scribbling tunes on the back of menus in idle moments has never quite been eradicated. In this major new biography, Brian Newbould balances discussion of Schubert's compositions with an exploration of biographical influences that shaped his musical aesthetics. Schubert: The Music and the Man offers an eminently readable description of a musician who was compulsively dedicated to his art - a composer so prolific that he produced over a thousand works in eighteen years. Gifted with an intuitive know-how, coupled with a Mozartian facility for composition, Schubert combined the relish and wonder of an amateur with the discipline and technical rigor of a professional. He moved quickly and comfortably among genres, and sometimes composed directly into score but many pieces required painstaking revision before they satisfied his growing self-criticism. Examining afresh the enigmas surrounding Schubert's religious outlook, his loves, his sexuality, his illness and death, Newbould offers above all a celebration of a unique genius, an idiosyncratic composer of an astonishing body of powerful, enduring music.

String quartet no. 6 in D major, D.74 -- String quartet no. 11 in E major, D.35, Op. 125, No. 2 -- String quartet no. 2 in C major, D.32.

This book contains the complete scores for Franz Schubert's String Quartets 1-15. This modern reprint of the original scores features clear, large margins, making it ideal for students and musicians alike. Franz Peter Schubert (1797 – 1828) was a seminal Austrian composer. Even though he died before he was 32, he was extremely prolific during his lifetime, writing more than six hundred vocal works, seven symphonies, numerous operas, and much more besides. Schubert is now widely considered to be among the most important composers of the late Classical and early Romantic eras. With wide margins and clear note heads, this edition it ideal for following and studying the music, and it is not to be missed by collectors. Classic Music Collection constitutes an extensive library of the most well-known and universally-enjoyed works of classical music ever composed, reproduced from authoritative editions for the enjoyment of musicians and music students the world over.

This score features Franz Schubert's Symphony No. 5 in B-flat Major, D.485, elegantly transcribed for string quartet by Enrico Zullino, aimed at musicians of an advanced level. The transcription meticulously captures the essence of Schubert’s original composition across its four movements: I. Allegro, II. Andante con Moto, III. Menuetto: Allegro molto, and IV. Allegro vivace. Designed to challenge and inspire, Zullino’s arrangement offers a fresh perspective on this classical masterpiece, providing an intimate exploration of its lyrical melodies and intricate harmonies. The score is tailored for a nuanced performance by a string quartet, while individual parts are available separately to accommodate focused practice and mastery of each section. This edition invites advanced string quartets to engage deeply with Schubert’s work, adding a richly expressive piece to their repertoire. string quartet sheet music, Streichquartett Noten, partitions pour quatuor à cordes, spartiti per quartetto d'archi, partituras para cuarteto de cuerdas, partituras para quarteto de cordas, nuty na kwartet smyczkowy, stråkkvartett noter, vonósnégyes kották.

This eBook presents the meticulously transcribed score of Franz Schubert's Symphony No. 4 in C Minor, D.417, aptly nicknamed "Tragic", for string quartet by Enrico Zullino, tailored for advanced musicians. This edition allows players to immerse themselves in Schubert's profound emotional depth and sophisticated musical architecture, spanning the symphony's four movements: Adagio molto - Allegro vivace, Andante, Menuetto: Allegro vivace, and Allegro. Crafted to challenge and engage advanced level quartets, this transcription offers a unique perspective on a classic, enabling a detailed exploration of its tragic beauty and harmonic complexity. Individual parts are available separately, facilitating focused study and nuanced interpretation of Schubert's masterpiece in the intimate setting of a string quartet. string quartet sheet music, Streichquartett Noten, partitions pour quatuor à cordes, spartiti per quartetto d'archi, partituras para cuarteto de cuerdas, partituras para quarteto de cordas, nuty na kwartet smyczkowy, stråkkvartett noter, vonósnégyes kották.

"Franz Schubert's music has long been celebrated for its lyrical melodies, 'heavenly length' and daring harmonic language. In this new study of Schubert's complete string quartets, Anne M. Hyland challenges the influential but under-explored claim that Schubert could not successfully incorporate the lyric style into his sonatas, and offers a novel perspective on lyric form that embraces historical musicology, philosophy and music theory and analysis. Her exploration of the quartets reveals Schubert's development of a lyrically conceived teleology, bringing musical form, expression and temporality together in the service of fresh intellectual engagement. Her formal analyses grant special focus to the quartets of 1810-16, isolating the questions they pose for existing music theory and employing these as a means of scrutinising the relationship between the concepts of lyricism, development, closure and teleology thereby opening up space for these works to challenge some of the discourses that have historically beset them"--

This research guide is an annotated bibliography of sources dealing with the string quartet. This second edition is organized as in the original publication (chapters for general references, histories, individual composers, aspects of performance, facsimiles and critical editions, and miscellaneous topics) and has been updated to cover research since publication of the first edition. Listings in the previous volume have been updated to reflect the burgeoning interest in this genre (social aspects, newly issued critical editions, doctoral dissertations). It also offers commentary on online links, databases, and references.

A fresh analytical and musicological exploration of Schubert's incorporation of lyric elements into sonata form by way of his string quartets.

Why couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.