Schubert, Lieder, FranzSchubertlorg.uk/

Resumen: Utilizar imágenes con el fin de ilustrar la música mientras ésta deviene en el tiempo es una práctica cada día más usual. Se deriva de la marcha veloz de las tecnologías de edición, almacenamiento y coparticipación; un desarrollo que ha acelerado no sólo la producción audiovisual, sino la interrelación de material e ideas de muy distinta naturaleza y proveniencia. Para ahondar en estos temas y, al mismo tiempo, evitar caer en una discusión teórica alejada de la realidad, el presente artículo se concentra en un caso de estudio: la recepción iconográfica de Erlkönig, el lied opus 1 de Franz Schubert basado en la balada del mismo nombre de Goethe. La primera parte del artículo analiza imágenes que se han ido incorporando en la recepción del lied: se concentra en las nuevas formas de presentar la música, las cuales van desde la reutilización de un puñado de imágenes que acompaña el devenir musical hasta la elaboración de material nuevo en forma de video animado. La segunda parte estudia la relación estructural entre texto, música y video; las polémicas del pasado que resurgen y cómo el análisis armónico y el hermenéutico apoyan la interpretación de estos productos culturales.

Il Corno nella Letteratura Liederistica: gli esempi di Lachner, Schubert e Strauss.
Conservatory degree thesis abouth some example of Romantic Lieder with obbligato horn: Lachner's "Die Seejungfern" and "Notte soave delizia", Schubert's "Auf dem Strom" and Strauss' "Halphorn"

Notas al programa del cuarteto  núm. 14 en Re menor D. 810,  Der Tod und Das Mädchen (La muerte y la doncella).
Al igual que la vida de Schubert, La muerte y la doncella resulta una obra contrastante. Por un lado el temor y por otro la esperanza, ambos entablaban un diálogo personificados en una joven y asustada doncella con una imponente pero amable muerte, donde la dama suplica por su vida, aunque finalmente parece sucumbir al inminente final.

ABSTRACT and CONTEXT

In this close reading of the first page of Adorno’s “Schubert,” one aim is to highlight the sheer intensity of Adorno’s literary ambition, generating a visual poetics that contributes to the text’s striking, and daunting, narrative complexity. With reference to the French poet Louis Aragon, Adorno situates Schubert within a distinctly surrealist landscape — a strategic move that is rhetorically as provocative as it is hermeneutically and methodologically risky. I briefly follow up some of this modernist imagery in Schubert’s Winterreise, envisioned here as a nondevelopmental, glacial compositional canvas across which the wanderer wanders with a single idea in mind, forever repeated in subtle variations, affecting atmosphere (Stimmung) but not essence: in Winterreise, as Adorno’s text suggests, the mind is lost in its own idea, accommodating the pre-human or post-human experience: life-in-death in the midst of an apocalyptic landscape.
A second aim of this paper is to respond to Adorno’s stylistic provocation: do we need poetry in music criticism, or indeed criticism as poetry? Do we need allegories of death and Utopian landscapes to talk about music? As will be argued, “Schubert” is a text whose author does not deny that his subject matter — Schubert — is, in fact, wholly fictional. Moreover, as Adorno goes on to describe Winterreise as a journey in search of an inner, and de-centered, self, and as we see this journey slowly unfold before our eyes, it becomes more than usually apparent that Adorno’s true sub- ject matter is the admission and expression of emo- tion. With great poetic acumen, his pen traces like a seismograph the rhythmic pulsations and shockwaves traversing Schubert’s landscape. Adorno’s essay be- gins with a fully imagined and powerfully articulated landscape, and as he goes on to render “Schubert’s landscape” visible, his text takes on a geography that informs us about the structure of the very selves it describes: first Schubert’s; then Adorno’s; and finally, possibly, our own.

Quote from Adorno's SCHUBERT: "He who crosses the threshold between the years of Beethoven’s death and Schubert’s will  shiver, like someone emerging into the painfully diaphanous light from a newly formed crater frozen in motion, as he becomes aware of skeletal shadows of vegetation among lava shapes in these wide, exposed peaks, and finally catches sight of those clouds drifting near the mountain, yet so high above his head. He steps out from the chasm into the landscape of immense depth bounded by an overwhelming quiet at its horizon, absorbing the light that earlier had been seared by blazing magma. Although Schubert’s music may not always have the power of active will that rises from the inmost nature of Beethoven, its endemic shafts and fissures lead to the same chthonic depth where that will had its source, and these lay bare its demonic image, which active practical reason managed to master again and again; yet the stars that burn for Schubert’s music are the same as those towards whose unattainable light Beethoven’s clenched fist reached out. So when it comes to Schubert’s music we speak of ‘landscape’. Nothing could betray the substance of his music more—since he cannot be understood in terms of Beethoven’s spontaneously integrated personality—than trying to construct him as a personality with the idea — a virtual center — of puzzling out dissociated elements…”

CONTEXT: Adorno wrote and published his essay ‘Schubert’ in the leading music journal in the German language, Die Musik, in 1928. In 1964, at the invitation of his publisher Suhrkamp, Adorno chose this essay to re appear as part of a special selection of some of his most important critical texts on music in the volume Moments Musicaux. By this time, five years before his death, Adorno had produced hundreds of music-critical essays. In other words, Adorno had an impressive amount of critical material on music available, and his selection of the Schubert-essay alongside fifteen further texts (including such seminal articles as ‘Spätstil Beethovens’/’Late Style in Beethoven’ (1937) or ‘Verfremdetes Hauptwerk: Zur Missa Solemnis’/’Alienated Masterpiece: The Missa Solemnis’ (1959) which have become core reference texts in Beethoven studies) is one of the most important indicators that Adorno considered ‘Schubert’ to be among his most important musical texts, of lasting critical value and epistemological significance.
Indeed, in the foreword of the 1964 edition Adorno judged 'Schubert’ to be his ‘first comprehensive . . . study of the meaning of music’ (Moments Musicaux, Frankfurt, Suhrkamp, 1964, 8). As such, its style is in parts necessarily abstract. However, such arguably ‘abstract’ philosophical insight gained by what is also a fascinating literary achievement will, as this book reveals, sustain close critical exploration into the substance of Schubert’s music as well as the seminal relevance of Adorno’s text to 20th and 21st century musicology.
This article explores the potentially explosive expansion and proliferation locked within Adorno's images and his appraisal of Schubert’s compositional status. It is intended as a stimulus to critical thinking about Schubert, Adorno, music criticism as a form of writing, and interdisciplinary relations between music on the one hand and literature, poetry, philosophy and visual imagination on the other. 

For musicologists in general, and Schubert scholars in particular, Adorno’s mention as well as intriguing discussion of a good number of Schubert’s most central compositions in the ‘Schubert’ essay makes the publication of its first English translation a particularly rich resource: 

Winterreise (A Winter journey)
‘Der Tod und das Mädchen’ (Death and the Maiden)
‘Der Doppelgänger’
B-flat major Piano Sonata
Impromptus
Moments musicaux
’Unfinished’ Symphony
Wanderer Fantasy
E-flat Piano Trio
‘Great’ C major Symphony
A-major Rondo for four hands
Hungarian Divertissement
F-minor Fantasy for four hands
A-minor String Quartet

XXII
Franz Liszt’s arrangement of Maria Pavlovna’s Lied “Es hat geflammt” and large-scale structures in Liszt’s Sonata in B minor and Faust-Symphonie
by Tibor Szász
© 2018, Hermann, www.editions-hermann.fr
ABSTRACT
The Grand Duchess Maria Pavlovna Romanova (1786–1859) was not only Franz Liszt’s patron, but also received musical instruction from him. In previously published research, Tibor Szász has shown that Liszt used the melody of one Lied by Maria Pavlovna in his fourth Consolation
and in the Sonata in B minor.1 A study by Martin Adler, Tibor Szász and Gerard Carter has subsequently demonstrated that the same Pavlovna melody was also featured as opening theme in Liszt’s final revision of his Petrarch Sonnet no. 47 (“Benedetto sia „l giorno”) published in 1883.2 A
comprehensive study on the Liszt Sonata was published in the Journal of the American Liszt Society.3
Liszt’s arrangement of a different Pavlovna Lied titled “Es hat geflammt” was probably rendered during Pavlovna’s study with Liszt in 1848–49. Although the original Lied of Pavlovna has not survived, Szász identified its lyrics as those of the poem Die Brautnacht by Wilhelm Müller (1794–
1827), the same poet who inspired Franz Schubert’s Lieder cycles Die schöne Müllerin and Winterreise.
In the present article, Szász unveils evidence which suggests that Liszt’s arrangement was definitely intended for a publication which unfortunately never came to fruition. The three autograph manuscript pages by Liszt are reproduced in facsimile and complemented with a first edition by Tibor Szász.
Liszt’s arrangement of the Pavlovna Lied “Es hat geflammt” is an important document as it appears to summarize the essence of Liszt’s instruction to Maria Pavlovna. Although Pavlovna’s autograph manuscript is not available for comparison, internal evidence suggests that the Lied’s melody, harmonies and rhythms were authored by Pavlovna, while the pianistic idiom of the Lied proper, and its prelude and postlude, were composed by Liszt.
Liszt’s original prelude and postlude provide a “key” to unlocking the large-scale structures of his B minor Sonata and Faust-Symphonie. The use of scale degrees 6, 5, 1 heard as opening bass pitch pattern in Liszt’s Lied arrangement constitute, in a nutshell, the basic tonal pillars of the opening themes of the Liszt Sonata and Faust Symphony. Szász also argues that the thirteen-note theme (!) of the Faust-Symphonie may have been inspired by Schubert’s “Szene aus Goethes Faust”, D. 126b, and by
the Symbol of the Macrocosm mentioned in the opening monologue of Goethe’s Faust.
Tibor Szász, an internationally acclaimed pianist and scholar, has done extensive studies on Liszt, Mozart, Beethoven, Bartók and Enescu. He was born in Transylvania (Romania) to Hungarian parents, and studied with Eliza Ciolan, a pupil of Alfred Cortot, before going to the USA. He holds a Doctor of Musical Arts degree from the University of Michigan. Szász has been professor at Duke University, Bowling Green State University, University of Dayton and, since 1993, Professor of Piano at the Hochschule für Musik, Freiburg, Germany.
1 “Liszt’s Symbols for the Divine and Diabolical: Their Revelation of a Program in the B minor Sonata,” Journal of the
American Liszt Society 15 (June 1984), 35–95.
2 See Martin Adler (with Tibor Szász and Gerard Carter), “Franz Liszt and Maria Pavlovna Romanova: An Homage
to the Grand Duchess in Liszt’s Petrarch Sonnet No. 47,” Journal of the American Liszt Society 66 (2015), 23–33.
3 Tibor Szász (with Gerard Carter and Martin Adler), “Towards a New Edition of Liszt’s Sonata in B Minor: Sources,
Editorial History, Symbolic Issues”, Journal of the American Liszt Society 68 (2017), 57–108.