Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas

By Charles Fisk | Go to book overview

CHAPTER 6
Displacing the Sonata
The Opus 142 Impromptus

I

In his review of Schubert's second set of impromptus, published as opus 142 in 1838, Robert Schumann wrote:

Few authors leave their seal so indelibly stamped on their works as he; every page of the first two impromptus whispers “Franz Schubert”—as we know him in his numberless moods, as he charms us, deceives us, captivates us again, so we find him here. Yet I can hardly believe that Schubert really entitled these movements “Impromptus. The first is obviously the first movement of a sonata; it is so thoroughly developed and rounded out that there can scarcely be any doubt of it. I consider the second impromptu the second movement of the same sonata. In key and character it exactly fits with the first. 1

Schumann is willing, although reluctant, to regard the last impromptu of the four as the finale of the sonata: “though the key would tend to confirm [that it is the finale], the superficiality of its entire conception argues against it. 2 He does not grant the third impromptu a place in this scheme, however; instead he dismisses it as “undistinguished variations on an undistinguished theme” (see ex. 6.8a). But for Alfred Einstein, writing just over a century later, all four of these impromptus have gained admission to the sonata of Schumann's imagining. 3 Their inclusion depends on some reappraisals of their form and character: the second (see ex. 6.6) becomes a saraband, taking the place of a minuet; the variations can now serve as the

-141-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 308

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.