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

By Charles Fisk | Go to book overview

INDEX
Italic page numbers denote music examples and figures.
alienation theme in A—Major Sonata, 221–222, 235–236 in B♭—Major Sonata, 78, 242, 267 in C—Minor Sonata, 192, 203 and late instrumental music, 7–8, 23 in “Unfinished” Symphony, 111–112 and Viennese social restrictions, 282 in “Wanderer” Fantasy, 6, 60, 66–67, 69–72, 112 in Winterreise,5–6, 28–29 See also “Fremdling” theme
“Auf dem Flusse, ” 52, 53, 192
Beethoven, Ludwig van, 115 B♭—Major String Quartet (op. 130), 29–31, 30 C—minor sonatas (op. 10, no. 1; op. 13), and Schubert's C—Minor Sonata, 180, 191, 299n8 G—Major Sonata (op. 31, no. 1), and Schubert's A—Major Sonata, 228, 232–235 influence of, 29–31, 203, 271, 299n3 and Schubert's sonata form, 148, 274–277 Thirty—two Variations in C Minor, 180, 181–184, 183, 185, 190 “Waldstein” Sonata, and Schubert's CMinor Sonata, 180
Botstein, Leon, 282
Brendel, Alfred, 35, 216, 222 on A—Major Sonata, 221, 222, 300n10, 300n11 on B♭—Major Sonata, 63 on C—Minor Sonata, 181 on sonatas, cyclic elements, 20–21, 32, 33, 36
Brown, Maurice, 295n19, 302n3
Burnham, Scott, 12
Chusid, Martin, 295n19, 301n16
Cohn, Richard, 288n16
Cone, Edward T. on A—Major Sonata, 217 on C—Minor Sonata, 180 The Composer's Voice,22 on protagonist concept, 288n21 on Schubert compared to Beethoven, 29, 31 “Schubert's Promissory Note, ” 136

-303-

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