From Song to Instrumental Style

Abstract Building on my recent work Schubert’s Fingerprints: Studies in the Instrumental Works, this chapter examines closely the stylistic ‘fingerprints’ evident in Schubert’s piano, chamber and orchestral works. The works referred to include the ‘Wanderer’ Fantasy, D 760; the Impromptus for Piano, D 899 No. 2 and No. 4; the Piano Duet Fantasy in F minor, D 940; the G major Piano Sonata, D 894; the last three Piano Sonatas, D 958–60; the Quartettsatz, D 703; the last three String Quartets, especially the G major Quartet, D 887; the String Quintet, D 956; the ‘Unfinished’ Symphony, D 859; and the ‘Great’ C major Symphony, D 944. The fingerprints to be investigated will include such aspects as Schubert’s treatment of episodic forms, especially in his slow movements; the ramifications of his major-minor usage; the application of variation processes in his instrumental forms; and Schubert’s penchant for mirror effects (palindrome).