No, Ive never played lieder with a singer. Bars 9-12 are a variant of the theme in F sharp minor (relative minor) with the bass imitating the treble in Bars 9-10. 0000034491 00000 n Investigating Afterglow, Serenity, At Sea and Mists from the 1922 collection of 114 Songs, I explore the Lacanian dimensions of each text and setting, bringing out the message that each song offers about the function of the tonic. 148 36 The central task of harmonic theory underlying harmonic analysis is to understand why chords are what they are and why they behave as they do. Complex analysis/Harmonic analysis. It is the CL-ext motive (fig. Du bist die Ruh'. Save my name, email, and website in this browser for the next time I comment. Please subscribe me so that you won't miss them.Part 2 is now available at here: https://www.youtube.com/watch?v=UgKQMc0rkyAThis video was requested by Sunny Chin. but the Schubert work that means the most to me is the A major sonata, D959. Msica y Educacin (ISSN: 0214-4786), vol. And in a piece full of sleights of ear, the slow movement has some of the symphony's most discombobulating transitions. 1-12. I will also look at the form of the piece in connection with the text to see how the melody further expresses and strengthens the intensity of Gretchen's emotions and yearning. Bars 4-37: First Subject in A major (tonic). 7; mm. Although there is little reliable evidence to support the idea that he was in love with her at this period, it seems apparent. Schubert was known to have written a symphony in Gastein, where he spent most of May through October 1825, but no trace of it has ever surfaced. 82-84). The turn figure and triplet fanfare rhythm of the opening movement return here in force, though, overall, this movements employs both in more subtle ways than the opening onedoes. The composer theorised about the nature of desire and sexuality in his writings, but this discussion rarely spills over into analysis of his compositional system. 9; m.121). It does not seem to be consistent with the common practices of diatonic, late Romantic or atonal music. University of California Press. Oxford University Press: 1968. I love Schuberts piano works possibly even more than Beethovens piano works and, unable as I am to play them, I listen to rcerdings of them almost obsessively. Schumann and Mendelssohn But each variation expresses a profoundly different emotion. So, armed with a Peters edition of the score, I set off to my teacher's house on my bicycle and . This volume promises to fulfill the needs of both students and professionals in the field of music theory. OFFICIAL WEBSITE - https://www.creativelyexplained.com/ General &. This Chopinesque treatment has revealed some really beautiful moments I always knew they were there, but allowing myself time to hear and consider them has enabled me to shape the music in a different way. This essay will assess this beautiful piece from the aspect of harmony, phrase structure, piano . 327-331 finalises the return to D major in m. 331. more often. There are storms bass trills, and a shadowy, frequently-modulating middle section before the music returns to the same flowing calmness of the opening. We talked a lot about the loneliness of the pianist on the piano course I attended recently: while moaning about it, we all agreed that we actually enjoyed the solitude, which is why weve chosen to be pianists, rather than orchestral players! 0000058312 00000 n Whatever the reason, it all conspired to mean that the Unfinished Symphony wasn't premiered until 1865 in Vienna - when it would still have sounded ahead of its time. Organicism, Form and Structural Decay: Nielsen's Second Violin Sonata, The Wanderer's Many Returns: Schubert's Variations Reconsidered, Perspectives on Tonality and Transformation in Schubert's Impromptu in E-flat, D. 899, no. The structural form of the movements in this quartet are somewhat ambiguous due to Schubert's focus on lyricism rather than traditional harmonic structure. 1, D 328, is a Lied composed by Franz Schubert in 1815, which sets Johann Wolfgang von Goethe's poem of the same name. Both works dramatize the assassination of a sovereign by his political and erotic rival, which takes place during an official masquerade ball. His first six symphonies - he cut his teeth on the genre as a teenager in a series of miraculously joyful pieces from 1813 to 1818 - were four years and a compositional epoch ago; two subsequent attempts at symphonies wouldn't get beyond the sketch stage. Transferring Walter Benjamins translation theory to this intermedial context, Enge explores how a musical composition can respond to the way of meaning in a poem instead of trying to imitate what is meant. One of his main theses is that a musical reading of a poem can exhibit features that are associated with 20th century literary criticism, such as the investigation of the materiality and play of the signifiers. Meanwhile, some of Neil Minturns more recent atonally-principled analyses have been viewed as erring on the other extreme by contradicting tonal intuitions. Thus, Zenders Hlderlin compositions demonstrate that music not only can read poetry, but that it is able to read poetry in productive and critical ways. Notice how elegantly the transition is made from the V7 of B minor to the V6/vi of B major (mm. The notes in the same colour indicate common tones in the harmonic progressions. 0000035052 00000 n Growing up in Austria as the son of a schoolmaster, Schubert showed . opposed to how close and similar these composition are. Jer1;/WL&fyby_8i_bG$2\bKHkE/2}t/zv=+/^oa But then look at the fourth copy: we expect IV here (a D in stead of a D# being harmonised with IV) which would fit nicely in the sequence I, ii, iii. The reprise of both minor and major-key themes finds new strangenesses in the way Schubert subtly alters what we've heard, as if the music were infected by the darkness we have experienced. 0000023134 00000 n The original poem, by Christian Friedrich Schubart, who was part of Schubert's wide circle of friends . After the G# major chord a return is made to a B major chord, being the dominant of the dominant and within seven bars we are back to I, A major (m.165). 0000038993 00000 n Tonal analyses of the kind represented by William Austin in his Music in the 20th Century from Debussy through Stravinsky have long since been regarded as inadequate, not least because they fail to account for the pertinence of Prokofievs apparent deviations. This ends the fourth segment. The text of An Emma comes from the German poet Schiller, who Schubert has used for several of his other songs. The second set was published after his | Four motives come from the closing section. As I will suggest, this reflects the shift in attitude regarding the explanatory power of biographical and culturalhistorical studies on the one hand, and of music analysis on the other. Sure, one can process the notes, but these works are imbued with profound, complex and mixed emotions, and only a hefty degree of life experience can truly inform ones playing and interpretation of this music. Fisk, Charles Returning Cycles: Contexts for the Intepretation of Schuberts Impromptus and Last Sonatas. LISTENING AND HARMONIC ANALYSIS. 0000002862 00000 n The list is supplemented with indices cross-referencing entries according to individual works and analytical topic. 0000019477 00000 n One of Schubert's greatest works, that he barely finished before his death at age 31, was Winterreise. Of course, the fingers do remember what they learnt before, and in one or two places, I felt them straying into the forbidden territory of bad habits and sloppy or clumsy passage work, but, on the whole, I managed to avoid such errors, mainly by practising the less certain measures very slowly, in the manner of a Chopin Nocturne. Allegro moderato in F minor (ends in F major) Moderato in C minor. With this distinction in mind, one must readily concede that thoroughbass, a mere stenographic device, has no bearing on harmonic theory. Reproduction Rights:This program note may be reproduced free of charge in concert programs with a credit to the author. Then within each occurrence we find two harmonic steps, one step down a (minor) third and one step up a (minor) sixth. To browse Academia.edu and the wider internet faster and more securely, please take a few seconds toupgrade your browser. The first subject is of considerable length, and may be divided into two parts. Oxford University Press, USA. This is not prefigured at the outset, rather the protagonist, the meandering fremdling of these four pieces, must strive for eventual and gradual disclosure: the piece opens in A-flat minor, though it is written in the major, with accidentals, and the harmonic ambiguity lingers until bar 31, when the graceful, cascading semiquaver figure is at last heard in A-flat major, beneath which the left hand has a fragile, cello-like melody. The reasons can only be guesswork: whether they're psychological, connected to the period of illness he went through; musical, in the sense of not feeling he could compose another two movements that would satisfactorily complement the new symphonic dramaturgy of the two completed ones; or simply practical, that having put the piece to one side, he wanted to get on with new projects rather than return to older music? (mn. (You can hear the fragment in Jonathan Nott's recording; Charles Mackerras gives you Brian Newbould's completion of the whole movement and a speculative finale, the Entr'acte that Schubert wrote for the play Rosamunde.) Other articles where Das Wandern is discussed: vocal music: The 17th-20th centuries: Thus in Franz Schubert's "Das Wandern" ("Wandering") from the cycle Die schne Mllerin ("The Fair Maid of the Mill"), the accompaniment suggests the continual flow of the millstream, while the energetic vocal melody reflects the enthusiasm of the young traveller. ISBN 9780-521848671, The String Quartets of Mieczysaw Weinberg: A Critical Study, Nineteenth-Century Music: Quantity, Quality, Qualities, Schubert's Journeys Through the Underworld: Analyses of Fahrt zum Hades and Gruppe aus dem Tartarus, Harmony, Tonality and Structure in Vaughan Williams's Music Volume 1. Schubert unveils another pianissimo theme in the cellos and then violins whose apparent major-key serenity, over a gently syncopated accompaniment - like a supernatural accordion - is really a tonal and emotional illusion. realized the motive of the B-section may sound as a harmonic distillation (in the major) of the main motive of the A-section; Schubert in fact "puts it on the table" by attaching The song is a solo for. This song is set for solo voice and piano. This bibliography and guide consists of over 1,500 citations to both primary sources and the burgeoning secondary literature, annotated and subdivided by category. The first "obvious" element to this piece is the accompaniment. 70 no. In line with that nineteenth-century prerequisite for composerly prowess, his abundant melodies were reported to have required no labouring thoughts. Part I of this book will serve as an introduction to Heinrich Schenker as a composer and to the theoretical and philosophical bases of the subsequent analysis by surveying the development of the organic metaphor throughout his writings. When Schubert began writing his symphony in B minor in the autumn of 1822, the 25-year-old Viennese composer was charting new musical terrain. In terms of the history of the symphony, this music is unprecedented. h|y TSirCc5>h:uAQTQ @0$QfaFD Q+lk>\{g}0 p8lszCPX$lwd_@tW$6v|?#xwu9cS0f(L>b+5:l#fm]0_,xL)8 (g@R/4bB# )>h ?4@#04C#}di2}^Gi43ov I've been playing and listening to Schubert's Opus 90 Impromptus since I was about 14, when my mother fell in love with Brendel playing the fourth of the set, in A flat, and insisted that I learn it. Schubert typically doesnt write his own lyrics, but takes poems that he finds inspirational, and this poem especially is an emotional one about a loved one that has just died, but the singer is asking if the love still exists and goes on even though the person has passed on, and how they can see their love through the night sky and the shining stars. And then theres the D960, which strikes me as a very life-affirming sonata (not unlike Beethovens Op 110), despite the rather dark slow movement. 94 (D.780) A lecture accompanying a performance of the six pieces . Posth. The second movement, in E major, is also in three beats to the bar, and many conductors take a similar if not identical tempo in both movements, which amplifies the strange sense of unity across both pieces. What we know today as Schubert's Unfinished Symphony is the two movements: an Allegro moderato and Andante con moto. Damschroder reformulates the apparatus for Roman-numeral harmonic analysis, integrating his own specula- The most recent masterpieces in the genre were Beethoven's 7th and 8th, premiered in 1813 and 1814 in Vienna. To borrow Nikolaus Harnoncourt's phrase (who was originally talking about the draft of the finale of Bruckner's unfinished Ninth Symphony), what Schubert finished of this B minor symphony has all the strangeness, surprise, and shock of a "stone from the moon". D.899. He isnt progression from F Major to A-flat Major and back to F Major, but rather gliding through them and having the mode mixture section simply fade away and pass on. With predominately I and V chords interspersed with applied chords, we come to a slightly unexpected minor vi at the fermata on the third system of the first page. 0000058383 00000 n 63, pp. The slow second movement is perhaps the most original. This thesis contains four chapters. There is a brief move to B minor in Bars 5-6. The work starts with a C major chord swelling over two measures. The song's lyrics are based on the poem written by Johann Wolfgang Van Goethe. 0000058199 00000 n So this is a three chord sequence which is labeled as A2(-3/+6/-3). to the analysis techniques discussed by Gibbs and Yonatan, Pesic's harmonic analysis of Schubert's compositional technique of exploring the dialectic of V and bIV to create harmonic elongation should also be taken into consideration when analyzing his works. About us. Bars 1-4: Introduction. While it goes almost without saying that`context' is a vital aspect of a work's meaning and that music is not autonomous, what these texts show is that the question of how analytical and contextual detail can and should interact has still not been settled. It was later discovered that Schubert had made a petition to marry Grob, but was unable to due to the harsh marriage consent law of 1815., which required the ability to show means to support a family, which Schubert was unable to do as a struggling composer. The end of the movement is no less remarkable: that ghostly theme returns, but Schubert manages to wrest the music towards a B minor resolution instead of another existential exploration of its musical and emotional possibilities. The issues of harmonic progression, voice leading, and texture are addressed in addition to relevant compositional concepts like repetition, variation, and elaboration. Ive looked at the piano parts of Schubert songs and I agree, they are very difficult! The turbulent middle section provides a violently dramatic contrast that is marked by an impassioned duet between first violin and first cello. Chapter II describes in detail the form of each of the movements. But the progression between these two states bears comparison with both his philosophy and his harmonic processes, and I thus focus on the function of the dominant chord, exploring ways in which it can replicate the structures of drive and desire. Studying with Sechter: Newly-Recovered Reminiscences about Schubert by his Forgotten Friend, the Composer Joseph Lanz, in: Music & Letters 88/2 (May 2007): 226-265. 0000034962 00000 n In mid-flow, just before you think the music's going to comfortably cadence again, Schubert pulls the rug out from under your ears - so to speak. Towards the end, the tempo increases by degrees, as though the music is being consumed by frenzy, leading to a coda that dramatically sums up the Quintets harmonic character. 0*a`v-/#lAmJ/cp vlBL<2IV&=eVut4NKgeB22e*`9Ah@fN%|6>$0I'+'1g%-OPhjP-:%&Q.'E"v6Yva~ ts?7[ sC$3gYvv8\*:@J@X:`@@hh* pqqC@r@i Qac| )8QAcC6L1^!F -Re&L=L At this point the singer asks another question to his love, if what has passed has really been love. Analysis. Further, I attempt to show that, out of mystical sonorities, Skryabin temporally unfolds a dialogue of different dominant drives, and eventually selects and nurtures a single one at the expense of others, a motion equivalent to desire. Within this little interlude of predominately mixture chords, Schubert uses the minor iv, minor i, Major VI, Major III, and the Major VII7- practically every chord from F minor except for the diminished ii, which may not seem like a logical choice of chord in a love song (although be it a depressing one). But instead the chromatic adventure is continued with a G# major chord, rather a long way off track from A major. Ave Maria!, (Latin: "Hail Mary") , original German title Ellens Gesang ("Ellen's Song") III, song setting, the third of three songs whose text is derived of a section of Sir Walter Scott's poem The Lady of the Lake (1810) by Austrian composer Franz Schubert. So, armed with a Peters edition of the score, I set off to my teachers house on my bicycle and made a fair attempt at wrecking Schuberts sublime, ethereal semiquavers. Die Forelle, (German: "The Trout") song setting for voice and piano by Franz Schubert, composed about 1817 (with later revisions), with words by Christian Friedrich Daniel Schubart. 0000039047 00000 n Let's keep it light to start. startxref The colours indicate the sustained notes from one chord to the next. 10 & Op. Schubert reinforced this with a range of dynamic contrast and use of texture and pizzicato. Your email address will not be published. The four movements of the quartet are: Allegro molto moderato (G major) Andante un . Ive been playing and listening to Schuberts Opus 90 Impromptus since I was about 14, when my mother fell in love with Brendel playing the fourth of the set, in A flat, and insisted that I learn it. Drive and Desire in Twentieth-Century Harmony: the Erotics of Skryabin, Music Reading Poetry. ", Interactive map of choirs who have registered to take part in @rscmcentres #singfortheking #coronation project, Lyme Regis beach #seaside #beach #coast #jurassiccoast #dorset #deckchairs, Reinventing the salon concert for the 21st century audience. II. Required fields are marked *. It is an open door to perceptions of the transcendent. Schubert begins An Emma with a simple expansion around F Major. The theme is like a death march in G minor, ending on a G major chord. This of course supports the voice while still moving harmonically. During this time though, he also receivd private lessons in composition from Salieri until 1817. 59, No. . It consists of (1) a biographical sketch highlighting experiences and relationships pertinent to his development as a composer; (2) an overview of his compositions; (3) an examination of contemporaneous critical reaction based on archival research; and (4) an account of the genesis of the concepts of monotonality and the organic metaphor through his theoretical work illustrated by examples from the standard repertoire. Metric and Hypermetric play in Benjamin Britten, 1943-1945, VII EUROPEAN MUSIC ANALYSIS CONFERENCE (2011), Three Sailors, Three Musical Personalities: Choreomusical Analysis of the Solo Variations in Fancy Free, Society for Music Theory (2015), Suzannah Clark. From the outset a dynamic rhythmic pulse is generated. And so, one can say that the music which came post-Winterreise the late piano sonatas, the two sets of Impromptus, the D946 Klavierstucke are most certainly mature works. This could have been harmonised with an E major chord, and then the dominant would have been reached as we expect of a sequence of four steps starting on A. Tuesday, December 9, 2008. 142) En el siguiente cuadro se indican las caractersticas principales de los 4 impromptus op. But what makes this music so erotic in nature? The Schubert Institute (UK). Chamber Orchestra of Europe/Claudio Abbado: Abbado's Unfinished is miraculously satisfying; some revelatory playing from the COE. A final remark concerns the end of the consequent or more specific the last part of the nested sentence of the consequence (indicated with d, mm. 0000041696 00000 n The longer melodic lines must be shaped and preserved at all times: despite the tempo, this is not a moto perpetuo exercise in the manner of Czerny! After the introduction, Schubert utilizes a rhythmic ostinato that creates a constant bed of sound. 'broken ring'). "Erlknig", Op. 6 (D. 780.6), as a favorite of the six. In comparison to the sequence in segment 1 this is one bar later with respect to the melodic line. This energetic movement opens in C major with the first theme given to staccato strings. 90. 3&(aX&cXaX=5bX?]vF0l1P{0g3Qqz8&d$I~n}0>U+Wt< C'<. Its interesting to see how Schubert struggled to stay in D major in the recapitulation. It will show how the authors ideas of chromatic displacement and motifs, respectively, may provide ways of reading the music which account for its chromatic content in an inclusive and positive manner. This leads to the next section of the exposition: the Transition. What's more, the second movement's minor-key theme floats above exactly the same gently throbbing rhythmic accompaniment that the first movement's second theme does - and the calm of the Andante's opening melody is yet another illusion, as it melts into weird keys and chromaticisms along the way. good!). It may be fanciful to assign such complex musical and thematic considerations to these pieces, but play them, or hear them, as a set, and I think the sense of a journey, and its eventual completion is evident, if only in the progressive tonalities of each piece. The IV is embellished by the double neighbour notes of 4 (E, mm. Their power comes from their ability to make other people powerful. Lots of give and take. The Quintet was modeled on analogous works by Mozart and Beethoven, but with a key difference in instrumentation: instead of an ensemble of two violins, two violas, and one cello, Schubert opted for a quintet comprised of two violins, one viola, and two cellos. First there is a descent of a third, but this time a major third, from D# to a B major chord, being the dominant of the dominant (V6/V). 2001, Daverio, John Crossing Paths: Schubert, Schumann and Brahms. At the fermata at the end of the third system on the second page, Schubert ends with a musical question with the Major III, and he answers it as he slowly modulates to the dominant of the minor vi chord at the fermata in the fourth system of the second page- we expect it to resolve to the minor vi, but magically the transition smoothly melts away and we come right back in to F Major with a Major I chord in the last section of the piece, and the piece finishes with a soft I chord dying off in the distance. Here, the 3/4 time signature suggests a rough, bohemian waltz, with a figure of widely-spaced bare octaves, and stamping off-beat accented triplets, alternating with a division of the beat into quavers, a stark contrast to the flowing triplets of the earlier sections. A multilingual glossary of Schenkerian terms and an index of authors concludes the volume. Harmonic analysis in practice: A critical review of the labels employed to describe harmony . Analysis (+more): Schubert- Der Erlknig David Bennett Thomas 19.2K subscribers Subscribe 1.6K 158K views 10 years ago Study composition at The University of the Arts in Philadelphia!. The model starts on I6 in m. 142. Two of the movements main motives can be described generally: a turn figure (first heard in the fourth measure) and a dotted rhythm that is basically interchangeable with a triplet fanfare gesture. The finale is filled with jaunty, folk-ish rhythms and is, perhaps, the most explicitly Beethoven-influenced movement of the Quintet. https://www.uarts.edu/academics/compositionHey, you might like some of the other music theory videos I made. Much has been written on the connections between the works, and it is easy to drown in a sea of complex musical analysis and confusing hypothetical debate as to whether the pieces share connections and organised structures. These are works born out of the tumult ofWinterreise, and, in my humble opinion, are best tackled by a musician who has lived with the music, and the composer (albeit deceased), for a long time. It is a VII in this key. The Cross-Eyed Pianist is free to access and ad-free, and takes many hours every month to research, write, and maintain. 0000021964 00000 n So the model consists of a four bar phrase and within that there is a three step harmonic rhythm. The same construction is used in the progression from the IV6/5 to the applied dominant V4/3 of the minor version of the dominant (v; mm. ", Vertigos Musical Gaze: Neo-Riemannian Symmetries and Spirals, "Women in Alan Lomax's recordings of Spanish folk music (1952-53)", at the American Musicological Society Annual Meeting, San Antonio (UE), 1-4 November 2018, Common-tone tonality in Italian Romantic opera: An introduction (text). 0000057564 00000 n This will be called the STA-B motive. A brief analysis of the String Quartet leads to deeper understanding about their personal compositional method, the harmonic progression, the form of the piece, and how they create different colors and nuances from the instruments. At the centre of the piece is a lyrical trio reminscent of Schuberts Wanderer fantasy, after which the sense of alienation and tension from the earlier pieces is swept aside by the gradual acceleration of all the elements and the home key, A flat, becomes fully dominant, while a life-affirming dance-like figure takes over in the bass. Six moments musicaux, D. 780 ( Op. Schubert wrote An Emma on September 17, 1814. 2011. 0000017263 00000 n endstream endobj 149 0 obj<> endobj 150 0 obj<> endobj 151 0 obj<>/Encoding<>>>>> endobj 152 0 obj<>/Font<>/ProcSet[/PDF/Text]/ExtGState<>>>/Type/Page>> endobj 153 0 obj[154 0 R 155 0 R 156 0 R] endobj 154 0 obj<>>>>> endobj 155 0 obj<>>>>> endobj 156 0 obj<>>>>> endobj 157 0 obj<> endobj 158 0 obj<> endobj 159 0 obj<>stream REGARDS FROM ROCHESTER by Thomas Hewitt Jones. But Stern, following the courage of her convictions, has arrived at a new way of hearing them. 1 Geister or Ghost. Schubert contextualizes the first question with a Major III chord at the fermata in the third system. 0 9 in C Major, byname Great C Major, symphony and last major orchestral work by Austrian composer Franz Schubert. Then the applied dominant of the dominant (m. 473) announces the dominant but what follows (surprise) is a v, a F# minor chord. 0000001016 00000 n Orchestra of the Age of Enlightenment/Charles Mackerras: on period instruments, Mackerras's version also lets you hear speculative completions and realisations of the B minor's symphony's scherzo and finale. Chapter I discusses pertinent information concerning the writing, first performances, and success of Schubert's Symphony No. Thank you for your thoughtful comments, as always. - Cuatro impromptus, D. 935 (Op. 472-473). 142, N 2 using Sposobin's Harmonic Functional Theory, which is a theory based on Riemannian Harmonic Functional Theory.I'm going to analyse the rest of this piece in the following videos. ), I wonder if youve ever accompanied anyone in Schuberts lieder? The third Impromptu, in G-flat major, is probably the best-loved of the set, with its serene, nocturne-like melody, redolent of Schuberts Ave Maria, and its fluttering harp-like broken chords, which soothe after the torment of the previous piece. 5) with a more elaborated cadence with the applied seventh chord of the predominant (m. 93), the predominant (m. 94), the cadential sixth-four chord (m. 95) and then dominant and tonic. The first part, Bars 4-20: the whole movement is constructed mainly upon the initial figure. The next two steps confirm the relation to the dominant. Harmonic Analysis: Stndchen (Serenade) - F. Schubert Timon de Nood 2.24K subscribers Subscribe 13K views 5 years ago #Schubert #analysis #Stndchen This is a music theory video on the. The music begins in A major; however, both the singer and . And playing it like a Chopin Nocturne, as my teacher advised, is wonderful it could almost be Chopin! The movements are as follows: Moderato in C major. Schubert's orchestration signals a different spiritual dimension to this music as well: trombones, last used in a major symphony to triumphant effect in Beethoven's 5th, connote something different here. 0000041732 00000 n trailer Schubert's C major symphony, known as the Great, which he would complete in 1826, takes a different, more extrovert approach to the symphonic project; only Bruckner could be said to follow or. Schubert's most noted musical traits, which have consistently occupied both biographers and theorists, are his lyric abundance and harmonic adventure.
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