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The first movement of Schubert's String Quintet, D. 956, is among the early nineteenth‐century repertoire's clearest examples of what Janet Schmalfeldt has called ‘form as the process of becoming’. In this article we show how the governing formal principle of the movement's exposition is the...
In the Adagio from Schubert's String Quintet, music of otherworldly bearing frames and encloses an utterly contrasting music of churning turmoil. The analysis offered in this article addresses those passages that connect and mediate this contrast: the sighing codetta to the first section which...
Schubert's Quintet in C major has drawn the attention of a number of Schenkerian analysts. While most have examined aspects of form and tonal structure within specific movements (Beach 1993, 1994 and 1995; Smith 2006; and Suurpää 2000), others have attempted to analyse the entire Quintet along a...
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