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Schubert’s Drei Klavierstücke, D. 946, nos. 1 and 2, and the Case of the Crossed-Out C Section

Schubert’s Drei Klavierstücke, D. 946, nos. 1 and 2, and the Case of the Crossed-Out C Section Schubert’s Drei Klavierstücke , D. 946 (c. 1828, pub. 1868), raise several questions regarding their compositional genesis and editorial processes. Most peculiar is Schubert’s omission of an entire C section in A♭ major of what was originally to be a five-part rondo form (A–B–A–C–A) in the first piano piece. Scholars have noted this revision, acknowledging Brahms’s role as the anonymous editor of these pieces. Yet why Schubert crossed out this entire section in the manuscript remains unanswered. Focusing on the first two Klavierstücke , since both occur within the same manuscript and are believed to have been written consecutively, this article explores some possible motivations for Schubert’s removal of the C section from the first piano piece. In particular, the article suggests that, even though the first two pieces originally shared a similar tonal and formal plan, Schubert’s treatment of mixture in the respective opening refrains may have caused him to opt instead for a three-part ternary form for the first piece and a five-part rondo form for the second. The article closes by comparing Schubert’s use of mixture in the first two piano pieces with that of several other works written by the composer around the same time. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Schubert’s Drei Klavierstücke, D. 946, nos. 1 and 2, and the Case of the Crossed-Out C Section

Journal of Music Theory , Volume 56 (1) – Mar 20, 2012

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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-1546967
Publisher site
See Article on Publisher Site

Abstract

Schubert’s Drei Klavierstücke , D. 946 (c. 1828, pub. 1868), raise several questions regarding their compositional genesis and editorial processes. Most peculiar is Schubert’s omission of an entire C section in A♭ major of what was originally to be a five-part rondo form (A–B–A–C–A) in the first piano piece. Scholars have noted this revision, acknowledging Brahms’s role as the anonymous editor of these pieces. Yet why Schubert crossed out this entire section in the manuscript remains unanswered. Focusing on the first two Klavierstücke , since both occur within the same manuscript and are believed to have been written consecutively, this article explores some possible motivations for Schubert’s removal of the C section from the first piano piece. In particular, the article suggests that, even though the first two pieces originally shared a similar tonal and formal plan, Schubert’s treatment of mixture in the respective opening refrains may have caused him to opt instead for a three-part ternary form for the first piece and a five-part rondo form for the second. The article closes by comparing Schubert’s use of mixture in the first two piano pieces with that of several other works written by the composer around the same time.

Journal

Journal of Music TheoryDuke University Press

Published: Mar 20, 2012

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