Book contents
- Schubert’s Piano
- Schubert’s Piano
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Acknowledgements
- Abbreviations and Conventions
- Introduction
- Part I The Piano in Schubert’s World
- 1 Franz Schubert as a Pianist
- 2 Between Society and Solitude: Schubert’s Improvisations
- 3 The Piano in Schubert’s Lied Texts
- 4 Schubert’s Four-Hand Piano Music
- Part II Instruments and Performance
- Part III Sound and Musical Imagery
- Part IV Understanding Schubert’s Writing for the Piano
- Select Bibliography
- Index
1 - Franz Schubert as a Pianist
from Part I - The Piano in Schubert’s World
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- Schubert’s Piano
- Schubert’s Piano
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Acknowledgements
- Abbreviations and Conventions
- Introduction
- Part I The Piano in Schubert’s World
- 1 Franz Schubert as a Pianist
- 2 Between Society and Solitude: Schubert’s Improvisations
- 3 The Piano in Schubert’s Lied Texts
- 4 Schubert’s Four-Hand Piano Music
- Part II Instruments and Performance
- Part III Sound and Musical Imagery
- Part IV Understanding Schubert’s Writing for the Piano
- Select Bibliography
- Index
Summary
In contrast to many contemporary composers, Franz Schubert was neither a virtuoso at the piano nor on any other instrument. His relationship to the piano appears rather pragmatic, in that he turned to the instrument when he was in demand: as a song accompanist and for dance music at Schubertiaden, as a four-handed partner or as a page-turner at larger events. He certainly did not see himself as a pianist, but first and foremost as a ‘composer’.This chapter explores Schubert’s public and semi-public appearances as a pianist by evaluating the contradictory statements about the quality and the quantity of his piano playing. It is concerned with his musical education, explores his piano playing in his later years and highlights his public appearance as a pianist. The comparison of Schubert’s biography with those of Viennese piano virtuosos and other composers sheds new light on the rapid development of the musical tastes of the Viennese bourgeois society in the first decades of the nineteenth century. Finally, the question of whether and to what extent the fact that Schubert was not present in the public concert life of his time diminished his career as a composer of ‘great’ works is discussed.
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- Schubert's Piano , pp. 9 - 29Publisher: Cambridge University PressPrint publication year: 2024