Drama in the Music of Franz Schubert

JOE DAVIES is a faculty member in the Division of Arts and Humanities at New York University Abu Dhabi. He previously held research and teaching positions at Maynooth University, the University of California, Irvine, and the University of Oxford. JAMES WILLIAM SOBASKIE is Professor of Music Theory and Composition at Mississippi State University. He has published articles and essays on Fauré, as well as a critical edition of the composer's last two works, and co-edited with Joe Davies the collection Drama in the Music of Franz Schubert (Boydell Press, 2019). SUSAN WOLLENBERG is Emeritus Professor of Music, University of Oxford, as well as Emeritus Fellow of Lady Margaret Hall.

• Preface - and Introduction: Internal Dramas - Laura TunbridgeOpera that Vanished: Goethe, Schubert and Claudine von Villa Bella - Lorraine Byrne BodleyPioneering German Musical Drama: Sung and Spoken Word in Schubert's Fierabras - Christine MartinThe Dramatic Monologue of Schubert's Mass in A flat major - Schubert's Dramatic Lieder: Rehabilitating 'Adelwold und Emma', D. 211 - Susan WollenbergGretchen abbandonata: The Lied as Aria - Marjorie HirschThe Dramatic Strategy Within Two of Schubert's Serenades - 'Durch Nacht und Wind': Tempesta as a topic in Schubert's Lieder - Clive McClellandReentering Mozart's Hell: Schubert's 'Gruppe aus dem Tartarus', D. 583 - Susan Youens'Zumsteeg Ballads without Words': Inter-Generic Dialogue and Schubert's Projection of Drama through Form - Anne HylandLyricism and the Dramatic Unity of Schubert's Instrumental Music: The Impromptu in C Minor, D. 899/1 - Brian BlackMusic as Poetry: An Analysis of the first movement of Schubert's Piano Sonata in A major, D. 959 - Xavier HascherVirtual Protagonist and Musical Narration in the Slow Movements of Schubert's Piano Sonatas D. 958 and D. 960 - Lauri SuurpaaStylistic Disjuncture as a Source of Drama in Schubert's Late Instrumental Works - Select Bibliography

Correcting the record when it comes to Schubert's supposed lack of success in musical drama... the editors seek to highlight Schubert's innovations in theatrical composition, shed new light on those of Schubert's lieder that have special claims on drama, and elucidate his unique approaches to drama in instrumental music... should interest musicologists, theorists, and performers alike, contains many valuable new insights into Schubert's music, an oeuvre that cannot be so easily pinned down by any traditional aesthetic category.