Professional Documents
Culture Documents
REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/741765?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access
to The Musical Quarterly
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
AMBIGUITY IN SCHUBERT'S
RECAPITULATIONS
By DANIEL COREN
568
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
Schubert's Recapitulations 569
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
570 The Musical Quarterly
iii begins in IV
Piano Quintet in A, D. 667 i begins in IV;
abridged
1820 String Quartet in C Minor, D. 703* i no primary
material
iv begins in bIII
String Quintet in C, D. 956 i figuration from
development
overlaps with
return of primary
material
*Incomplete work.
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
Schubert's Recapitulations 571
i - 1117T - \'I = IV - I4 - V7 - 1.
The crucial choice facing Schubert, once he had decided to compose
a subdominant recapitulation, was whether or not to follow the
same route to the tonic as he had to the dominant in the exposition.
Such literal transposition would have necessitated a modulation to
A-flat major, that is, to IV of IV, in the course of which A-flat would
be approached through its own subdominant. Apparently, Schubert
was not willing to weight his movement so heavily towards the sub-
dominant side.
4Tovey, op. cit., p. 118. Mosco Carner, "The Orchestral Music of Schubert," in
Gerald Abraham, ed., Music of Schubert (New York, 1947), p. 30.
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
572 The Musical Quarterly
Ob.
Cl.
Fr.
Timp.
VC.
VIa. _ _
t Cb.
4f
Prl.
Ob.
CI.
Coor.
CrI,
'The.
(8)
VT.
Via.
Vr.
a Ch I
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
Schubert's Recapitulations 573
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
574 The Musical Quarterly
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
Schubert's Recapitulations 575
' II I~-06 - - .- - - -
A~I I =T I) T
qL) r ? r- u.__
p Ao , = . . . ..
" L ,
. . . . .. .
be
(It
of
rection.)
It is necessary to examine this particular cadence in such detail,
for its strength in the exposition is matched only by the Neapolitan
cadence at measure 13. In the absence of primary material it be-
comes the one strong cadence in the entire recapitulation. There is
no doubt as to the closing function of the remaining fifty measures
of exposition; indeed, so much harmonic instability demands a large
block of static tonic closure.
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
576 The Musical Quarterly
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
Schubert's Recapitulations 577
7 The finale of the "Great" C Major Symphony prepares its recapitulation with
a standard dominant pedal, but the primary material itself returns in E-flat major
The Grand Duo, D. 812, contains an especially complicated example of nontonic re-
capitulation. The finale begins with a modulatory theme that moves from A minor t
C major; in the recapitulation, the theme begins in C minor and moves to E-flat;
finally, in the very extended coda, it begins in C minor and ends in C major.
8 Tovey, op. cit., p. 119.
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
578 The Musical Quarterly
9 Charles Rosen, The Classical Style (London, 1971), pp. 456-58; Edward T. Cone,
"Schubert's Beethoven," The Musical Quarterly, LVI (1970), 779-93. Both writers con-
vincingly demonstrate that the rondo of Schubert's A Major Piano Sonata, D. 959, is
modeled after the rondo of Beethoven's G Major Piano Sonata, Opus 31, No. 1.
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
Schubert's Recapitulations 579
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
580 The Musical Quarterly
Ex. 4a. Piano Trio in B flat, D. 898, 1st mvt., mm. 1-5
Allegro moderato.
AIegro moderato.f
dtl--..&
fw
-t -AL I I a I
pigs.
F,
Apo. ,- . .. ., +'
A I --IN.,.- -----. T-
I, . -ji F i f rF _A I i
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
Schubert's Recapitulations 581
A I aLvq I tmp
i i.
t tempo
16.1.
a tempo
._ ,, ;,,
- or a te p
A L
As Felix Salzer
now "begins exa
harmonically, .
supertonic."" Y
biguity is not ca
already, any we
stable framewor
that G-flat has n
bass at measure 1
G-flat of the aut
cadence could ha
pronounced in t
11 "Die Sonatenform
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms
582 The Musical Quarterly
This content downloaded from 147.91.236.56 on Thu, 28 Feb 2019 16:37:26 UTC
All use subject to https://about.jstor.org/terms