Musical Borrowing
An Annotated Bibliography

Individual record

[+] Hollander, Hans. "Zum Selbstzitat in Schuberts Musik." Das Orchester 27 (January 1979): 11-13.

The subjective nature of Schubert's music is manifested in his use of self-quotation. Symbols found in the early songs recur in later works with their significance deepened through personal experience, including musical usage. One such symbol, dactylic rhythm, which represents the wanderer (Schubert himself) and death, appears in various guises throughout Schubert's compositions, including recall of melodic themes in similar psychological situations. This form of self-quotation differs from that found in other Schubert compositions such as variations on his own themes.

Works: Liszt: Transcription of Schubert's Wanderer Fantasie; Schubert: Fantasia for Violin and Piano in C Major, Impromptu No. 4 in B-flat Major, Der Jüngling und der Tod, Octet in F Major, Rosamunde, String Quartet in A Minor, String Quartet in D Minor, Der Tod und das Mädchen, Variations on Die Forelle, Variations on Trockne Blumen for Flute and Piano, Wiegenlied, Der Wanderer, Wanderer Fantasie, Wanderers Nachtlied.

Index Classifications: 1800s

Contributed by: Cathleen Cameron

Except where otherwise noted, this website is subject to a Creative Commons Attribution 4.0 International License
Musical Borrowing and Reworking - - 2024
Creative Commons Attribution License