As promised earlier, an extended look at one of Schubert's larger, more public works will confirm the influence of the private genres in which he so excelled. That influence—an influence Schubert absorbed from his environment and then transmitted to his posthumous posterity (curiously skipping a generation, as we have seen, owing to delayed publication)—is what produced the ultimate “romanticization” of the larger instrumental forms, as practiced by German composers (and others in the Germanic orbit) in the later nineteenth century. The obvious starting place is Schubert's fortuitously emblematic “Unfinished” Symphony of 1822. The following discussion should be read with score in hand.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 The Music Trance." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002010.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 The Music Trance. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002010.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 The Music Trance." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002010.xml