Rediscovering Franz Schubert through the pianos of his time

The role of musical instruments in the production of musical meaning has often been underestimated in Western musicological thought and performance traditions. The still-persistent idealistic view of music as an abstract, self-contained entity encoded in the musical text continues to diminish the vital roles that performers and their instruments play in the process of music-making.

 

In my research, I challenge this notion by arguing that the relationship between pianist and piano is central to the creation of musical meaning. Specifically, I focus on the performance practice of Franz Schubert’s piano music, approached through the lens of the pianos of his time, with a particular emphasis on their acoustic properties. Recent scholarship indicates that Schubert’s performance notation is often incidental and suggestive rather than prescriptive. This opens the door to a deeper exploration of the expressive possibilities embedded in the instruments themselves. I propose that the unique acoustic characteristics of Viennese fortepianos are crucial to understanding Schubert’s poetic musical language and performance practice.

 

The aim of my research is to revisit Schubert’s piano repertoire through the sonic and tactile qualities of Viennese fortepianos. By doing so, I seek to uncover how these historically significant instruments can inspire and inform contemporary performers, offering a more nuanced and intimate understanding of Schubert’s music.