ABSTRACT

This chapter provides some "contrivances" as they affect two works by Franz Schubert which were bequeathed as fragments. Schubert's best-known short piano pieces are probably the Impromptus, or the Moments Musicaux. Another major work of the period, the unfinished C major Piano Sonata referred to in connection with mirror image, builds to another threefold cadence at the end of its exposition. Schubert's knowledge of the newly-invented kaleidoscope, and his father's to mental acrobatics, are discussed elsewhere. Contrivances these manifestations witnessed above in Schubert's work certainly are, so long as this does not imply that the processes entailed are purely mathematical or mechanistic, without any role for human imagination or artistry. A proper study of Schubert's compositions and sketches and exercises reveals an intellectual rigor on his part that bears comparison with that of any major composer and exceeds that of many.