Background
Newbould, Brian Raby was born on February 26, 1936 in Kettering, Northants, England. Son of Harry Raby and Norah Millicent (Butler) Newbould.
( Of all the great composers, none, not even Mozart, has ...)
Of all the great composers, none, not even Mozart, has been so dogged by myth and misunderstanding as Schubert. Since the 1920s, when the musical Blossom Time hit the stage, the notion of Schubert as a pudgy, love-lorn Bohemian schwammerl (mushroom) scribbling gemülich tunes on the back of menus in idle moments has never been quite eradicated. But in this major new biography (the first comprehensive work on Schubert in over fifty years) Brian Newbould lays to rest the stereotype of the composer plucking melodies out of the air, relying on instinct more than well-honed craft. Instead he paints a vivid and compelling portrait of a man who was compulsively dedicated to his art, a composer so prolific that he produced roughly one thousand works in an eighteen year period. Gifted with an intuitive know-how, coupled with a Mozartian facility for composition, Schubert combined the relish and wonder of an amateur with the discipline and technical rigor of a professional. He moved quickly and comfortably among genres, and sometimes composed directly into score; but many pieces required painstaking revision before they satisfied his growing self-criticism. Examining afresh the enigmas surrounding Schubert's religious outlook, his loves, his sexuality, his illness and death, Newbould offers above all a celebration of a unique genius, an idiosyncratic composer of an astonishing body of powerful, enduring music.
http://www.amazon.com/gp/product/0520219570/?tag=2022091-20
(Astonishingly, Schubert's symphonies have never received ...)
Astonishingly, Schubert's symphonies have never received the detailed study that their prominence in the orchestral repertoire would suggest they deserve. In this book Professor Brian Newbould, perhaps the best-known of contemporary Schubert scholars, examines each symphony for its individuality and shows its relationship to Schubert's symphonic ouvre. He gives particular attention to the sketched works that have recently emerged in his own completions and to the two familiar masterpieces of Schubert's maturity, the 'Unfinished' and the 'Great C major'. He also casts new light on the role of Haydn and Mozart as models for the younger Schubert. Schubert and the Symphony is conceived as a companion to the symphonies for the listener, the professional musician and the student.
http://www.amazon.com/gp/product/0907689272/?tag=2022091-20
(Of all the great composers, none, not even Mozart, has be...)
Of all the great composers, none, not even Mozart, has been so dogged byu myth and misunderstanding as Schubert. In this study, Schubert scholar Brian Newbould examines the enigmas surrounding the composer's religious outlook, his loves, his sexuality, illness and death.
http://www.amazon.com/gp/product/0575067470/?tag=2022091-20
(The eleven essays that comprise this volume represent som...)
The eleven essays that comprise this volume represent some of the most significant strands of current Schubert research. Arising from an international conference organized by the Schubert Institute (UK) and the University of Leeds in 2000, the emphasis of the papers is on issues of performance practice, analysis and hermeneutics. In the opening essay of the book, Charles Rosen illuminates some of Schubert's compositional practices and their implications for performers. Further performance problems are explored by Walther Durr who highlights the paradox between Schubert's precise notation of pitches and rhythm and his imprecision in relation to dynamics and articulation. As Roy Howat makes clear in his essay, the performer needs to read between the lines of even the best Schubert editions. Aspects of Schubert's style are explored in other essays. Clive McClelland discusses the composer's use of ombra style, while Brian Newbould examines Schubert's techniques of compression and expansion as illustrated in his dances and in sonata movements. Robert Hatten explores the G major Piano Sonata as pastoral, and James Sobaskie and Nicholas Rast provide complementary analyses of the A minor Quartet. The organization of musical time in Schubert and his relationship in this regard to later composers is the subject of Susanne Kogler's essay, while Walburga Litschauer discusses Schubert's early piano sonatas and previously unknown versions of them. Various enigmas surrounding Schubert's life and music are discussed by Roger Neighbour. With contributions from both internationally acclaimed and younger scholars, this volume represents a further step in the multifaceted direction that Schubert research is taking. .
http://www.amazon.com/gp/product/0754603687/?tag=2022091-20
composer conductor historian university professor
Newbould, Brian Raby was born on February 26, 1936 in Kettering, Northants, England. Son of Harry Raby and Norah Millicent (Butler) Newbould.
He was educated at Gravesend Grammar School, and earned a Bachelor of Music degree with top honors from the University of Bristol. The first two movements of Schubert"s Eighth or "Unfinished" Symphony, an Allegro moderato in B minor and an Andante con moto in East major, completed in the Autumn of 1822, were sequestered by Anselm Hüttenbrenner in Graz after Schubert had sent them to him in full score in fulfillment of a commission by the Graz musical society.
7 in East major, Number. 8 in B minor ("Unfinished") and Number. 10 ("Last") in Doctorate major from incomplete sketches in short score. They were not discovered and conducted by Johann Herbeck until 1865, when he visited the aging Hüttenbrenner and persuaded him to show him, and lend him, the Mississippi of the legendary rumored missing Schubert B minor Symphony in return for promising to conduct a still unperformed overture of Hüttenbrenner"son
The last pages of the Schubert Mississippi contained a sketch of the projected third movement (a scherzo in B major with trio in G major) ultimately completed by Newbould by (1) simply orchestrating the scherzo proper, completed by Schubert in short score, (2) harmonizing and orchestrating the first strain of the trio of which Schubert had written out only the unharmonized melodic line, (3) conjecturally composing the second strain of the trio, entirely missing in the Mississippi, in the Schubert style with contrasting material followed by a return of the theme of the first strain adding slight embellishments in the Schubert manner, and (4) proposing that the large-scale B minor first entr"acte of the Rosamunde incidental music composed several months later in early 1823 by Schubert be played as the likely intended finale of the B minor Symphony since it matched the first movement, and the sketch of the scherzo, in key and style and was composed shortly afterward.
Newbould also produced a conjectural completion of Schubert"s fragmentary Symphony Number. 7 in East major. Both Sir Charles Mackerras and Sir Neville Marriner have conducted recorded performances of Newbould"s conjectural completions of these Schubert "unfinished symphonies".
(Astonishingly, Schubert's symphonies have never received ...)
(The eleven essays that comprise this volume represent som...)
(Of all the great composers, none, not even Mozart, has be...)
( Of all the great composers, none, not even Mozart, has ...)
(New edition)
(1st Ed. (U.S.))
Fellow Royal Society Arts.
Married Anne Leicester, 1960 (divorced 1971). Children: Alison, Stephen. Married Ann Elizabeth Airton, July 27, 1976.
1 child, Fiona.