Gülke, Peter, Schubert und seine Zeit ( Regensburg: Laaber, 1991): 197 Google Scholar Spitzer, Michael, ‘ Mapping the Human Heart: A Holistic Analysis of Fear in Schubert’, Music Analysis 29/ 1 ( 2010): 149– 213 CrossRef Google Scholar, here 164 Joe Davies, ‘Interpreting the Expressive Worlds of Schubert's Late Instrumental Works’ (PhD diss., University of Oxford, 2019): 105. As I show, the concept of psychoanalytic trauma – a concept widely deployed in current literary criticism to scrutinize repetitive patterns such as hauntings and circular temporality in Gothic literature – is especially instructive in terms of helping construct a richer understanding of the symphony.ģ Peter Gülke describes this phrase as ‘an oracular, whispering unison’ Michael Spitzer says that it ‘ticks every box for distant threat and mystery’ while for Davies, it ‘impart a mysterious tone to the movement’. In light of this relative neglect, this article offers a Gothic reading of the symphony, finding correspondence with Gothic signifiers of ghostly hauntings and the ‘problem of closure’, and draws upon relevant literary criticism and psychoanalytic theory. 759, 1822), a work whose thematic presentation and form have been frequently related to states of terror and horror, but rarely correlated further to Gothicism and never consistently so across the two completed movements.
One notable exception is the ‘Unfinished’ Symphony (D. I think life, as in music, are the same.Schubert's interest in Gothicism is explored in numerous songs written between the 1810s and early 1820s and, in recent years, has served as an aesthetic agenda that some scholars have applied to his instrumental music. The idea that talents and gifts of two people or entities are most powerful in mutual submission. Sometimes it is necessary to understand that two equally great forces usually needed to play in compliment, that one sometimes should be singled out and silenced of its own accord in order for the overall goal to be accomplished.
We forget that the silence is still a MAIN part of the band, or the project, or the fellowship, or the business, or the relationship. On a deeper level, there is something that the silence creates. Danny and I have a mutual respect for each other personally and musically, so this decision (made on the fly usually) is fair so both of us aren’t sitting out too long. And depending on what part is necessary, that could mean either of us, at any point, may not play a portion or all of a particular song. Sometimes there is simply too much going on for us both to play. However, sometimes it is necessary for one of us to not play a thing. Sometimes Danny will play a smooth overdrive part and I will take a higher, shimmery part with a lot of sparkle and delay, or sometimes I will play a mean, low fuzz part and Danny will play a high compressed ebow part, each way, it equally attributes to the overall band’s musical expression and is equally cool in the process. Submitting certain guitar parts for the sake of great musical balance. Not to say that if Danny and I so desired, we could play the same way, the truth is we don’t want to it is not a part of our guitarist DNA.īecause this great musical relationship exists at Crash, Danny and I are constantly creating space for one another. On the other hand, I play much more forte and precise, dynamic solos and heavier, driving rhthyms inspired from the great classic guitarists such as David Gilmore of Pink Floyd and Jazz legend Pat Metheny. He plays the beautiful soaring lead sounds and those great creamy rhythms and tones reminiscent of U2 and Radiohead. Danny and I come from two different worlds of guitar playing. One in particular is Daniel Ortega, a phenomenal guitarist. I have the privilege of playing with some of the best musicians in the country at Crash. In my experience in the Crash band, I see something different. Most tend to overplay or try to get in as many cool licks as possible in a given song. For the most part musicians are great at the first 2 elements, but the third is almost… well silent in the vocabulary of a musician, especially a guitarist. Music is made from only 3 elements: Rhythm, Sonority, and Silence.
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