Sobre performance, análise, e Schubert

An introductory critique of my own 1985 essay about the performance-analysis relationship sets the stage for a portrayal of the Performer as the individual most especially in charge of shaping our perceptions of form within the first movement of Schubert's Piano Sonata in A Minor, Op. 42 (D845). Ideas about form as process in Beethoven's music, about Schubert's personal and professional status in 1825, and about the interplay between formal and motivic conventions and transformations will be brought to bear upon the question of how performers and analysts alike might approach an understanding of Schubert's formidable work.