| Sumario: | The article focuses on a recent monograph that reexamines Franz Schubert’s instrumental music, particularly his string quartets, through the concept of "lyric form" and its distinct teleology. It critiques the longstanding tendency in music scholarship to evaluate Schubert’s sonata forms against Beethovenian norms, arguing instead that Schubert’s compositional practices embody a unique, processual lyricism characterized by features such as parataxis, variation, and formal-functional multiplicity. The monograph offers detailed analyses of Schubert’s early and mature quartets, challenging conventional critiques of his formal structures by emphasizing rhetorical and temporal dimensions often overlooked in traditional analytical models. Ultimately, the work contends that perceived shortcomings in Schubert’s sonata forms arise from limitations in prevailing analytical methods rather than from the composer’s own musical choices.
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