Introduction: Schubert's late style and current musical scholarship Lorraine Byrne Bodley; Part I. Reception Histories: 1. 'Classical' music and Viennese resistance to Schubert's Beethoven project John M. Gingerich; 2. Beethoven, Schubert, and the movement of phenomena Scott Burnham; 3. [Un]Himmlische Länge: editorial intervention as reception history Anne M. Hyland; 4. Citation, narrative and meaning: Woody Allen and the late Schubert Harry White; Part II. The Late Instrumental Music (1): Hermeneutics and Performance: 5. Schubert's alchemy: transformative surfaces, transfiguring depths Robert S. Hatten; 6. Against the grain: Op. 78 and a hermeneutics of late style Richard Kramer; 7. Schubert's Wiegenlied: the Andante sostenuto from the Piano Sonata in B flat, D. 960 Eric Wen; 8. Schubert's reconciliation of gothic and classical influences Marjorie Hirsch; 9. The first movement of Schubert's Piano Sonata D. 959 and the performance of analysis Julian Horton; Part III. The Late Instrumental Music (2): Meaning and Genre: 10. Schubert hearing Don Giovanni: Mozartian death music in the 'Unfinished' Symphony Glenn Stanley; 11. Longing for the unattainable: the second movement of the 'Great' C major Symphony Lauri Suurpää; 12. Tonal recollection in Schubert's late instrumental music Ryan McClelland; 13. Detours, wrong tracks, and dead ends: the 'wanderer' in the labyrinth of Schubert's late instrumental music Xavier Hascher; 14. Formal ambiguity and generic reinterpretation in the late instrumental music Su-Yin Mak; Part IV. Defining Late Style: 15. The 'problem of solitude' and critique in song: Schubert's loneliness Susan Youens; 16. Music of the orphaned self? Schubert and concepts of late style Lorraine Byrne Bodley; 17. Bounded finitude and boundless infinitude: Schubert's contradictions at the 'final barrier' Blake Howe; 18. Invocations of memory in Schubert's last songs Jürgen Thym; 19. 'The prerogative of late style': thoughts on the expressive world of Schubert's late works Benjamin M. Korstvedt; 20. Singing against late style: the problem of performance history Laura Tunbridge.