The second reference to the Nonsense Society, although the group was not mentioned by name, appears in an obituary for Schubert by Eduard von Bauernfeld (1802–1890):
At the time Schubert came out into the world several young men in his native city, mostly poets and painters (e.g. the esteemed [Leopold] Kupelwieser), gathered together, whom genuine striving after art and similarity of views soon united in sincere friendship, and into whose circle Schubert too was drawn. The mutual communication between these youths and their artistic conversations had a great effect on him and stimulated him, if not so much to talk, at any rate to the most varied musical productivity. To several of these friends he was most cordially devoted to the end of his life, and he often expressed regret, in letters as well as conversation, that the friendly union of so many worthy young men, as will happen, became disrupted by their pursuing different careers and by other chances.11
Figure 2. Die Redaction: Herr Schnautze (The Editorial Board: Mr. Snout), 31 December 1817. Watercolor by Ernst Welker (Kritzli Batzli).
Figure 3. Schnautze Redacteur (Snout Editor), 18 April 1818. Watercolor by Johann Nepomuk Hoechle (Kratzeratti Klanwinzi).
Figure 4. Sebastian Haarpuder (Sebastian Hairpowder), 31 December 1817. Watercolor by Franz Goldhann (Ultimus).
Bauernfeld’s mention of “other chances” having led to the disruption of this circle of poets and painters was probably a hint that the increasingly strict police measures against club formations in Prince Clemens von Metternich’s Vienna made it too dangerous for the Nonsense Society to survive. One of the friends to whom Schubert “was most cordially devoted to the end of his life” was Franz Goldhann (1782–1856), the society’s oldest member—aged thirty-five—and thus code-named Ultimus. His father had helped Mozart out financially, and he himself would become a member of Ludwig Mohn’s reading circle in late 1823, using the new euphemism “Dr. Faust.” His family name Goldhann actually means golden rooster, and the portrait painted of him for the club’s first birthday party depicts him holding a shield displaying a barnyard fowl of this color. The pictures are full of such hidden clues to the members’ real identities. Fortified by the references from Anschütz and Bauernfeld regarding the importance of this society for Schubert and his musical output, I began the search for his presence in this extremely secretive, encoded material.
Iconographic Evidence
The most immediately compelling evidence for Schubert’s participation in the Nonsense Society could be gleaned from the many illustrations that accompanied the various issues of the newsletter. One particularly striking example is Zur Unsinniade—5ter Gesang (For the 5th Song of Nonsense) a watercolor containing the banner “Vivat es lebe Blasius Leks” (Long live Blasius Leks) and illustrating the last poem or song that Josef Kupelwieser wrote to describe the New Year’s Eve party on 31 December 1817 (see Figure 1). The term Unsinniade suggestively resembles a later, far more famous word-creation: Schubertiade. Could the former have served as the inspiration for the latter?
Standing in the middle of the scene is a short man with curly sideburns and wearing eyeglasses, dressed in a brown suit, whom I have identified as Schubert. He is accompanied by two young women attired in formal white dresses and blue accessories, arriving at the end of the party, perhaps after attending another festivity elsewhere. The little man on the left, wearing a hat with fancy feathers, is the still-life painter Johann Carl Smirsch (1793–1869), whose code name was Nina Wutzerl. He is mentioned in the Schubert literature for having provided the composer with the opportunity to send the deeply moving letter of 31 March 1824 to his close friend Leopold Kupelwieser in Rome.12 The man on the right, dressed as a roughneck from Berlin and offering a toast to the two female guests, is Carl Friedrich Zimmermann (1796–1820), the one Jewish member in the club. He painted this picture, which is signed with his code name Aaron Bleistift (Bleistift meaning pencil, used by a Zimmermann, meaning carpenter). The two women are most likely Babette and Therese Kunz, sisters with whom Schubert gave concerts in March 1818 and for whom he arranged, in December 1817, his two Overtures in Italian Style as fourhand piano works (D592 and D597). The person playing the violin at the left of the complete picture is the amateur painter Ludwig Kraißl (1792– 1871), code-named Pinselmo Schmieraliri (Brushy Smearup). He was also a friend of Leopold Kupelwieser and played the violin in the well-known picture Ball Game at Atzenbrugg (dating from 1823), in which Schubert sits on the grass, smoking a pipe.13 Kraißl’s prominent position at the forefront of the Unsinniade scene means that he serves as a kind of musical herald, announcing the arrival of his superior: the musical genius Schubert—who is placed so prominently in the center of the picture.14
Other illustrations also point to Schubert. The caricature in Figure 5, The Kaleidoscope and the Draisine, was painted by Leopold Kupelwieser (signed with his code name Damian Klex) and is attached to the newsletter of 16 July 1818.15 It spoofs the composer as a portly schoolteacher, holding a stick and peering through a kaleidoscope, and the artist himself as a young student riding the newly invented draisine, a forerunner of the bicycle. The picture’s meaning is explained in the accompanying article “Zum Kupfer” credited to the editorial board—that is, Eduard Anschütz:
The latest example of contemporary history proves just how dangerous the new invention of ice-slides is in Paris. But even the seemingly harmless inventions of the kaleidoscope and the draisine have their dangers, as the accompanying picture illustrates. The stout gentleman is absorbed in the contemplation of the kaleidoscope’s wonderful play of colors—the dark glass makes him even more nearsighted than usual. He is about to be knocked to the ground by a passionate draisine rider, who likewise has his eye fixed only on his machine. Let this be a warning for others. There is already supposed to be a police order in the works on the strength of which every blockhead is strictly forbidden, on account of the danger, from using both new inventions.16
Figure 5. Das Kaleidoskop und die Draisine (The Kaleidoscope and the Draisine), 16 July 1818. Watercolor by Leopold Kupelwieser (Damian Klex).
The nearsighted Schubert was habitually associated in the newsletters not only with eyeglasses, but with other optical devices as well, such as the kaleidoscope.17 This new invention was patented by Sir David Brewster in 1817 to create inexhaustible forms of symmetrical geometric patterns; the draisine was likewise invented in 1817, by German Baron Karl Christian Ludwig Drais von Sauerbronn.
These illustrations provide vital clues for unlocking coded references to Schubert in the newsletters. Once a word or object was associated with a member, subsequent issues developed the association in other creative ways, which in turn could lead to further associations. Thus Gustav Anschütz, using the kaleidoscope as a coded allusion to Schubert, writes as follows in a newsletter dated 10 September 1818:
The undersigned has the honor of faithfully informing the venerated public that he has for sale a kind of kaleidoscope (also known as looking-through-tube) with the unique property that one can use it to see through all kinds of clothing. The great benefit of this optical device should be apparent to everybody since it discloses some items that are at present carefully kept hidden. Especially for young men who like to go walking on the Graben.
Today the Graben is filled with expensive shops, but in Schubert’s time it was associated with prostitutes, the notorious “Graben nymphs.” In another account, Josef Kupelwieser warns that the kaleidoscope can have a strong effect not only on the eyes, but also on the nose. He may be alluding to an advanced stage of syphilis in which the nose is eaten away. It is known that Schubert eventually contracted this disease, most likely in late 1822—probably through contact with a prostitute. The exact nature of Schubert’s illness was hushed up by his contemporaries, but Wilhelm von Chézy, whose mother, Helmina, in 1823 penned the text to the drama with incidental music Rosamunde (D797), came close to revealing this in his recollection of the composer, published in 1841: “Schubert adored women and wine. Unfortunately this taste had caus
ed him to stray into wrong paths from which he could no longer find his way back alive.”18 Indeed, as we shall see, there is enough evidence provided by the surviving Nonsense Society materials to suggest strongly that Schubert was already using prostitutes in 1817.
Kupelwieser’s caricature also alludes to Schubert’s work as an assistant at the school where his father was headmaster, for it shows him carrying a stick. This attribute—associated with the disciplining stick used by teachers, sometimes known as a “Spanish rod”—occurs repeatedly in the newsletters, again pointing to the composer. For example, the issue dated 24 September 1818 describes the invention of a new machine called the Hiebeidoskopf—a play on the words Hiebe (blows, strokes) and Kaleidoskop—whereby a quantity of installed Spanish rods could give out the desired number of blows.19 The machine could also be used to beat the dust from clothing. Directly following is a newsletter article by Josef Kupelwieser describing the search for a theater librettist and the conditions under which he is to serve. The article closes as follows: “A composer is also required, under similar terms, except that he must also clean the boots and clothes of the director.”20 Thus, in this encoded manner, a composer (Schubert) is associated with both the kaleidoscope and the stick. The stick occurs again in connection with “Ritter Zimbal” (Knight Cimbalom), in a newsletter dated 5 November 1818: here Schubert’s code name follows the phrase “25 blows with a stick on the backside of a Hungarian soldier.” What is more, a long serial drama by Schnautze Redacteur that appeared in the last five surviving newsletters (dated 12 November to 10 December 1818) satirizes Schubert as a Genie (genius) who flies out of a Schublade (a drawer) to the sound of music. After being transformed into a stick, this Genie warns about how dangerous it is to consort with a prostitute, disguised as a seductive woman in white.
Der Feuergeist
These allusions to Schubert in 1818 all refer back to an article in the second surviving newsletter, dated 25 September 1817, in which Schubert’s role as composer emerges in a context completely unknown to music historical accounts. Under the rubric “Theateranzeige” (Theater News), Eduard Anschütz announces that the Nonsense Society was about to begin rehearsing a drama in four acts with choruses and stage machinery called Der Feuergeist (The Fire Spirit). The text was written by Blasius Leks (Josef Kupelwieser), and Schnautze himself was to play the role of the fire demon.21 Schubert must have composed the music for this work; this is attested by the watercolor titled Feuergeister-Scene, painted to document a production of the drama that took place at the club’s first birthday party in April 1818 (see Figure 6). This picture is remarkably similar to a scene in Schubert’s three-act melodrama Die Zauberharfe (The Magic Harp; D644), a work he supposedly composed in a mere few weeks in the summer of 1820. Although the libretto to Zauberharfe is lost, the program for the 19 August 1820 premiere at the Theater an der Wien names such characters as Sutur, an evil fire demon; Count Arnulf; his estranged wife, Melinde; and their son Palmerin, who plays the magic harp. The plot, as reconstructed on the basis of Schubert’s music and the first newspaper reviews, contains a scene in Act 3 that unfolds as follows: Arnulf is happy and wants to reconcile his differences with Melinde, but the demonic Sutur appears and reminds her of an oath she had made to him earlier. With the help of his fire demons, Sutur tries to destroy her. Palmerin flies in to the rescue, playing on his magic harp. His music overpowers the evil forces and saves the true love of his parents. This is exactly the situation depicted in the illustration. In keeping with the nonsense theme of the society, Arnulf is portrayed here as a Bierhäuselmensch (a beer-house person) and Melinde—the role played in 1817 by Schnautze—is a barmaid.
Figure 6. Feuergeister-Scene (Fire Spirit Scene), 18 April 1818. Watercolor by Franz Goldhann (Ultimus).
In Eduard Anschütz’s prose description of the birthday party—“Il giorno di nascitá”—he identifies the players and their parts, and we learn that they were assigned roles different from the original production. Schnautze concludes: “The fire demons drank everything up. All the actors competed honorably with each other, the choruses fell apart beyond all expectation and the piece disintegrated marvelously. What a wonder therefore that the performance ended with much laughter, art’s beautiful reward.”22 Role reversal, that is, spoofing the identities of other members, was one of the defining features of the club, and the exchanged parts no doubt led to the performance’s disintegration.
An additional clue pointing to Schubert’s involvement with Der Feuergeist is Schnautze’s use of the word Schub (push, thrust) in describing the birthday performance. This is how he begins the introduction to his prose account: “When a woman gives birth, a human being is born and this is a Hauptschub [major event]. But, if an exceptional person is born, this is a little bit more, and if a God of Nonsense is born, this is still two bits more.”23 Thus, by using the word Schub and referring to an “exceptional person,” Anschütz gives an encoded allusion to Schubert’s important role in this celebration, although the composer himself was not present at this particular event. Later, in a newsletter dated 15 October 1818, Schnautze builds on this analogy in a children’s ballet titled Insanius auf Erden (Insanius on Earth). Schubert is featured here as the ABC (primary school) teacher called Hymen Halbgott (Hymen Half-God); the God of Nonsense “Insanius” appears as a “3/4 Gott”—three-quarters being “a little bit more than half,” and also alluding to dances in 3/4 time.
In the summer of 1820, when Schubert was under great time constraints, he must have reused some of the music of Der Feuergeist for Die Zauberharfe. Other evidence supports this supposition. The overture to Die Zauberharfe contains music that he had already composed in November 1817. Much comes from the introduction and coda for the Overture in the Italian Style in D Major (D590) that Schubert arranged in December 1817 in a four-hand piano version (D592) for the Kunz sisters. An earlier dating of the music to Zauberharfe would also explain the great confusion that exists in the numbering of the scenes in the manuscript material. When Schubert’s Zauberharfe was staged for the first time in August 1820 at the Theater an der Wien, its librettist remained officially anonymous. A diary entry by Josef Karl Rosenbaum names him as Georg von Hofmann, who usually wrote for the Kärntnertortheater. I suspect that Rosenbaum may have been mistaken. Moreover, one of the newspaper reviewers of the Zauberharfe production, “B. S.,” generally thought to be the poet and Schubert-friend Baron von Schlechta, called the librettist “ein ehrlicher Kämpfer für den Unsinn” (an honorable fighter for nonsense).24 Perhaps Schlechta was here admitting his inside knowledge that the real librettist was Josef Kupelwieser. Schubert’s melodrama was criticized by contemporary reviewers for its many drinking choruses. Since the picture from 1818 shows the ensemble of fire demons behind a table loaded with drinks, Schubert must have written many such choruses for the Nonsense Society. The early collaboration between Schubert and Kupelwieser is important in light of their later joint venture, Fierabras (D796), usually considered Schubert’s best opera.25
The Knight of the Keyboard
It should come as no surprise that Schubert’s ingenious talents as a composer found their way into a wide range of allusions in the newsletters. In fact, his primary code name in the Nonsense Society was Ritter Juan de la Cimbala (Don Giovanni of the Keyboard), Cembalo being the German—actually Italian—word for harpsichord.26 This name, although not found on the list of members attached to the first newsletter, is the only code name for any of the members with a musical meaning. It occurs in the issue dated 13 August 1818, written by the vice-editor at a time when Schubert was away from Vienna serving as music master in the home of Count Johann Esterházy at his summer residence in Zseliz, in what is today southeastern Slovakia but what was then part of Hungary:
According to reports from Spain, the inquisition has arrested the famous painter Juan de la Cimbala because, owing to his own admission, he has been occupied with black magic in addition to his usual duties. Nevertheless, we hope that he will get out of this
alive, in that even before his arrest he had severely burned himself.
Zeisig, the author of this extremely encoded entry, has in typical nonsensical fashion turned Hungary into Spain and the musician Cimbala into a painter. The passage “owing to his own admission” probably indicates that Schubert had recently sent a letter to his friends in the Nonsense Society, relating his activities in Zseliz. This must have been similar to the well-known account addressed on 8 September 1818 to Schober and six of Schober’s friends in which he describes in great detail the people at the Esterházy estate, including “the chambermaid very pretty and often my companion … the manager my rival.”27 Other letters make it clear that the composer had two groups of Viennese friends at this time—“the city friends” and the Schober circle.28 (It goes without saying that many of Schubert’s letters are lost.) I interpret the “black magic” in Zeisig’s account as referring to the compositional activities of the Spanish Don Juan (Schubert), in addition to his usual teaching duties for the Esterházy family in Zseliz, where he was “confined” for about five months. He had “burned” himself earlier by writing a secretive 19-bar palindrome for Feuergeist. When musicologist Brian Newbould discovered this amazing feat in its later version in Die Zauberharfe, for music associated with the fire spirit Sutur, he described this achievement as the “product of intellectual manipulations, the willful reversal of values, as in the ‘black mass.’”29 There may also be a double meaning in the word burned. Since Schubert had hinted in his correspondence that he was having a love affair with the maid-servant (Pepi Pöckelhofer), he was again “playing with fire”—having severely burned himself earlier in his relations with prostitutes.
Franz Schubert and His World Page 3
