60. Ferdinand Kürnberger, “Ein Aphorismus zur Denkmal-Pest,” in Literarische Herzenssachen, vol. 2 (Munich and Leipzig, 1911), 289–90.
61. See Friedrich Schlögl, Wiener Luft! Kleine Culturbilder aus dem Volksleben der alten Kaiserstadt an der Donau (Vienna, 1876), vii–xvi.
62. Schlögl, Vom Wiener Volkstheater: Erinnerungen und Aufzeichnungen (Vienna, [1883]), 10–13; see also 24–25 and 165–66.
63. Kürnberger, “Friedrich Schlögls ‘Wiener Blut,’” 2:258.
64. Kürnberger, “Ein Aphorismus zur Denkmal-Pest,” 290.
65. See Botstein, “Music and Its Public,” passim; and Jahresbericht des Männergesang-Vereines in Wien 1847–1874 (Vienna, 1848–74).
66. Anton Weiss, ed., Fünfzig Jahre Schubertbund (Vienna, 1913), 3–9.
67. Quoted by Kürnberger, “Friedrich Schlögls ‘Wiener Blut.’” See also Friedrich Schlögl, Wienerisches (Vienna, 1883), vii–x and 240–41.
68. Aus meinem Leben: Erinnerungen eines alten Schulmannes und Tonkünstlers nach Franz Mairs Mittheilungen und Aufzeichnungen (Vienna, 1897), 25–28, 33–39, 50–59.
69. The repertoire was dominated by Mendelssohn, Kalliwoda, Kreutzer, Weber, Spohr, Lachner, Marschner, and a host of minor figures; see the lists in Jahresbericht des Männergesang-Vereines in Wien 1847–1874; e.g. for 1874: 93–106.
70. There has been a great deal written about this 1872 monument, its design by Carl Kundmann on a base by Theophil Hansen, the architect of the 1870 Musikverein. Schwind, Schubert’s friend, advised Kundmann on the design. The discussion about creating a monument dates from the 1850s; the Männergesangverein played the decisive role in getting the project done. The design was as controversial as the whole enterprise, but Schubert was the first of the Classical composers to be so honored in Vienna: the Beethoven monument was erected in 1880, the one for Haydn in 1887, and the Mozart monument was completed in 1896. Hugo Wolf was not alone in his ambivalence toward the sentimental and idealized image. As he explained to his parents in 1878, every time he walked by the monument, it forced him to confront his own views; see Wolf, Briefe, 1:39. On the monument, see Ludwig Speidel’s 1872 essay “Das Schubert Denkmal,” in Wiener Frauen und anderes Wienerisches (Berlin, 1910), 120–25.
71. Robert Hirschfeld, “Die Schubert-Feier,” Wiener Abendpost (Beilage zur Wiener Zeitung), 6 February 1897, 5–6. On Hirschfeld, see Elisabeth Riz, “Robert Hirschfeld: Leben– Wirken–Bedeutung,” in Biographische Beiträge zum Musikleben Wiens im 19. und frühen 20. Jahrhundert, ed. Friedrich C. Heller (Vienna, 1992), 1–80.
72. Walter von Molo, “Schubert und Wien,” Der Merker 2 (10/11 February 1911): 449–51.
73. Adolf Weissmann, Berlin als Musikstadt (Berlin and Leipzig, 1911), 121.
74. Werner Sombart, “Wien,” Morgen 6 (1907), repr. in Début eines Jahrhunderts: Essays zur Wiener Moderne, ed. Wolfgang Pircher (Vienna, 1985), 35–40.
75. Ibid., 37.
76. Ibid., 36.
77. Ibid., 39.
78. See Max Weber, The Protestant Ethic and the Spirit of Capitalism, trans. Talcott Parsons (New York, 1958), 181.
79. See the catalogue Moderne Vergangenheit: Wien 1800–1900 (Vienna, 1981) by Peter Pawerka for the 1981 exhibition at the Vienna Künstlerhaus.
80. See Botstein, “Vienna and Its Public,” 1018–36.
81. Henriette Kotlan-Werner, Kunst und Volk: David Josef Bach, 1874–1947 (Vienna, 1977), 21, 42–45.
82. David Josef Bach, “Arnold Schoenberg,” Arbeiter-Zeitung, 17 February 1905; see also Botstein, “Music and Its Public,” 1208–10.
83. Quoted in Kotlan-Werner, Kunst und Volk: David Josef Bach, 74.
84. Another fine example of the Marxist interpretation of Schubert can be found in the work of Harry Goldschmidt in Franz Schubert: Ein Lebensbild (Berlin, 1960).
85. For a sense of this anniversary, see Offizielles Erinnerungsalbum an das 10. Deutsche Sängerbundesfest Wien 1928 and Festblätter für das 10. Deutsche Sängerbundesfest Wien 1928 (both Vienna, 1928).
86. See Der Deutsche Sängerbund 1862–1912: Aus Anlass des fünfzigjährigen Bestandes (1912), 2–67.
87. Richard Strauss wrote Die Tageszeiten, Op. 76, a work for male choir and orchestra, for the Schubertbund for the 1928 festival. See Roland Tenschert, Richard Strauss und Wien: Eine Wahlverwandschaft (Vienna, 1949), 121.
88. Anton Wildgans, Briefe, vol. 3: 1925–1932, ed. Lilly Wildgans (Vienna, 1947), 556– 58; see also 207–8.
89. Paul A. Pisk, “Schubertfeiern,” in Volk und Kunst 25 (June 1928): 1–2; see also Piero Violante, Eredità della musica (Palermo, 2007), 147.
90. On Robert Lach and Georg Knepler, see Gerhard Oberkofler, “Über das musikwissenschaftliche Studium von Georg Knepler an der Wiener Universität,” Mitteilung der Alfred Klahr Gesellschaft 3 (2006); available at http://www.klahrgesellschaft.at/Mitteilungen/Oberkofler_3_06.html. There is some controversy about the fact that a street in Vienna is named for Lach. See the Viennese newspaper Der Standard, July 2012. The lecture, delivered on 19 November 1928 at the University of Vienna, can be found in Robert Lach, Das Ethos in der Musik Schuberts (Vienna, 1928).
91. An example of this reception pattern—glorifying Schubert as emblematic of the essence of Viennese middle-class cultural values and practices, produced after Deutsch’s research—is the volume on Schubert in Jugendhefte für Literatur und Kunst published by the Lower Austrian Division of Youth right after World War I.
92. See Ludwig Speidel’s 1894 essay, “Franz Schubert in der Höldrichsmühle,” in his Wiener Frauen und anderes Wienerisches, 126–32.
93. Lach, Das Ethos in der Musik Schuberts, 22. On the 1928 Vienna celebrations, see Gabriele Johanna Eder, “Das Schubert-Jahr 1928 in Wien und anderen Städten des deutschen Sprachraumes,” in Schubert und die Nachwelt, 297–307.
94. Lach, Das Ethos in der Musik Schuberts, 28–30.
95. See Festblätter für das 10. deutsche Sängerbundesfest, 241, and Eder, “Das Schubert-Jahr 1928,” 302. On Seipel, see Klemens von Klemperer, Ignaz Seipel: Christian Statesman in a Time of Crisis (Princeton, 1972).
96. T. W. Adorno, “Schubert,” in Night Music: Essays on Music, 1928–1962, ed. Rolf Tiedemann, trans. and introduced by Wieland Hoban (London and New York, 2009), 19–46; quotes at 22, 20, 23, 31, 37, 44, 45, 46. The original in German is in Die Musik 21/1 (1928): 1–12.
97. See Georg Knepler, Musikgeschichte des 19. Jahrhunderts, vol. 2: Österreich, Deutschland (Berlin, 1961), 591–656.
98. See the issue devoted to Adorno’s 1928 Schubert essay: 19th-Century Music 29/1 (2005).
99. Knepler, Musikgeschichte des 19. Jahrhunderts, 2:642.
100. Ibid., 2:634.
Index
Page numbers followed by n indicate notes. Page numbers in italics indicate figures and excerpts from musical works.
Index of Franz Schubert’s Compositions
Abendrot, Das (D236), 142, 146, 150, 156n56
Abends unter der Linde (D236), 142, 146, 155n34
Alfonso und Estrella (D732), 179n11, 183–200, 184, 305, 344n14
Alles um Liebe (D241), 137, 139, 140, 140, 141, 142, 144, 144, 145
Allmacht, Die (D852), 95, 259, 285
Am Fenster (D878), 240n44
Am See (D124), 75
An die Musik (D547), 80
An die untergehende Sonne (D457), 155n34, n35
Auf dem Strom (D943), 250, 259, 280–81, 281, 285, 293n62, 296n121
Auf der Riesenkoppe (D611), 20, 33
Aufenthalt (D957/5), 285
Deutsche Messe (D872), 95
Don Gayseros (D93), 146
Doppelgänger Der (D957/13), 283
Dörfchen, Das (D598), 30, 33
Eight Variations on an Original Theme (D813), 295n94
Elysium (D584), 33
Entzückung eines Lauras Abschied (D577), 30, 33
Erlkönig (D328), 280, 291n32
Erscheinung, Die (D229), 142, 142, 146
Fantasy in C Major (“Wanderer”
Fantasy) (D760), 162, 163, 179n18, n19, 185, 317
Fantasy in F Minor (D940), 282
Fierabras (D796), 13, 21, 36n30, 187, 251
Finden, Das (D219), 142, 142
Fischers Liebesglück, Des (D933), 181n37
Fischerweise (D881), 258
Fragment aus dem Aeschylus (D450), 259
Geist der Liebe (D233), 137, 139–40, 141–43
Graf von Gleichen, Der, 89–91, 105, 113n128, 282, 294n79
“Grand Duo” see Piano Sonata in C Major
Grande Marche Funèbre (D859), 267
Greise Kopf, Der (D911/14), 169, 170, 171, 173
Gretchen am Spinnrade (D118), 26
Hektors Abschied (D312), 153n8
Heliopolis I and II (D753 and 754), 146
Hirt auf dem Felsen, Der (D965), 174–75, 176, 296n117
Huldigung (D240), 139, 142
Hymne I–IV (D659–662), 146
Idens Nachtgesang (D228), 140
Idens Schwanenlied (D317), 122, 140, 141, 142, 143
Krähe, Die (D911/15), 169, 172, 173
Kreuzzug, Der (D932), 259
Liebesrausch (D164, 179), 211
Luisens Antwort (D319), 143, 150, 151
Mass in E-flat Major (D950), 282, 287, 305
Mass in G Major (D167), 291n45
Masses, 93, 94, 96, 185
Mirjams Siegesgesang (D942), 263, 285 294n78
Mondnacht, Die (D238), 143, 146
Morgenstern, Der (D172), 208
Musensohn, Der (D764), 185
Nachtstück (D672), 220, 224
Octet (D803), 252, 253
Overtures in Italian Style, 8
in D Major (D590), 13
Pax vobiscum (D551), 283
Piano Quintet in A Major (“Trout” Quintet) (D667), 269
Piano Sonata in A-flat Major (D557), 267
Piano Sonata in A Major (D959), 272
Piano Sonata in A Minor (D845), 254
Piano Sonata in C Major for Four Hands (“Grand Duo”) (D812), 304, 305
Piano Trio in B-Flat Major (D898), 262, 287, 293n70
Piano Trio in E-Flat Major (D929), 241–43, 258–81, 268, 271, 273–75, 278, 285, 287, 289n5, 293n70, 294n85
Punschlied (D254), 127
“Quartettsatz” (D703), 185
Rosamunde (D797), 10, 13, 280
Sängers Morgenlied (D163, D165), 208–9
Schlachtlied (D912), 259
Schöne Müllerin, Die (D795), 145–47, 149, 152, 153n4, 160–61, 161, 227, 339
Schwanengesang (Senn) (D744), 237n11
Schwanengesang (Rellstab, Heine) (D957), 250, 282
Aufenthalt, 285
Der Doppelgänger, 283
Schwangesang (D318), 121–23, 123, 124, 142, 143, 156n43
Schwertlied (D170), 210
Sehnen, Das (D231), 143
Sehnsucht (D879), 226–34, 229–30, 233–34, 240n44
Selige Welt (D743), 237n11
Six Grandes Marches for Piano (D819), 267
Ständchen (D920), 259, 263
Sterne, Die (D939), 259
String Quartet in A Minor (D804), 252, 253
String Quartet in D Minor (D810), 252, 259, 280, 291n39
String Quartet in G Major (D887), 259, 272, 280, 291n39, 294n82, n85, 296n115
String Quintet in C Major (D956), 272, 282, 287, 297n126, 304, 205
Symphony No. 7 in E Major (D729), 304
Symphony No. 8 in B Minor (“Unfinished”) (D759), 67, 185, 246, 299, 303–5, 307, 308, 314, 315, 344n24
Symphony No. 9 in C Major (“Great”) (D944), 272, 286, 287, 304, 305, 307, 309, 344n24
Symphony No. 10 in D Major (D936 A), 282, 297n127
Taubenpost, Die (D965 A), 283, 285
Täuschung, Die (D230), 137, 140, 146
Teufels Lustschloss, Des (D84), 267
Tod und das Mädchen, Der (D531), 280
Variations on a French Song (D624), 15, 33, 248, 249
Verschworenen, Die (D787), 251
Vierjährige Posten, Der (D190), 207
Von Ida (D229), 140, 141
Wanderer, Der (D489), 162, 165, 179n19
Wanderer an den Mond, Der (D870), 258, 259
Winterreise (D911), 117, 145, 156n43, 166–73, 236n6, 266, 342
Der Greise Kopf, 169, 170, 171, 173
Die Krähe, 169, 172, 173
Zauberharfe, Die, (D644), 11, 13, 14, 33, 158
Zürnenden Diana, Der (D707), 217–23, 218–19, 221–23, 224, 239n33
Zwillingsbrüder, Die (D674), 164, 254, 291n45
Index of Names and Subjects
Abel, Josef, 25, 25–26, 37n44
Abendzeitung (Dresden), 260
Adamberger, Antonie, 202
Adami, Heinrich, 300
Adler, Guido, 326, 339
Adorno, Theodor W., 335, 340–42
Agoult, Marie d’, 186, 187
Allgemeine muskalische Zeitung (Leipzig), 147, 241, 253–54, 260
Allgemeiner musikalischer Anzeiger (Vienna), 286
Angelico, Fra, 99
Anschluss, 312, 335–36, 340
Anschütz, Eduard (Schnautze), 3, 7, 10–12, 26–27, 34n7, 35n9, n21, 70, 287n15; “Die Fee Musa oder die verwandelten Jünglinge,” 22–23; Der Feuergeist, 11–13, 158; Insanius auf Erden, 13, 21; “Lisels Abschied, als sie Mariage machte,” 29; “Politisches Allerley,” 16–17; portraits of, 4, 5, 21, 27
Anschütz, Gustav (Sebastian Haarpuder), 3, 6, 26–27, 70; portrait of, 6, 27, 287n16
Anschütz, Heinrich, 3, 27, 70, 244, 263, 289n16, 322
anti-Semitism, 327, 333, 336
Arbeiterzeitung (Vienna), 333
Archiv des menschlichen Unsinns (Archive of Human Nonsense), 1, 23, 158, 179n15
Aretino, Pietro, 59
Ariosto, Ludovico, 59
Aristides, 52, 53
Aristotle, 50, 59n
Arndt, Ernst Moritz, 237n13
Arnold, Samuel, 294n78
Artaria (music publisher), 85
Athenäum (journal), 101, 103
Atzenbrugg, castle of (Austria), 70, 76, 86, 158
Auber, Daniel, La muette de Portici, 183
Austen, Jane, Mansfield Park, 307
Austrian Music Society, 258
Austrian Republic, 335–37
Austro-German patriotism and traditions, 40, 203, 306, 311, 326–28, 334–36, 338, 339
Bach, David Josef, 333–34
Bach, Johann Sebastian, 245, 300, 313, 340; The Art of the Fugue, 27
Badura-Skoda, Eva, 293n71
Baroque music, 243, 294n78
Bartolomeo, Fra, 59
Bartsch, Rudolf, Schwammerl, 335
Bauer, Hans-Günther, 294n85
Bauer, Moritz, 64n16
Bäuerle, Adolf, 126; Aline, 162–65, 178n6, 180n24, n27; Wien, Paris, London, Constantinopel, 165, 177
Bauernfeld, Eduard von, 80–84, 92, 104, 111n77, 160, 176, 178n7, 255, 259, 260, 283, 284, 292n51, 293n66, 297n134, 321; diary of, 86, 108–9n42, 109n46, 110n63, n65, 259, 289n14, 294n79; memoir by, 303; memorial poem for Schubert by, 283–84; on the Nonsense Society, 3, 7; Raimund and, 159, 173, 181n38; in “Schobert” circle, 72, 76–77, 87, 95; at Schubertiades, 68; works: Der Brautwerber, 108n42; Der Graf von Gleichen libretto, 89–91, 232; Leichtsinn und Liebe, 108n42; Sylvesternacht satire, 74, 102, 113n124; Der Zweifler, 208n42
Bauernschmied, C. E., 236n7
Bavaria, 94, 97, 236n7, 237n13
Bayer, Josef, 109n45
Bayreuth Festival, 306
Beaumarchais, Pierre-Augustin Caron de, Le marriage de Figaro, 225
Beethoven, Karl van, 158, 290n32
Beethoven, Ludwig van, 2, 20, 30, 32, 72, 157, 158, 196, 201, 231, 239n34, 261, 289n12, 290n27, 293n66, 294n78, 300, 301, 303, 317, 318, 329, 340–41, 345n70; death of, 242–45, 249, 250, 258, 270, 282–84, 291n38; funeral of, 3, 159, 244–46, 250, 254, 289n14, 297n127, n135; grave of, 245, 247, 263, 282–84, 286–88, 287, 290n22, 297n134, 298n144, 312; legacy of, 300, 310; memorial conc
erts in honor of, 255–60, 256, 257; possible meetings of Schubert and, 248–49, 290n30–32, 291n33; Schubert influenced by, 248, 253–54, 262, 291n41, 297n125, n127; Schubert as successor to, 282, 303–9, 313–14, 319, 334, 335; Schubert’s tribute to, see Piano Trio in E-flat Major in Compositions Index; Schubert’s work dedicated to, 15, 248–49; works: An die ferne Geliebte, 146, 281, 296n122; Cantata on the Death of Emperor Joseph II, 276; Christus am Ölberge, 255; Consecration of the House, Overture to the, 252; Egmont Overture, 183; Fidelio, 183, 236n1, n2, 291n45; Es ist vollbracht, 240n40; “Heiligenstadt Testament,” 282; Leonore Prohaska, 202, 267; Missa solemnis, 93, 252; Piano Trio in B-flat Major, 292n54, 293n73; Piano Trio in D Major, 293n73; Piano Trio in G Major, 243, 244; Piano Variations, Op. 34, 267; “Razumovsky” Quartets, 252; Scottish folksongs, 291n49; Septet, 252; String Quartet in A Minor, 293n59; String Quartet in C-sharp Minor, 283; String Quartet in F Major, 255; Symphony No. 3 (“Eroica”), 266–67, 269, 271–74, 273–75, 276, 279, 281, 281–82, 284, 297n125, n126; Symphony No. 4, 255; Symphony No. 5, 274, 276, 279, 281, 282; Symphony No. 7, 295n94; Symphony No. 9, 252, 276; Equale, WoO 30, 254, 296n119, 297n127; Der Wachtelschlag, 292n54, 293n63
Beiser, Frederick C., 113n134
Bellini, Vincenzo, I Capuleti e i Montecchi, 183
Belvedere Palace (Vienna), 57–63, 64n18
Bembo, Pietro, 59
Beresin, Alexis, 77
Berg, Alban, 176, 181n38, 280, 331
Berg, Isaak Albert, 263–66, 283n76, 294n82; Se solen sjunker, 264, 265–66, 267, 270, 271, 271, 274, 281, 289n5, 294n85
Berger, Ludwig, 148–49; Die schöne Müllerin, 149
Berke, Dietrich, 156n56
Berlin, 23, 26, 102, 149, 165, 181n30, 188, 202, 260, 328–30
Bernsdorf, Eduard, Neues Lexikon der Tonkunst, 309
Berté, Heinrich, Das Dreimäderlhaus, 335
Berton, Henri, 164
Berwald, Franz, Drottningen av Golconda, 180n21
Beyträge zur Bildung für Jünglinge, 39–64, 208
Bible, 91, 92, 205; Samuel, 64n9
Biedermeier period, 147, 148, 226, 309, 331, 333–35, 339, 341
Bildungskreis (Educational Circle), 69, 72, 74, 75
Binchois, Gilles, 243
Bindtner, Josef, 110n65
Bismarck, Otto von, 306
Bizet, Georges, 313
Blahetka, Josef, 244
Bocklet, Carl Maria von, 83, 253, 258, 262, 285, 298n138
Bogner, Ferdinand, 285
Bohemians, 203, 325
Franz Schubert and His World Page 45
