Werner, Zacharias, 100
Westrup, J. E., 242
Weyrother, Julie von, 98, 99
Wieck, Friedrich, 241
Wiener Männergesangverein, 27, 324–25, 343n9, 346n70; Schubert portfolio commissioned by, 335, 336, 337
Wiener Werkstätte, 331
Wiener Zeitschrift für Kunst, Literatur, Theater und Mode, 260, 284
Wiener Zeitung, 220, 223, 293n69, 302
Wildgans, Anton, 337–38
Willfort, Manfred, 264–65, 295n93
Winckelmann, Johann Joachim, 301
Witteczek, Josef, 81, 108n40, 109n47
Witteczek-Spaun collection, 154n20
Wittgenstein, Ludwig, 322
Witzendorf, A. O., 128
Woelfl, Josef, Die Geister des Sees, 146–47
Wolf, Hugo, 308, 346n70
Wolf, Johann, 126–32, 127–29, 135, 144, 153n10, n12, 154n19; “Etüden-Variationen über Franz Schuberts Lied Das Abendroth,” 154n17
Wolfmayer, Johann Nepomuk, 244
Würfel, Wilhelm, 244
Würth, Franz, 332
Youens, Susan, 181n35, 210
Zemlinsky, Alexander, 332, 333
Zentner, Wilhelm, 181n30
Zimmermann, Carl Friedrich (Aaron Bleistift), 8, 23, 24, 26, 46; Vivat es lebe Blasius Leks, 1, 2, 7
Zöpfl, Franz (Zeisig), 1, 2, 14, 29, 34n7
Zseliz (Hungary/Slovakia), 14–16, 31, 82, 108n28
Notes on Contributors
Leon Botstein is president and Leon Levy Professor in the Arts of Bard College, author of several books and editor of The Compleat Brahms (1999) and The Musical Quarterly. The music director of the American Symphony Orchestra and conductor laureate of the Jerusalem Symphony Orchestra, he has recorded works by, among others, Szymanowski, Hartmann, Bruch, Dukas, Foulds, Toch, Dohnányi, Bruckner, Chausson, Richard Strauss, Mendelssohn, Popov, Shostakovich, and Liszt.
Lisa Feurzeig is professor of music at Grand Valley State University in Michigan. Her research emphasizes German-language vocal music: Lieder, opera, and operetta. She is the author of Schubert’s Lieder and the Philosophy of Early German Romanticism (2014) and of articles on Wagner, Fauré, and Schubert; she is drawn to interdisciplinary connections and to traditions where the arts mingle. As a singer, she has performed art song and chamber music ranging from the twelfth to the twentieth century.
Christopher H. Gibbs is James H. Ottaway Jr. Professsor of Music at Bard College, coartistic director of the Bard Music Festival, and executive editor of The Musical Quarterly. He edited The Cambridge Companion to Schubert (1997), co-edited Franz Liszt and His World (2006), and is the author of The Life of Schubert (2000), which has been translated into four languages. He is the co-author, with Richard Taruskin, of The Oxford History of Western Music, College Edition (2013). Since 2000 he has been the program annotator for the Philadelphia Orchestra.
John M. Gingerich has published articles on Schubert’s cello quintet, his Latin Masses, his “Unfinished” Symphony, and on Ignaz Schuppanzigh and Beethoven’s late quartets. His book, Schubert’s Beethoven Project, was published in 2014 by Cambridge University Press. Before embarking on his musicology studies he spent several years playing in the cello section of the Baltimore Symphony Orchestra. He is currently working on a book on Ignaz Schuppanzigh.
David Gramit is professor of musicology at the University of Alberta. In addition to research and publications on the culture of German musical life in the late-eighteenth and early-nineteenth centuries and on music in the colonization of western North America, he received the AMS-50 Dissertation Fellowship and the Alfred Einstein Award of the American Musicological Society for his work on the intellectual and aesthetic context of Schubert’s circle.
Allan Keiler is professor of music at Brandeis University. He has a PhD in linguistics from Harvard University. He did his graduate work in musicology and music theory at the Universities of Michigan and Chicago, and did a lay traineeship at the Boston Psychoanalytic Institute. His work in semiotics, the history of music theory, and Liszt has appeared in many journals and collections including Journal of Music Theory, 19th-Century Music, Music and Perception, The Musical Quarterly, and Perspectives in New Music. His biography, Marian Anderson: A Singer’s Journey, was published by Scribner in 2000.
Kristina Muxfeldt is a music historian on the faculty of the Jacobs School of Music, Indiana University. She writes about European music and culture in those turbulent years before 1800 and in the decades after, when centuries-old social orders tottered and radical equalities became thinkable, reshaping our world in lasting ways. Novel perspectives on society, censorship, and gender in her book Vanishing Sensibilities: Schubert, Beethoven, Schumann complement the political focus of her essay here.
Morten Solvik holds degrees from Cornell University (BA) and the University of Pennsylvania (PhD in musicology). His publications on Schubert, Mahler, and others focus on the tantalizing connections between music and culture in nineteenth- and early twentieth-century Austria. While this work includes scholarly articles, editions, and edited books, it also extends to engaging wider audiences at festivals and in radio and television productions as a commentator and author. Solvik serves as the Center Director of IES Abroad Vienna, where he also teaches music history.
Rita Steblin earned degrees in musicology at the universities of British Columbia, Toronto, and Illinois at Urbana-Champaign, and studied harpsichord in Vienna. Her dissertation on the history of key characteristics was published by the University of Rochester Press in 2002. Other publications include articles in Canadian, American, British, and European musicology journals and the volume Die Unsinnsgesellschaft: Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis (1998). Since 1991 she has worked full-time on research in Vienna’s archives, concentrating primarily on Beethoven and Schubert.
Franz Schubert and His World Page 48
