Franz Schubert and the Peacocks of Benvenuto Cellini

1989 ◽  
Vol 12 (3) ◽  
pp. 193-206 ◽  
Author(s):  
Maynard Solomon
Keyword(s):  
Franz Schubert

Franz Schubert and Benvenuto Cellini: One Man's Meat

2000 ◽  
Vol 141 (1870) ◽  
pp. 50
Author(s):  
Marie-Elisabeth Tellenbach
Keyword(s):  
Franz Schubert

"Der Doppelgänger" von Franz Schubert

1954 ◽  
Vol 11 (3) ◽  
pp. 252 ◽  
Author(s):  
Werner Thomas
Keyword(s):  
Franz Schubert

Composing the Volk

2016 ◽  
Author(s):  
Erin R. Hochman
Keyword(s):  
Interwar Period ◽  
Ludwig Van Beethoven ◽  
Johann Wolfgang Von Goethe ◽  
Franz Schubert ◽  
Walther Von Der Vogelweide

This chapter looks at cultural commemorations for the anniversaries of the deaths of Ludwig van Beethoven in 1927, Franz Schubert in 1928, Walther von der Vogelweide in 1930, and Johann Wolfgang von Goethe in 1932. It explores how Germans and Austrians used these festivals to stage a transborder German community in the interwar period. They hoped that a focus on culture, rather than politics, would help them overcome the sociopolitical fragmentation of the interwar years. At first glance, these cultural celebrations appeared to bridge the numerous divisions running through both societies, as people from various social and political backgrounds wanted to honor these German cultural heroes. Nonetheless, political fights broke out among participants as they interpreted the lives and impact of these cultural figures according to their own divergent worldviews. By investigating these disagreements, this chapter underscores the numerous understandings of Germanness in the Weimar era.

A New Source for Schubert’s Hebrew Psalm 92 (D. 953)

2016 ◽  
Vol 13 (1) ◽  
pp. 71-81
Author(s):  
David Rees ◽  
Alon Schab
Keyword(s):  
Early Stage ◽  
Hebrew Text ◽  
Franz Schubert ◽  
Oral Performance ◽  
Starting Point ◽  
New Variant ◽  
Performance Tradition ◽  
Manuscript Dating

In the summer of 1828, Franz Schubert composed his one and only piece in Hebrew: an excerpt of Psalm 92, set for four-part choir and Solo Baritone. The main sources available until now for this composition, a manuscript in the Gesellschaft der Musikfreunde (A-Wgm Sammlung Witteczek-Spaun Bd. 31) and a printed version in Salomon Sulzer’s compendium of Viennese synagogal music, Schir Zion (Song of Zion), date to 1834/35 and 1839/40, respectively. A newly discovered manuscript, dating from 1832, represents an early stage in the compilation of Schir Zion and contains the earliest known source of Schubert’s piece. New variant readings with regard to pitch, ornamentation and text underlay suggest that Schubert’s lost autograph may not be the immediate parent of the best sources known until now. With its title in Hebrew calligraphy, moreover, this manuscript was clearly intended for Jewish use; it thus challenges the authority of Schir Zion with regard to the underlay of the Hebrew text. The manuscript demonstrates a starting point in the adaptation by later editors, including Salomon Sulzer’s son Joseph, of Schubert’s Hebrew composition from the living, essentially oral performance tradition of an expert cantor to the formal written requirements of publication for a far-flung audience.

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