Christopher Gibbs

... University of New York, and serves on the graduate faculty at the Mannes College of Music. ... and D Minor (D810) 1825 Travels with Vogl to Upper Austria; begins composition of the ... in print, fit into this bifurcated musical culture?16 Although Schubert yearned for success in opera ...

... Natalie Kelly and Don Giller provided the design and music typeset. ... Sposalizio is reproduced by permission of the Ministero per i Beni e le Attività Culturali; Soprintendenza per il Patrimonio Storico Artistico ed Etnoantropologico per le Province di Milano, Bergamo, Como, Lecco ...

wanderer! hast thou heard schubert's songs? here lies he who sang them. he was placed near the best ones when he died, and yet he was still scarcely half-way in his career. Franz Grillparzer, Vienna's preeminent poet, sketched five epitaphs for Schubert's grave ( SDB 899). The controversial one ultimately adopted – the art of music here entombed a rich possession, but even far fairer hopes – has been interpreted in various ways. Robert Schumann, Schubert's most astute early critic, lost patience with Grillparzer: “It is pointless to guess at what more [Schubert] might have achieved. He did enough; and let them be honored who have striven and accomplished as he did.” Perhaps Grillparzer's words are better viewed not as a lament over the loss of what more Schubert might have achieved had he lived longer, but rather as evidence of how the composer's genuine artistic achievement was not fully appreciated during his own time, how the true scope of his accomplishment eluded even some of his most sympathetic friends and admirers. During Schubert's lifetime, Grillparzer and the majority of his contemporaries never heard Schubert's late piano sonatas, the C Major String Quintet, the mature symphonies and operas. Many of his supreme compositions remained unknown to a Biedermeier Vienna that revered Beethoven, adored Rossini, and thrilled to Paganini. Schubert's position, literally as well as symbolically, has changed dramatically since his death in 1828 at the age of thirty-one. Over the course of the nineteenth century, he gradually joined the elect, becoming an immortal composer: the peer of Beethoven, and superior to Rossini and Paganini.

Preface and Acknowledgments vii Permissions and Credits xvii Schubert: The Nonsense Society Revisited 1 RITA STEBLIN Excerpts from Beytrage zur Bildung fur Junglinge, 1817-1818 39 ANTON VON SPAUN AND JOHANN MAYRHOFER TRANSLATED, INTRODUCED, AND ANNOTATED BY DAVID GRAMIT "Those of us who found our life in art": The Second-Generation 67 Romanticism of the Schubert-Schober Circle, 1820-1825 JOHN M. GINGERICH Schubert's Kosegarten Settings of 1815: A Forgotten Liederspiel 115 MORTEN SOLVIK The Queen of Golconda, the Ashman, and the Shepherd on a Rock: Schubert and the Vienna Volkstheater 157 LISA FEURZEIG Liszt on Schubert's Alfonso und Estrella 183 INTRODUCED AND TRANSLATED BY ALLAN KEILER Schubert's Freedom of Song, If Not Speech 201 KRISTINA MUXFELDT Schubert's Tombeau de Beethoven: Decrypting the Piano Trio in E-flat Major, Op. 100 241 CHRISTOPHER H. GIBBS Schubert in History 299 LEON BOTSTEIN Index 349 Notes on Contributors 363

... son were racing to a doctor in Jena; see Albert Berhardt Bach, The Art ... music of seven especially famous settings (Schr6ter, Reichardt, Bernhard Klein, Zelter, Loewe, Schubert, as ... years later includes reproductions of editions of settings by Schr6ter, Andreas Romberg, Gottlob ...