By Christopher H. Gibbs, Morten Solvik
During his brief lifetime, Franz Schubert (1797-1828) contributed to a wide selection of musical genres, from intimate songs and dances to formidable chamber items, symphonies, and operas. The essays and translated records in Franz Schubert and His World study his compositions and ties to the Viennese cultural context, revealing excellent and ignored elements of his music.
Contributors discover Schubert's younger participation within the Nonsense Society, his circle of associates, and altering perspectives concerning the composer in the course of his existence and within the century after his dying. New insights are provided in regards to the connections among Schubert's song and the preferred theater of the day, his concepts for circumventing censorship, the musical and narrative relationships linking his track settings of poems by way of Gotthard Ludwig Kosegarten, and musical tributes he composed to commemorate the demise of Beethoven simply twenty months ahead of his personal. The ebook additionally comprises translations of excerpts from a literary magazine produced through Schubert's classmates and of Franz Liszt's essay at the opera Alfonso und Estrella. as well as the editors, the members are Leon Botstein, Lisa Feurzeig, John Gingerich, Kristina Muxfeldt, and Rita Steblin.
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Vienna, Police House, 1818. ”57 Conclusion Although the episodes recounted in this overview point to the presence of the composer, one should keep in mind that there are many other passages where we are left, at best, to interpret. Certain words appear over and over again in what I believe are encoded references to Schubert. One of these is Schuh (shoe)—also found in combinations, such as Handschuh (glove)—as well as various appearances of Auge (eye), Brille (eyeglasses), or Glas. The words Fest (festival) or Festung (fortress/prostitute) also seem to be associated with the composer.
The island in the middle of the map is labeled “Landstrasse” and contains a cage with a rooster on top—the regular meeting place of the Nonsense Society. Under the cage is a beckoning finger. This clue, together with the throne topped by a crown and the letter S already mentioned, again point to Schubert’s important role in the society. The newsletters often parodied the works of the popular Viennese theater writer Joachim Perinet (1763–1816), whose hit piece at the time was the travesty opera Aschenschlägel, a Cinderella story with the genders reversed.
One of the lines in Perinet’s play reads: “Aschenschlägels Ebenbild ist ein unschuldiger Schwann” (Cinderella’s image is an innocent swan). He sits at the hearth baking buns—hence the necklace of buns which Schnautze wears in his second individual portrait, the one with the gesturing finger (Figure 3). But, instead of losing a slipper, this male Cinderella finds a glove (lost by Insanius, the club’s God). This story line is especially evident in the children’s ballet Insanius on Earth featuring the half-god Hymen (Schubert).