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Schubert's Music for the Theatre
Published online by Cambridge University Press: 01 January 2020
Extract
To judge from the number of programmes devoted to the music of Schubert as well as numerous occasional performances of his works in other programmes on the BBC Third Network in recent months, Schubert must be one of the most popular composers at the moment. This apparent popularity is of course also evident from the extent to which his music is heard in public concerts—the ‘Great’ C Major Symphony in orchestral concerts, the quartets, the songs, the late piano sonatas and so on in recitals. Like Bach, Mozart and Beethoven, Schubert never seems to go out of fashion, but the vogue for his music certainly could not be much greater than at present. And yet, despite this popularity, and the accompanying unearthing of many of his lesser known works, one large section of his music, the music he wrote for the theatre, remains almost entirely unknown. The scores of this music for the stage are to be found in seven large volumes of the Breitkopf und Härtel Gesamtausgabe and in piles of unpublished sheets in various collections, most of them in the music libraries of Vienna.
- Type
- Research Article
- Information
- Copyright
- Copyright © 1967 The Royal Musical Association and the Authors
References
1 Elizabeth Norman, ‘Publishers’ Errors in Schubert's Overture to Die Zauberharfe’, The Music Review, xxiii 2 (1962), 128–131.Google Scholar
2 Elizabeth Norman McKay, ‘Rossinis Einfluss auf Schubert’, Österreichische Musik zeitschrift, Jhrg xviii 1 (1963), 17–22.Google Scholar
3 Otto Erich Deutsch, Schubert, a Documentary Biography, tr. E. Blom, London, 1946, p. 286.Google Scholar
The following illustrations were played during the course of the lectureGoogle Scholar:
- a
a Aria No. 4, ‘F.imam schleich’ ich durch die Zimmer' (soprano) from Die Freundt von Salamanka.
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b Aria No. 5, ‘Schon, wenn es beginnt zu tagen’ (tenor) from Alfonso und Estrella.
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c Part of Introduction No. I, ‘Der runde Silberfaden’ (chorus) from Fierrabras.
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d Romance No. 6, ‘Der Abend sinkt auf stiller Flur’ (tenor) from Fienabras.
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e Aria No. 13, ‘Die Brust gebeugt von Sorgcn’ (soprano) from Fierrabras.
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f Part of ‘Des Baches Wiegenlied’ from Die schom Mullerin.
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g Part of Aria with Chorus No. 21, ‘Las dein Vertrau'n nicht schwinden’ from Fierrabras.
The author wishes to thank the singers Marion Milford, Susan Jackson and Roger Lawrence for their help in recording these musical illustrations.