Franz Schubert
16 German Dances and 2 Ecossaises op. 33 D 783
Schubert at the piano, his inexhaustible wealth of dance melodies, his friends gathered around him, dancing, amusing themselves – making music was an important aspect in the lives of Schubert and his friends. The term Schubertiade invented for this kind of get-together is now solidly established.
Of his more than 300 dance pieces for piano, no fewer than eight collections with altogether 177 single pieces were printed during his lifetime, including these 16 Deutsche Tänze and two Ecossaisen from 1823/24.
About the Composer
Franz Schubert
He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering; modifications occur mostly not in continuous unfolding, but through sudden eruptions. His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers; they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. His immense oeuvre in spite of his brief life comprises 600 songs, including his two famous song cycles; seven complete and several unfinished symphonies (including the “Unfinished” in B minor); other orchestral works; numerous pieces of chamber music; fourteen complete and several unfinished piano sonatas as well as other piano pieces; dances for piano and four-hand works; six masses and other sacred compositions; numerous pieces for choir or vocal ensemble, especially for male voices. Although he also contributed to every genre of music theater and his friends predicted a career for him in opera, only two of his ten finished operas were performed during his lifetime, as was the incidental music to “Rosamunde.”
About the Authors
Hans-Martin Theopold (Fingering)
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