Sunday, March 14, 2010


Today is the 150th post in this blog. The total number of analyses of D779n13 is 90.

This may be the right moment to gather some bits of information about publication dates:

(1822). Ash Wednesday in 1822 fell on 20 February. D365 was announced by Cappi and Diabelli on 29 November 1821 and again on 11 February 1822, where it was advertised under the sales heading Neueste Tanzmusik zum Carneval 1822 (Schubert: Dokumente, item 143).

(1823) Ash Wednesday in 1823 fell on 12 February. D145 was announced by Diabelli on 31 January 1823 and again on 5 February (Schubert: Dokumente, items 191-192). The three dances in D971 were published by Sauer and Leidesdorf in the collection Neue Tanzmusik: Carneval 1823, advertised on 10 January 1823 (S:D, item 188).

(1824) Ash Wednesday in 1824 was unusually late; it fell on 3 March. D779 was announced by Diabelli on 21 November 1823 (S:D, item 357). Some dances eventually included in D146 were first published by Sauer and Leidesdorf in the anthology Halt's enk z'samm in 1824. The volume was advertised on 12 January, 29 January, and 21 February (S:D, items 236, 244, 250).The ads note that the collection is available in four versions: piano solo, piano 4-hands, piano and violin, and two violins and bass -- in other words, in all the arrangements necessary for domestic and small venue performance for listening and dancing.

(1825) Ash Wednesday in 1825 fell on 16 February. Another collection of the same name was advertised on 27 January 1825 (S:D, item 308). D783 was announced by Cappi on 8 January 1825, as Deutsche Tänze und Ecossaisen under the sales category Tanz-Musikalien für den Carneval 1825 (S:D, item 301). These pieces were apparently arranged by J. B. Scheidemayr in Linz as cotillions, in which form they received a favorable review on 11 March (S:D, item 319). The score is lost, but Deutsch (410) takes it for granted that they are ensemble arrangements. The same review complains that Scheidemayr's own Deutsche, although lively and solidly written, are "rather too pompous," and some will find his "light and uplifting Ländler" more to their taste [my translation].

(1826) Ash Wednesday in 1826 fell on 8 February. In December 1825, Sauer and Leidesdorf advertised three collections: Krähwinkler Tänze für das Pianoforte (18 December), Seyd uns zum zweyten Mahl willkommen! and Ernst und Tändeley: Eine Sammlung verschiedener Gesellschaftstänze für den Carneval (29 December; again on 20 January 1826) (S:D, items 363, 364, 370). The first of these was issued in two volumes, waltzes in the first and galops and ecossaises in the second. Seyd uns was a collection of 50 waltzes, one each by 50 composers, plus a coda and an introduction based on the title song (from Mozart's Magic Flute) (a set of 40 waltzes had been published a year earlier: S:D, item 298). Ernst und Tändeley was equally ambitious: it contains 6 each of menuets, quadrilles, ecossaises, and galops, as well as 8 cotillons (Schubert's only dance of this name was included here). The publisher's description notes that the collection is good for dancing parties "where one simply wishes the music to be played by amateurs at a piano"; thus the virtue of a "collection in which all those dances appear that serve to delight those at a social party" [my translation]. Remarkably, within two weeks, Seyd and Ernst were the subjects of a favorable review in the Wiener allgemeine Theaterzeitung (S:D, item 371).

(1827) Ash Wednesday in 1827 fell on 28 February. On 23 December 1826, Sauer and Leidesdorf advertised the Neue Krähwinkler Tänze für das Pianoforte as well as the Moderne Liebes-Walzer, both sets for piano solo (S:D, item 430). D734 was announced by Diabelli on 15 December 1826 and again on 14 February 1827 (S:D, items 425, 453). D969 was announced by Tobias Haslinger on 22 January 1827 (S:D, item 444).

D969 was advertised by Haslinger again on 11 April 1827 and a month later a review appeared in a Frankfurt newspaper (S:D, items 472, 493). The review appears in Deutsch, p. 638. The final comment is "The reviewer feels that a dance should never consist of two parts only, as is the case here; for its repetition, often for hours on end, must result in unendurable weariness." To this the biographer retorts that "Schubert's dances, written for domestic balls, are to be played in series. [D969] comprises a dozen waltzes." The reviewer's comment is obscure, and the biographer probably misreads it -- but what is interesting is that it's taken for granted by both that D969, that most concert-friendly of Schubert's sets, was meant for dancing.

(1828) Ash Wednesday in 1828 fell on 20 February. D924 was announced by Haslinger on 5 January 1828 (Schubert: Dokumente, item 555) and received a review in the Wiener allgemeine Theaterzeitung, in which it was noted that "with respect to composition, the works of Schubert, Lanner, and Strauss stand out" [my translation] (S:D, item 590; also see Deutsch, 734).

S:D = Franz Schubert: Dokumente, 1817-1830. Ed. Till Gerrit Waidelich, with Renate Hilmar-Voit and Andreas Mayer. Vol. 1: Texte: Programme, Rezensionen, Anzeigen, Nekrologe, Musikbeilagen und andere gedruckte Quellen. Veröffentlichungen des Internationalen Franz Schubert Instituts, vol. 10. Tutzing: Hans Schneider.
Deutsch, Otto. Eric Blom, trans. Schubert: A Documentary Biography. London: J. M. Dent, 1946.