PRIVATIZING THE PUBLIC SPHERE
Out of this near-thousand “Deutsch numbers,” some of which actually represent groups of songs or short piano pieces (so that the total of actual compositions is well in excess of 1,000), a little over 200 were published during Schubert's lifetime, of which 134 (almost precisely two-thirds) were songs. The proportion is representative: Schubert's songs total around 630, accounting for almost precisely two-thirds of the entries in the Deutsch catalogue. The remainder of the published works breaks down as follows:
22 secular choruses, including two for mixed voices, one for female voices, and nineteen for male chorus (Männerchor);
19 groups of dances for piano (totaling 167 individual items, most of them tiny), including waltzes, Ländler (a slower version of the waltz), écossaises, Deutsche tänze (cf. Mozart's “Teitsch,” a souped-up minuet on the way to a waltz), galops (fast dances in duple time, danced in “longways sets” with couples in a line, usually the concluding number at a ball), and cotillons (a more elaborate dance performed in “squares,” which also often served as a ballroom finale);
15 publications for piano duet (four hands at one keyboard), totaling 49 individual items (mainly polonaises and marches, including the still popular Marches militaires, op. 51; but also an arrangement of one of Schubert's opera overtures, and one sonata);
7 works for piano solo, including three sonatas, the “Wanderer” Fantasy, a group of two Impromptus, a group of six Momens musicals (soon to be republished with a corrected French title as Moments musicaux), and a single waltz variation published in Diabelli's famous collection of 1824;
5 liturgical settings in Latin, including one complete Mass and a Deutsches Requiem or Trauermesse (a setting of the funeral rite in German), originally published as the work of the composer's brother Ferdinand to help him with a job application;
2 full-length chamber compositions: a string quartet in A minor, published in 1824 (with a dedication to Ignaz Schuppanzigh, the famous quartet leader) as op. 29, and a piano trio in E♭ major, published in 1828 as op. 100.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 The Music Trance." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 28 Mar. 2017. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 The Music Trance. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 28 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 The Music Trance." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 28 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002006.xml