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Schubert-Handbuch Schubert-Handbuch Ungekürzte Sonderausgabe Bearbeitet von Walther Dürr, Andreas Krause 1. Auflage 2007. Taschenbuch. X, 681 S. Paperback ISBN 978 3 476 02067 3 Format (B x L): 17 x 24 cm Gewicht: 1392 g Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. XI Vorwort Gedenkjahre markieren Positionen: Das kon- tet. Der ein Jahr darauf erschienene Kongreß- zentrierte Interesse an einem Autor, an einem Bericht zieht gewissermaßen das Resümee der Ereignis verdeutlicht, wie Perspektiven und In- bis dahin geleisteten Arbeit. Das spiegelt sich teressen sich ändern und in welcher Weise die- bereits auf der dem Bericht vorangestellten se mit historischen Prozessen unmittelbar zu- Photographie: Sie zeigt Eusebius Mandyczews- sammenhängen. 1897, zu Schuberts 100. Ge- ki, den Redakteur der Alten Gesamtausgabe. burtstag, war die erste Schubert-Gesamtaus- Was zu tun war, schien weitgehend getan. Zu- gabe abgeschlossen. Sie war von Johannes gleich war auch eine musikgeschichtliche Epo- Brahms begründet worden und dokumentiert che zu Ende gegangen: Die Musik der Spätro- noch heute den unmittelbaren Rezeptionszu- mantik, die sich auf Schubert noch direkt be- sammenhang des Schubertschen Werkes: Schu- rief, war 1928 nicht mehr zeitgemäß. Und wie bert – Schumann – Brahms. Kreißles Schu- im Reflex wandte sich auch die Forschung an- bert-Biographie (1865) lag damals seit gut drei- deren Themen zu, der in einem ganz neuen ßig Jahren vor, eine Biographie, die sich noch Sinne wiederentdeckten »Alten Musik«. Natür- weitgehend auf Zeitzeugen stützen konnte (und lich erschienen weiterhin vereinzelte Studien die daher heute gleichsam den Wert einer zu Schubert (Edith Schnappers Untersuchun- Primärquelle hat). Gustav Nottebohms Thema- gen zum frühen Schubert-Lied, 1937); es ist tisches Verzeichniss war kurz vor Beginn der aber doch wohl bezeichnend, daß es Otto Erich Arbeiten an der Gesamtausgabe erschienen und Deutsch in den Jahren bis 1938, bis zu seiner sicherte den maßgeblichen Bestand (unter weit- Emigration nach England nicht gelang, seine gehendem Verzicht auf damals noch unveröf- Dokumentensammlung, wie bereits 1913 ge- fentlichte Kompositionen). Die »Schubert-For- plant, weiterzuführen, obwohl doch das Manu- schung« im engeren Sinne war (trotz einiger skript zu den »Erinnerungen der Freunde« da- Spezialuntersuchungen, die vornehmlich den mals bereits weitgehend fertiggestellt war. Erst Liedern galten) primär biographisch orientiert. nach dem Zweiten Weltkrieg erschien in Eng- Man sammelte Quellen zur Lebensgeschichte, land sein Thematic Catalogue (1951), die »Er- kulminierend in Otto Erich Deutschs 1913/14 innerungen« folgten wenige Jahre später, zeit- zuerst erschienener Sammlung von Bild- und gleich in deutscher und englischer Sprache Textdokumenten, die in der Folge zu einem (1957). Aufbauend auf seinen Dokumenten- neuen literarischen Typus führte, der Doku- sammlungen kamen schließlich auch neue Bio- mentarbiographie. Damit allerdings verschob graphien heraus (Goldschmidt 1954; Brown sich bereits die Perspektive: Die Biographie 1957, 1969 in deutscher Sprache). Eine breite, galt, gegen Ende dieser ersten Epoche, nicht über das Biographische hinausgehende Schu- mehr einem zu früh verstorbenen Zeitgenos- bert-Forschung aber entwickelte sich erst lang- sen, sie führte historisch-kritische Methoden sam. Das waren einerseits grundlegende »Stu- ins Feld und dokumentierte damit den neu dien zu Schuberts Rhythmik« (Feil 1966), spe- empfundenen Abstand. ziell im Lied (Georgiades 1967), das waren 1928, zu Schuberts 100. Todestag, wurde andererseits aber auch Quellenstudien, ange- in Wien der erste Schubert-Kongreß veranstal- regt durch den Beginn der Arbeiten an der XII Vorwort Neuen Schubert-Ausgabe (1965). Inzwischen das vorliegende Handbuch dienen, das sich da- allerdings war für die »neue Musik« die Ro- mit freilich nicht nur an den Forscher wendet, mantik, nun als historische Epoche, ins Blick- sondern zugleich und ebensosehr an den Musi- feld gerückt, als eine Epoche, derer man sich ker und den gebildeten Musikfreund. wieder versichern mußte. So kam es beispiels- Der doppelten Zielsetzung sind die Beiträ- weise 1974, ohne äußeren Anlaß, zu einem ge der einzelnen Autoren verpflichtet: Sie ver- zweiten Schubert-Kongreß, der sich speziell zeichnen Fakten (wenn möglich in Tabellen- Fragen der Aufführungspraxis zuwandte. Im- form oder Übersichtstafeln), beschreiben gesi- mer zahlreichere Einzelstudien beschäftigten cherte Forschungsergebnisse, diskutieren aber sich mit bisher vernachlässigten Bereichen des auch Problemfelder und versuchen Lösungs- Schubertschen Werkes (insbesondere mit der möglichkeiten zu offerieren. Von daher sind Kirchen- und mit der Bühnenmusik). sie naturgemäß sehr unterschiedlich angelegt; Das Gedenkjahr 1978 und der damit ver- sie stellen entweder einzelne Werke in den bundene dritte Schubert-Kongreß gaben dann Vordergrund (insbesondere in den Kapiteln zu das Startsignal für umfangreiche neue Recher- den repräsentativen Werken wie den Sinfonien chen. Noch im Vorwort der zwar erst 1982 und Opern), oder sie gehen von übergeordne- erschienenen, aber bereits für 1978 gesammel- ten Gesichtspunkten aus und behandeln einzel- ten Schubert Studies hieß es, im Vergleich zur ne Werke eher exemplarisch (wie das Kapitel Literatur über Mozart und Beethoven sei die zu zu den mehrstimmigen Gesängen, aber auch den beiden anderen großen Meistern, Haydn das zur Kirchenmusik). Den Zugang zum ein- und Schubert, »still comparatively limited« zelnen Werk findet man dann eher über das (S. IX). Seither aber erschienen auf allen Ge- Register. bieten der Schubert-Forschung Arbeiten mit Dabei sollten die unterschiedlichen Ansätze dem Ziel, festgelegte Positionen in Frage zu der einzelnen Autoren auch deutlich werden. stellen, insbesondere solche, die in unmittelba- (Partielle) Widersprüche zwischen den einzel- rem Zusammenhang mit der Zielsetzung der nen Autoren, aus denen etwa die mögliche ersten Arbeiten im 19. Jahrhundert stehen, Interpretationsbreite abzulesen ist, durften nämlich: einen Traditionszusammenhang Beet- nicht zugedeckt werden; Thesen (und die dazu- hoven – Schubert zu begründen (der dann das gehörigen Belege) mußten gelegentlich auch eigene Werk oder das der Zeitgenossen legiti- wiederholt werden, wenn es nur dadurch mög- miert). Es galt, weiter auszugreifen. In der lich war, eine Ereignisfolge oder eine Argu- Biographik richtete man den Blick stärker auf mentationskette im Zusammenhang darzustel- das Schubertsche Umfeld, suchte sozial- und len, ohne auf lästige Querverweise ausweichen mentalitätsgeschichtliche Aspekte zu berück- zu müssen. Schuberts »Religiosität« ist daher sichtigen; in Studien zu Schuberts Instrumen- sowohl im biographischen Kapitel behandelt talmusik ging es nicht mehr um die Nachfolge wie in dem zur Kirchenmusik (und nicht völlig Beethovens (an dem sie zu messen war), Schu- deckungsgleich); Fragen der Rezeptionsge- bert war einfach sein Zeitgenosse, vielleicht schichte werden in dem ihnen vorbehaltenen auch Rivale, mit eigenen Zielsetzungen. Seine allgemeinen Kapitel in den grundsätzlichen Li- Bühnenwerke wiederum galten nun nicht nur nien dargestellt, jedoch auch in fast allen fol- als im ganzen enttäuschende Vorstadien zu genden Kapiteln wieder aufgegriffen. Selbst Wagners Musikdrama, sondern als eigenstän- der Umfang eines Beitrags resultiert nicht nur dige Leistungen im Kontext der deutschen ro- aus dem Gewicht, das ein bestimmter Themen- mantischen Oper. kreis im Zusammenhang des Ganzen besitzt, sondern auch aus unterschiedlichen Darstel- * lungsweisen der Autoren, aus der persönlichen Art, Detailbeobachtungen für das Ganze nutz- Schuberts 200. Geburtstag bietet nunmehr den bar zu machen. Anlaß, einerseits das Geleistete zusammenzu- fassen, zu referieren, andererseits aber auch daraus Folgerungen zu ziehen und Wege zu * weisen für die künftige Forschung. Dem soll Vorwort XIII Das Handbuch gliedert sich in zwei Hauptteile, und Verlag für Werk und Leben eines Kompo- die Vokal- und die Instrumentalmusik umfas- nisten, der keineswegs – wie es ein noch heute send, und einen ihnen vorangestellten allge- gepflegtes Vorurteil will – ein Meister des meinen Abschnitt, der sich mit Leben und Privaten war, ein Musiker der »Unöffentlich- Nachleben des Komponisten beschäftigt (so- keit«, der vielmehr erstaunlichen Erfolg hatte fern man »Kompositionsverfahren« und »Auf- (wenn auch nicht in allen musikalischen Berei- führungspraxis« als Teil der Biographie bzw. chen), der auch von seinen Verlegern keines- der Rezeptionsgeschichte ansieht). Von der wegs ausgenützt wurde – wie ein beliebtes Biographie allerdings sollte man nicht eine neu- Klischee es für jeden Autor gleichsam voraus- erliche, chronologisch disponierte Nacherzäh- setzt –, der vielmehr mit Selbstbewußtsein und lung des Lebenslaufes erwarten. Soweit ein großem Anspruch mit ihnen verhandelte (wenn- Handbuch Daten bringen muß, die man auch gleich natürlich mit unterschiedlichen Ergeb- größeren Lexika und Enzyklopädien entneh- nissen). men kann, sind sie in Zeittafeln zusammenge- Es hat sich gezeigt, das wird in den beiden stellt, die ihrerseits drei biographischen Haupt- folgenden
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