Schubert and the Politics of the Drinking Song in Biedermeier Vienna
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Franz Schubert wrote at least 20 vocal works over the course of his brief but compositionally prolific life that are directly concerned with the consumption of alcohol. In addition to their basic subject matter, these Trinklieder share many musical and textual features that mark them as similar to but ultimately distinct from Schubert’s songs on related topics, such as hunting, war, and life outdoors: specifically, their expressions of male-dominated group joviality and an overall buoyant character despite their frequent, Romanticist juxtapositions of merriment with the omnipresent specter of death. Further distinguishing these works is their unusual temporal distribution, with all but three composed around the young Schubert’s “miracle year” of 1815-16 and the rest written near the end of his life following a nine-year pause. This curious timing suggests that a sub-genre of songs often dismissed by commentators as interesting but ultimately inconsequential novelties actually can yield new insights into the composer’s life and works. Schubert’s early burst of Trinklieder composition corresponded to his membership in the “Bildung Circle” of young students, and his drinking songs reflect the relatively carefree spirit of these gatherings and its members’ devotion to the Romantic literary aesthetic, as well as Schubert’s contributions to its emerging musical manifestations. The nearly decade-long gap in Schubert’s Trinklieder output likewise correlates with the climate of political repression and suspicion in Vienna following Napoleon’s defeat; musical life largely turned to private salon concerts, including the legendary Schubertiades, which involved mixed company and generally lent themselves to more “respectable” music than drinking songs. Finally, a consideration of musical similarities between Schubert’s Trinklieder –particularly his last few songs of this type– and more substantial compositions in his oeuvre as well as those of other composers can yield further insights into these works and Schubert’s distinctive brand of musical Romanticism.
Abstract
Franz Schubert wrote at least 20 vocal works over the course of his brief but compositionally prolific life that are directly concerned with the consumption of alcohol. In addition to their basic subject matter, these Trinklieder share many musical and textual features that mark them as similar to but ultimately distinct from Schubert’s songs on related topics, such as hunting, war, and life outdoors: specifically, their expressions of male-dominated group joviality and an overall buoyant character despite their frequent, Romanticist juxtapositions of merriment with the omnipresent specter of death. Further distinguishing these works is their unusual temporal distribution, with all but three composed around the young Schubert’s “miracle year” of 1815-16 and the rest written near the end of his life following a nine-year pause. This curious timing suggests that a sub-genre of songs often dismissed by commentators as interesting but ultimately inconsequential novelties actually can yield new insights into the composer’s life and works. Schubert’s early burst of Trinklieder composition corresponded to his membership in the “Bildung Circle” of young students, and his drinking songs reflect the relatively carefree spirit of these gatherings and its members’ devotion to the Romantic literary aesthetic, as well as Schubert’s contributions to its emerging musical manifestations. The nearly decade-long gap in Schubert’s Trinklieder output likewise correlates with the climate of political repression and suspicion in Vienna following Napoleon’s defeat; musical life largely turned to private salon concerts, including the legendary Schubertiades, which involved mixed company and generally lent themselves to more “respectable” music than drinking songs. Finally, a consideration of musical similarities between Schubert’s Trinklieder –particularly his last few songs of this type– and more substantial compositions in his oeuvre as well as those of other composers can yield further insights into these works and Schubert’s distinctive brand of musical Romanticism.
참고문헌 (15)
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