from the New Schubert Edition

Recently published: Critical Report III/3

06. 09. 2021

Notenbände und Kritische Berichte

Recently published Critical Report:

Songs for Several Voices of the same Pitch with Accompaniment (III/3)
Franz Schubert’s songs for several voices with piano or guitar accompaniment were just as popular with his contemporaries as his famous lieder. Schubert got to know singing in multiple parts both in his family and at school; he wrote small cantatas for family celebrations or trios for compositional studies at an early age. In addition to uplifting vocal movements in the style of Michael Haydn, drinking songs for unison choir were created at the same time. The young composer celebrated his first major public success with “Das Dörfchen” (D 598). His more demanding vocal quartets such as “Gondelfahrer”, “Die Nachtigall” or “Nachthelle”, which he composed from 1819 for public and professional performances by the Vienna Gesellschaft der Musikfreunde, are still part of the core repertory of Romantic male singing today.
Other part songs reflect the unique cultivation of bourgeois sociability in Viennese Biedermeier and were created directly on festive occasions in family and friends, such as the “Ständchen“ D 920 based on a text by the poet friend Franz Grillparzer for a student of the singing teacher Anna Fröhlich.
With 46 songs for three to five voices of the same register or unison choir, the present volume offers the entire spectrum of the genre, including different versions of some of the songs and some pieces which remained fragmentary, like the third setting of J. W. von Goethe’s “Gesang der Geister über den Wassern”.

New project on Schubert research at the ÖAW

16. 07. 2021


The contemporary processing of watermarks in Franz Schubert’s music manuscripts has long been a desideratum. As part of the Heritage Science Austria funding program, the interdisciplinary project “Digitization, Recognition and Automated Clustering of Watermarks in the Music Manuscripts of Franz Schubert”, which includes thermography, machine learning and signal processing, will start in autumn 2021.

The indexing of Franz Schubert’s music manuscripts is one of the main concerns of the Vienna office of the New Schubert Edition. Dating has been a central task since it began in the 1960s, as it provides additional information on the history of the sources. In doing so, not only Schubert’s handwriting but also the types of paper he used were taken into account. Thanks to the continuous source documentation, the Neue Schubert-Ausgabe can now fall back on a stock of more than 1,300 handwritten watermark pauses.

As valuable as these breaks are, some were created under unfavorable conditions and do not allow a comparative overview. Up-to-date digital visualization and indexing have long been a desideratum. With modern imaging techniques, using thermography, machine learning and signal processing, more objective results can be achieved. This is where the new project (in cooperation with the Institute for Sound Research of the ÖAW) comes in, which makes use of basic ideas from the field of fingerprint recognition, where attempts are made in a similar way to determine from a large number of data sets which of them are assigned to the same fingerprint can. This not only verifies previous results of Schubert research, but also abstracts them towards a common application scenario – the gap between analog and digitally processed research data.

The project is carried out by a research team led by Katharina Loose-Einfalt (Vienna office of the New Schubert Edition) and Günther Koliander (Institute for Sound Research of the ÖAW) and by Andrea Lindmayr-Brandl (Head of the Schubert Research Center Vienna, Paris-Lodron University Salzburg) as a supervisor. In addition, the Vienna Library in the City Hall and the music collection of the Austrian National Library could be won as cooperation partners, which keep a predominant part of the Schubert manuscripts.

Photo: Franz Schubert, “Fierrabras” (D 796) Opera in three acts with spoken dialogues based on a libretto by Joseph Kupelwieser, 1823. Autograph writing, sheet 56 recto and 57 verso (music collection of the Wienbibliothek im Rathaus, MH 9), with one Watermark from the Welhartiz (Velhartice) paper mill, Czech Republic (Sources: Thermography: WZIS, handwritten pause: archive material from the New Schubert Edition).

Establishment of a Schubert Research Center in Vienna

01. 07. 2021

On April 1st, 2021 a ‘Commission for Interdisciplinary Schubert Research’ was founded at the Austrian Academy of Sciences. The aim of this commission is to uncover social networks in the Viennese cultural life of the Vormärz, to highlight connecting and dividing factors across borders and disciplines and, more generally, to understand the world in which Schubert and his contemporaries lived and worked in a more differentiated and comprehensive way. The interdisciplinary platform aims to be the point of contact for international scientists, musicians and the interested public, to organize annual specialist conferences and to seek young scientists.

Another central concern of the commission is the formation of networks and communication with colleagues around the world. For this purpose, a newsletter is sent out at irregular intervals by email, which informs about new publications, calls for papers, events, job advertisements, scholarships, etc. Please provide us with relevant information. You can register for the newsletter here: You can unsubscribe at any time.

Andrea Lindmayr-Brandl (Chairwoman)
on behalf of all members of the commission

Obituary Werner Aderhold († 15. Februar 2021)

01. 03. 2021

Dr. Werner Aderhold

We mourn our colleague Dr. Werner Aderhold

We mourn our colleague Dr. Werner Aderhold (born November 4, 1937), who died unexpectedly on February 15, 2021. Werner Aderhold was a committed editor who had a decisive influence on the New Schubert Edition as editor of the great symphonies, string quartets and string trios of Franz Schubert and as editor and longstanding member of the Editorial Board. On behalf of the editorial department, he developed the new version of the Schubert catalog raisonné by Otto Erich Deutsch, which was published in 1978 and is still valid today. Even after his retirement at the end of 2002, he was attentive and helpful in accompanying the work of the New Schubert Edition. We will miss Werner Aderhold as a sociable and lovable colleague.

Editorial Board and employees of the New Schubert Edition in Tübingen and Vienna.

Recently published: volume V/5

07. 01. 2021

Notenbände Rücken

Recently published volume:

Overtures (V/5)
In addition to his symphonies, Franz Schubert wrote eight finished concert overtures between around 1811 and 1819 (two of them in two versions). With the exception of the “Overture in D” (D 4), which refers to the comedy “Der Teufel als Hydraulicus” (“The Devil as Engineer”) and the “Overture in D” (D 26), the original title of which was cut out of the manuscript, it is all about compositions that are neither associated with a drama nor a program. Therefore, at an astonishingly early date in musical history, they embody the type of the pure concert overture; they are also correspond to this terminologically by explicitly dispensing with any further addition in the title; the epithet “in the Italian style”, which is common for two works, was only given posthumously.
For the first time, the “Italian Overture in C” (D 591) appears in its two authentic versions, contrary to the performance tradition that has proven itself based on a mixture of sources. Likewise for the first time, the widely handed-down but corrupted musical course of the “Overture in D” (D 590) has been rectified.
In the shadow of his symphonies, Franz Schubert’s overtures have been largely underestimated in both reception and musical practice – including the “Overture in E minor” (D 648), with which Schubert penetrates radically new spheres of expression to a greater extent than in virtually any other of his works.