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Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis
Published online by Cambridge University Press: 05 September 2018
Abstract
Johann Herbeck (1831–1877) served in his native Vienna as conductor of the leading choral and instrumental organizations. He showed his devotion to the legacy of Franz Schubert in his performances and also in his edition, published by C.A. Spina and successors, of 51 selected works of the master for men’s, women’s and mixed chorus. Originally conceived as part-songs for ensembles of soloists, this repertoire had become choral music by Herbeck’s time. Included also are arrangements by Herbeck and others of pieces originally written for different performing media. Surviving copies of numbers in the edition, as well as two additional publications, reveal startling inconsistencies in editorial technique, ranging from a lack of intervention to a much freer approach, including liberal sprinkling of unauthentic markings and other deviations from the originals. In the latter category, the editor’s additions may be said to document the performance practice of these works during his time. His choice of sources was also inconsistent, in some cases resulting in faulty versions of the works presented. This study also documents the production and reception history of Herbeck’s edition.
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- Research Article
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- Copyright © Cambridge University Press, 2018
Footnotes
This article is an expansion and revision of my paper, ‘The Editions of Franz Schubert’s Choral Music by Johann Herbeck’, presented at the Seventeenth Congress of the International Musicological Society in Leuven, Belgium, August 2002. I wish to express my gratitude to the two anonymous readers for their helpful suggestions, which I have been happy to incorporate in the article.
References
1 Herbeck, Ludwig, Johann Herbeck: Ein Lebensbild (Vienna: Verlag von Albert J. Gutmann, 1885), 53–55 Google Scholar.
2 ‘Nix als Schmarr’n’. L. Herbeck, Johann Herbeck, 53.
3 The identity of the manuscript would have been easy to determine, as the top margin of its first page bears Schubert’s title, the date (‘Febr. 1821’), and his signature. The manuscript was acquired in 1993 by the Wiener Stadt- und Landesbibliothek (now Wienbibliothek; hereafter Wb), which possesses a wealth of Schubert materials. See [Ernst Hillmar], ‘Schuberts “Gesang der Geister über den Wassern”: Das “wiederaufgefundene” Autograph von D714’, Schubert durch die Brille 10 (Jan. 1993): 7–24.
4 Raab, Michael, Franz Schuberts Werke in Erst- und Frühdrucken (Schubert-Drucke-Verzeichnis) (Kassel: Bärenreiter-Verlag, 2015)Google Scholar, part a, 39.
5 ‘Nachstehende Herren werden freundlichst ersucht, sich behulfs einer Leserprobe äußerst interessanter Novitäten, worunter ein gänzlich unbekannter Chor von Franz Schubert Manuscript!!!! um 6 Uhr Abends, Freitag den 10. Juli in meiner Wohnung, Stock im Eisen Nr. 623 3ter Stock rechts, gefällig versammneln zu wollen. Hochachtungsvoll J. Herbeck’. The original autograph letter – which probably served as a model for copies written by hand or reproduced by a duplication process and distributed to the recipients – is found in the Taussig Collection at the University Library in Lund, Sweden. It is designated as ‘H 102’ in Mühlhäuser, Siegfried, Die Handschriften und Varia der Schubertiana-Sammlung Taussig in der Universitätsbibliothek Lund (Wilhelmshaven: Heinrichshofen’s Verlag, c. 1981), 116 Google Scholar. Mühlhäuser describes the document as a circular letter written to members of the Gesellschaft der Musikfreunde (hereafter GdM) and suggests both the date of 1862 and the identity of the composition in question as Schubert’s Easter cantata Lazarus. All of this might fit together, but it is all incorrect. As shown in Herbeck’s entry in his diary, quoted below, the year was 1857, the invitation was to members of the WMgV, and the piece was ‘Gesang der Geister über den Wassern’. Lazarus is an extensive composition containing mostly solo vocal music and would not have been appropriate for the reading rehearsal planned by Herbeck. Moreover, had the organization in question been the GdM, his invitation would more likely have been addressed to members of the Singverein, the mixed chorus of that organization. Another factor is that, as Mühlhäuser reports, the recipients were seven members each of four choral sections: first tenors, second tenors, first basses and second basses – an arrangement certainly more in keeping with a men’s chorus than with a mixed chorus. Mühlhäuser quotes Herbeck’s text only in part, with omitted material indicated by ellipsis dots. Fortunately, most of the document is presented in facsimile in Plate (Tafel) XVIII, from which the quotation given above is taken. It also contains the list of first tenors (the rest is cut off in the facsimile), as well as a parenthetical reference (omitted in the transcription) to the members of a vocal quartet who would also be rehearsed for a planned ‘Liedertafel’, a type of social/musical gathering in which, typically, men’s choruses participated. Almost all of these singers (a few names are difficult to decipher) can be identified as members of the WMgV, as listed in August Schmidt, Der Wiener Männergesang-Verein: Geschichtliche Darstellung seines Gutstehens und Wirkens zur Feier seines fünfundzwanzigjährigen Jubiläums (Vienna: Im Selbstverlage des Wiener Männergesang-Vereines, 1868), 166–79. Finally, Mühlhäuser transcribes each of Herbeck’s uses of the ‘ess-zet’ as a double ‘s’, a common practice, but not an appropriate one in a bibliographical study that should reproduce original texts faithfully. Herbeck’s letter is also quoted, with the correct date and context, in L. Herbeck, Johann Herbeck, 54.
6 L. Herbeck, Johann Herbeck, 54.
7 ‘Lehrprobe bei mir: “Gesang der Geister über den Wassern”, v. F. Schubert im Jahre 1821 componirt – und im Jahre 1857 von mir als gänzlich unbekanntes Manuscript aufgefunden! Gehört zu den größten, kühnsten Offenbarungen dieses Genius!’: J. Herbeck, Tagebuch, Österreichische Nationalbibliothek (hereafter ÖNb), Handschriftensammlung, 259/21, fol. 28.
8 Herbeck, Tagebuch, fol. 29. See also Hofmann, Rudolf, Der Wiener Männergesangverein: Chronik der Jahre 1843 bis 1893 aus Anlass der fünfzigjährigen Jubelfeier des Vereines (Vienna: Verlag des Wiener Männergesangvereines, 1893), 66 Google Scholar.
9 ‘Der hießige Männergesangverein bringt am 27. d. M. stattfindenden Concerte eine der werthvollsten Tondichtungen von Franz Schubert, welche länger als dreißig Jahre in einem Notenfascikel vergraben, der Vergessenheit entgegenschlummerte. Herrn Herbeck, dem thätigen Chormeister dieses Vereines, war es vorbehalten diesen Schatz zu heben, indem er ihn aus einer Sammlung Schubert’scher Manuscripte herausfand und bei dem Eigenthümer derselben, Herrn Spina, die Herausgabe dieses Chores veranlaßte’: Blätter für Musik, Theater und Kunst no. 103 (25 December 1857): 412.
10 An unsigned review of this first performance in Allgemeine Musikalische Zeitung 23 (21 March 1821): col. 183, by editor F.A. Kanne, describes this work as having been ‘recognized by the audience as an accumulation of all musical modulations and deviations without meaning, order and purpose. In such works, the composer resembles the driver of a large wagon who drives with an eight-horse hitch and turns now right, now left, dodges, then turns around and keeps carrying on this game without coming onto a street’ (‘von dem Publicum als ein Accumulat aller musikalischen Modulationen und Ausweichungen ohne Sinn, Ordnung und Zweck anerkannt. Der Tonsetzer gleicht in solchen Compositionen einem Grossfuhrmann, der achtspännig fährt, und bald rechts, bald links lenkt, also ausweicht, dann umkehrt und dieses Spiel immerfort treibt, ohne auf eine Strasse zu kommen’). Leopold von Sonnleithner, writing in 1857, remembered that the performance on 7 March 1821 was ‘not sufficiently rehearsed’ (‘nicht genügend einstudiert’). See Deutsch, Otto Erich, Schubert: Die Erinnerungen seiner Freunde (Wiesbaden: Breitkopf & Härtel, 1983), 127 Google Scholar.
11 ‘hat erst jetzt ihre vollständige Sühnung erhalten, und die musikalische Welt erst jetzt den vergeudeten Schatz zurückerlangt, um ihn nie wieder zu verlieren’: Eduard Hanslick, Die Presse: Morgenblatt 10, no. 299 (31 Dec. 1857): [1].
12 ‘Eine besondere Stellung in der Geschichte des deutschen Männergesanges nimmt einer unserer großen Meister ein, indem seine Werke erst in einer viel späteren Zeit bekannt worden sind, und ihre Wirkung erst dann zu äußern vermochten, als der Tonmeister längst im Grabe ruhte, und Jahrzehnte fortschreitender Weiterentwicklung zurückgelegt waren’: Otto Elben, Der volksthümliche deutsche Männergesang: Geschichte und Stellung im Leben der Nation, der deutsche Sängerbund und seine Glieder, 2nd ed. (Tübingen: Verlag der H. Laupp’schen Buchhandlung, 1887; reprint Wolfenbüttel: Möseler Verlag, 1991), 409.
13 Adametz, Karl, Franz Schubert in der Geschichte des Wiener Männergesang-Vereines (Vienna: Wiener Männergesang-Verein, [1938]), 9 Google Scholar. At this early date, the name of the organization had not yet been determined. A facsimile of the poster announcing this concert and its programme is shown in 150 Jahre Wiener Männergesang-Verein, 1843–1993 ([Vienna: Wiener Männergesang-Verein, 1993]), I. Wissenschaftlicher Teil, 25.
14 L. Herbeck, Johann Herbeck, 30–31, 42.
15 Listed here in chronological order of first performance by the WMgV, from 28 January 1844 to 15 March 1857. Adametz, Franz Schubert, 11, 154–7.
16 In 1857, Leopold von Sonnleithner identified the four singers who performed Schubert’s ‘Das Dörfchen’ in the public concert on 7 March 1821. Anselm Hüttenbrenner, writing in 1854, also named these four singers and reported that they – in addition to four others, two of whom he identified – constituted the ensemble that performed ‘Gesang der Geister über den Wassern’ on the same occasion. Later public presentations of the latter work on 30 March 1821 and 15 April 1822, as reported by Sonnleithner (in two documents written in 1857), also involved eight identified singers. See Deutsch, Schubert: Die Erinnerungen, 125–7, 142–3 and 213–14.
17 Herbeck’s activity in support of the Schubert legacy in general is well summarized by Crawford Howie in ‘Herbeck and Schubert’, The Schubertian: Journal of the Schubert Institute (UK) No. 53 (1 October 2006): 11–19; and ‘Johann v. Herbeck (1831–1877): An Important Link between Schubert and Bruckner’, Bruckner Jahrbuch 2006–2010 (Linz, 2011): 165–87.
18 Herbeck’s performance of Schubert works continued to be supported by Eduard Hanslick, as in the latter’s positive review of the WMgV concert on 28 February 1858, in which selections from Schubert’s opera Fierrabras were presented. See Hanslick, Eduard, Aus dem Concert-Saal: Kritiken und Schilderungen aus 20 Jahren des Wiener Musiklebens, 1848–1868 (Vienna: Wilhelm Braumüller, 1897), 158 Google Scholar. Hanslick also praised Herbeck’s discovery and performance of the Symphony in B Minor, commenting that the symphonic fragment can be numbered among the composer’s greatest works in that genre, and adding that he takes all the more pleasure in saying this ‘because we have allowed ourselves more than once a word of warning against an overly zealous Schubert-piety and worship of relics’ (‘als wir gegen eine übereifrige Schubert-Pietät und Reliquien-Verehrung mehr als einmal uns ein warnendes Wort erlaubt haben’). Ibid., 393. In a review of 1874, he repeated his opposition to indiscriminate unearthing of Schubert’s works, regardless of their quality: ‘These Schubert exhumations at any price, as they have been carried on here for years, increase neither his fame nor our pleasure’ (‘Diese Schubert-Ausgrabungen um jeden Preis, wie sie hier seit Jahren betrieben werden, vermehren weder seinen Ruhm noch unsern Genuß’): Hanslick, Eduard, Concerte, Componisten und Virtuosen der letzten fünfzehn Jahre, 1870–1885, 2nd ed (Berlin: Allgemeiner Verein für Deutsche Literatur, 1886), 120 Google Scholar.
19 As the check list in Appendix 1 shows, despite an extensive search, I have been able to locate copies of only 26 of the 34 numbers in section I (all but 11, 12, 14, 19, 22, 30, 31 and 32) and – even more regrettable – only two of the 17 numbers in section II (7 and 17). Raab, Franz Schuberts Werke, part b, 688, reports that none of the numbers in section II could be found.
20 A facsimile of Herbeck’s Foreword (location not indicated) is given in Schubert: Neue Ausgabe sämtliche Werke, series III, vol. 4, ed. Dietrich Berke (Kassel: Bärenreiter-Verlag, 1974), XXII. The text of the Foreword is quoted in L. Herbeck, Johann Herbeck, appendix, 111–13.
21 They were Josef Barth and Wenzel Nejebse, portraits of whom are presented in Adametz, Franz Schubert, between pp. 10 and 11.
22 ‘Die Hofmusikalienhandlung C. A. Spina bereitet für die Herbstsaison eine sehr interessante Nova-Sendung vor. Dieselbe wird enthalten: Schubert’s “Müllerlieder” nach den Original-Manuscripten und ersten Drucken kritisch revidirt; Deutsche Tänze, bisher ungedruckt, für Pianoforte und zugleich in vierhändigem Arrangement von Julius Epstein. – Außer Anderem bereitet diese thätige Handlung eine complete Ausgabe der Schubert’schen Chöre (vervollständigt durch Opernchöre), und zwar kommen die Männerchöre zunächst an die Reihe. Die Auflage hat, bei aller Correctheit und Sauberkeit der Herstellung, hauptsächlich eine so weitgehende Billigkeit im Auge, um die Vereine dadurch von der Selbstanfertigung widerrechtlicher Abklatsche abzubringen, weil die Kosten dieser Vervielfältigungsart im Verhalt zu dieser neuen Ausgabe sich viel höher stellen werden’: Blätter für Theater, Musik und Kunst [the title was changed on 1 January 1861] (12 August 1864): 260.
23 The Life: Franz Schubert, Translated from the German of Kreissle von Hellborn by Arthur Duke Coleridge, M.A. … with an Appendix by George Grove, Esq., vol. 2 (London: Longmans, Green, 1869), 324. Much of Grove’s report is quoted, although with significant deletions (the entire description of the manuscripts with musical examples, the above statement about Viennese tastes and Johann Herbeck, and other matters) and a few alterations, in Deutsch, Franz Schubert: Die Erinnerungen, 521–7.
24 Steurer, Richard, Das Repertoire der Wiener Hofmusikkapelle im neunzehnten Jahrhundert (Tutzing: Hans Schneider, 1998), 449, 451, 453 CrossRefGoogle Scholar.
25 Adametz, Franz Schubert, 43, 166–7.
26 Pohl, C.F., Denkschrift aus Anlass des fünfundzwanzigjährigen Bestehens des Singvereines der Gesellschaft der Musikfreunde in Wien (Vienna: Im Selbstverlage des Vereines, 1883), 36–37 Google Scholar.
27 Richard von Perger, Geschichte der k. k. Gesellschaft der Musikfreunde in Wien. 1. Abteilung: 1812–1870 (Vienna: Herausgegeben von der Direktion der k. k. Gesellschaft der Musikfreunde in Wien, 1912), 290, 292, 295–6, 299.
28 100 Jahre Wiener Singakademie: 1858–1958 ([Vienna: Wiener Singakademie, 1958]), ‘Chronik’, unnumbered page.
29 Weiß, Anton, Fünfzig Jahre Schubertbund: Chronik des Vereines vom. 1. bis 50. Vereinsjahre (Vienna: Verlag des Schubertbundes, 1913), 5–19 Google Scholar.
30 Prosl, Robert Maria, Die Hellmesberger: Hundert Jahre aus dem Leben einer Wiener Musikfamilie (Vienna: Gerlach & Wiedling, 1947), 59–60 Google Scholar.
31 Perger, Geschichte des k. k. Gesellschaft, 294–5, 297.
32 L. Herbeck, Johann Herbeck, appendix, 165–9.
33 von Perger, Richard, Denkschrift zur Feier des fünfzigjährigen ununterbrochenen Bestandes der philharmonischen Konzerte in Wien 1860–1910 (Vienna: C. Fromme, 1910), 55, 57–60 Google Scholar.
34 Ernst Hilmar, ‘Zur Schubert-Rezeption in den Jahren 1831 bis 1865: Eine kommentierte Auflistung der Quellen in der “Wiener Zeitung”‘, Schubert durch die Brille: Internationales Franz Schubert Institut – Mitteilungen 29 (June 2002): 66–227.
35 Hilmar, ‘Zur Schubert-Rezeption in den Jahren 1831 bis 1865’, 214–16.
36 Graves, Charles L., The Life and Letters of Sir George Grove, C. B. (London: Macmillan, 1903), 142 Google Scholar; quoted in Deutsch, Franz Schubert: Die Erinnerungen, 517.
37 The numbers in question all come from the first section of the series, for men’s chorus, and are 1, 2, 3, 4, 5, 8, 9, 10, 15, 16, 17, 20, 21, 23, 27, 28, 33 and 34. All but five of these (17, 21, 28, 33 and 34) are established through external sources as having been published between 1858 and 1867.
38 Ludwig Speidel, ‘Feuilleton. Noch ein Schubert-Monument’, Die Presse 20, no. 278 (10 October 1867): [1–3].
39 ‘Wollte der Spina’sche Verlag in dieser Richtung etwas thun, so brauchte er nur die Finger auszustrecken, um auch gleich die rechten Männer zur Hand zu haben – Männer, welche entscheiden, was in die Schubert-Ausgabe aufzunehmen sei (denn den Ausdruck Gesamtausgabe nehmen wir nicht wörtlich), und welche die Manuscripte und ersten Ausgaben verglichen und die richtigen Lesarten kritisch feststellten’: Speidel, ‘Feuilleton. Noch ein Schubert-Monument’, [2].
40 Nottebohm would go on to publish his Thematisches Verzeichniss der im Druck erschienenen Werke von Franz Schubert (Vienna: Friedrich Schreiber, 1874). See below.
41 It is ironic, of course, that the first Complete Works edition of Schubert’s music was published in Leipzig by Breitkopf & Härtel from 1884 to 1897. In this context, recognition should also be given to the earlier work of Friedrich Schreiber of Vienna, who as the successor to C. A. Spina possessed a wealth of Schubert material dating back to Anton Diabelli. As documented by Nottebohm in his Thematisches Verzeichniss, by the year 1874 Schreiber was offering Schubert editions representing 140 of the 173 known opus numbers, as well as all 50 of Diabelli’s posthumous-song publications – a total of 190 out of 223, amounting to 85 per cent of this repertoire. Nonetheless, Schreiber’s efforts fell short of the standards of a Complete Works edition, as his output was sparse in important categories of works without opus numbers (including symphonies, chamber music, piano music and sacred works), and his publications as a whole lacked the necessary editorial oversight.
42 Wb, 159610 Ja.
43 No evidence exists in any Viennese library today that these publication copies were retained by any of the offices, with one important exception: the ÖNb, the successor to the k. k. Hofbibliothek, preserves all of the eight numbers of the Herbeck edition documented in the Spina Ablieferungsbuch and in fact all of the 28 numbers in that edition that have been located to date, as identified in Appendix 1 (although copies of these are also found in other libraries and archives as well). In addition, the ÖNb contains Drei geistliche Lieder and ‘Morgengesang im Walde’, both not part of Herbeck’s edition.
44 This passe-partout, representing stage 2, is reproduced as ‘Titel 1’ in Raab, Franz Schuberts Werke, part b, appendix, 825. Karl Adametz, Hundert Jahre Wiener Männergesang-Verein (Vienna: [Wiener Männergesang-Verein, 1943]), 228, states that Herbeck brought his Schubert edition to a finish in 1867. Perhaps Adametz interpreted the date on this source as indicating that the edition was complete at that time.
45 This passe-partout, representing stage 3, is reproduced as ‘Titel 2‘ in Raab, Franz Schuberts Werke, part b, appendix, 826.
46 Raab, Franz Schuberts Werke, part a, 39–40.
47 Raab, Franz Schuberts Werke, part a, 40.
48 The Spina Ablieferungsbuch documents a publication date of 28 July 1866.
49 VERLAGS-CATALOG der k. k. Hof-Kunst- und Musikalien-Handlung von Friedrich Schreiber (vormals C. A. Spina) in Wien (Vienna: Friedrich Schreiber, 1874).
50 Verlags-Catalog der k. k. Hof- und privileg. Kunst- und Musikalien-Handlung C. A. Spina in Wien (Vienna: C. A. Spina, 1872).
51 The copy of this rare source that was consulted (British Library, Mic. C. 11958) lacks the church-music listing.
52 Raab, Franz Schuberts Werke, part a, 40.
53 A reversed ordering of nos. 33 and 34 – i.e., no. 33 as ‘Nur wer die Sehnsucht kennt’ and no. 34 as ‘Durch die Ostsee wilde Wogen (Rüdigers Heimkehr)’, contrary to the evidence of stage 4 – is found in a final editorial list of the numbers in section I provided in Raab, Franz Schuberts Werke, part b, 690. It is surprising that this list also adds nos. 35 and 36, neither of which was part of Herbeck’s edition. No. 35 is assigned to ‘Morgengesang im Walde’, which was published separately (see Appendix 1 in the present article), and no. 36 is ‘Trinklied’ (D. 356), for which no evidence has been found linking it to Herbeck’s edition.
54 The final form of the complete letter, dated 15 February 1868, survives in an autograph draft preserved in the Taussig Collection in Lund, Sweden. It is designated ‘H 104’ in Mühlhäuser, Die Handschriften und Varia, 117–18. Mühlhäuser’s transcription of the text is incomplete, as ellipses are indicated at four places. Therefore, the content of the document described and quoted here is based on the earlier draft in the archive of the GdM. Even if some of Herbeck’s strong comments in that source may not have been carried over to the final draft, they nevertheless have the value of indicating his sentiments at that time.
55 As explained above, this work was a separate publication, not part of Herbeck’s main edition. Its appearance during the year 1868 may indicate that his complaint did some good.
56 ‘Daß inzwischen E[uer] W[ürdiger] Verlag ein[e] schwere Menge Novitäten gebracht hat, die, ohne künstlerischen Inhalt zu bergen, Ihnen auch keinen materielen Vortheil hatten, sei nur nebenbei erwähnt’.
57 ‘Ich fühlle mich zu diesen aufrichtigen Bemerkungen verpflichtet, da ich, für diese künstlerische Ehrensache, erfüllt vom innigsten lebhaftesten Interesse mir beschämt sehen, wie Wien von außerösterreichischen Firmen, die weniger Aussicht auf Vortheil haben, fort und fort überflügelt wird’. Herbeck’s choice of the word ‘überflügelt’ (literally ‘outwinged’) may reflect the avian reference in Speidel’s article, cited above.
58 The year 1869 may also mark the end of the period in which the publisher included Herbeck’s Foreword in the individual numbers of the edition. This cannot be determined for certain, however, owing to the difficulty in assigning dates to numbers published after 1867.
59 Might this explain the strange entry in the Spina/Schreiber catalogue of 1872/1874 (p. 43) in which the arranger of ‘Litanei’ (section II, no. 16, as well as Drei geistliche Lieder, no. 3), instead of the expected ‘J. Herbeck’, is given as ‘J. Kukuk’? It seems too wide of the mark to be dismissed as a typographical error.
60 L. Herbeck, Johann Herbeck, 224.
61 L. Herbeck, Johann Herbeck, 224, note 4.
62 L. Herbeck, Johann Herbeck. Omitted here are six works cited by Ludwig Herbeck that cannot be identified specifically. In neither case are the manuscripts identified as Schubert autographs, although it is known that at least some of them had that distinction.
63 ‘nicht blos ergänzt, sondern oft übertrieben’: Eusebius Mandyczewski, ed., Schubert Gesamtausgabe, Revisionsbericht, Series 16 (Leipzig: Breitkopf & Härtel, 1897), 1.
64 Deutsch, Otto Erich, Schubert: Thematic Catalogue of All His Works in Chronological Order (New York: W.W. Norton & Co., 1951 Google Scholar; corrected reprint edn as The Schubert Thematic Catalogue, New York: Dover Publications, 1995), 390.
65 Both the old and the new Schubert Complete Works present the composer’s version, transmitted, respectively, in a manuscript copy of the autograph and in the autograph itself.
66 Herbeck’s transposition is in error in the bass part, bar 26, whose last note should be c natural. A facsimile of this edition (location not indicated) is given in Schubert: Neue Ausgabe, series III, vol. 4, XXIII.
67 Additional evidence of Herbeck’s performance practice of the latter work is provided by a manuscript in his hand preserved in the ÖNb (Mus. Hs. 29481), an arrangement, derived from the voice parts, for an accompanying ensemble of two violas and three violoncellos, prepared for a performance of the Wiener Männergesang-Verein on 5 Jan. 1868. See Adametz, Franz Schubert, 157. Another instrumental arrangement by Herbeck for performance is his skilful transformation of the accompanying piano part of ‘Der Gondelfahrer’ (section I, no. 10) for an ensemble of 2 violins, viola, violoncello, contrabass, 2 bassoons and 2 horns (preserved in manuscript in the archive of the WMgV). It was performed under Herbeck’s direction by the WMgV and instrumentalists in the Great Hall of the new ‘Musikverein’ in a festive concert on 15 May 1872, marking the unveiling of the Schubert monument in the Vienna City Park. See Hofmann, Der Wiener Männergesangverein, 229. The planning for this occasion brought forth a more successful charitable foundation associated with Herbeck and the Schubert legacy than the abovementioned agreement of 4 April 1867 had done. The WMgV had collected over 17,922 gulden to pay for the monument and its erection, of which over 3,094 gulden remained to create a ‘Schubert Foundation for the Remuneration and Support of Deserving Composers’ (‘Schubert-Stiftung zur Belohnung und Unterstützung verdienter Tondichter’). See L. Herbeck, Johann Herbeck, 317–18. The foundation was administered by the directors of the WMgV to fund a number of causes associated with the memory of Franz Schubert until the centennial year of 1897, when it was turned over to the GdM and earmarked for the support of needy pupils in the Conservatory, thus fulfilling one of the charitable purposes of the agreement made in 1867. See Adametz, Franz Schubert, 59–62.
68 Deutsch, Schubert: Thematic Catalogue, 317. See also Deutsch, Otto Erich, Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge (Kassel: Bärenreiter-Verlag, 1978), 415–416 Google Scholar.
69 Deutsch, Franz Schubert: Thematisches Verzeichnis, 587–8.
70 Nottebohm, Thematisches Verzeichniss, 230.
71 ‘In Herbeck’s Ausgabe steht kein Takt, der in Bezug auf die Behandlung des Männerchors auch nur im Geringsten Zeugnis ablegen könnte von jener Meisterschaft, die Schubert darin eigen war. Auch fehlt im Leben Schubert’s jede Veranlassung zu einer solchen Bearbeitung. Wie das Werk im Autograph vorliegt, ist es eine vom Textdichter bestellte Arbeit, und es ist eher anzunehmen, dass Schubert nöthigenfalls eine besondere Messe fur Männerstimmen geschrieben, als dass er eine Bearbeitung wie die von Herbeck herausgegebene geliefert hätte’: Eusebius Mandyczewski, Schubert Gesamtausgabe, Revisionsbericht, series 13 (Leipzig: Breitkopf & Härtel, 1897), 40.
72 Walther Dürr, Franz Schuberts Werke in Abschriften: Liederalben und Sammlungen, Franz Schubert, Neue Ausgabe sämtlicher Werke, series VIII, supplement, vol. 8, Quellen II (Kassel: Bärenreiter, 1975), 117–18. See also Alexander Weinmann, Ferdinand Schubert: Eine Untersuchung, Beiträge zur Geschichte des Alt-Wiener Musikverlages, series 1, no. 8 (Vienna: Musikverlag Ludwig Krenn, 1986), 150–51.
73 Otto Erich Deutsch, ‘Zu Schuberts “Deutscher Messe”‘, Neues Wiener Tagblatt No. 15 (15 Jan. 1928): 10.
74 Deutsch, Schubert: Thematic Catalogue, 422.
75 Franz Burkhart, ‘Franz Schuberts “Deutsche Messe”: Schicksale eines berühmten Meßliedes’, Österreichische Musikzeitschrift 31, no. 11 (Nov. 1976): 565–73.
76 Erich Benedikt, ‘Schuberts Gesänge zur Feier des heiligen Opfers der Messe (“Deutsche Messe”) D 872 und ihr Weg durch die österreichischen Kirchengesang- und Orgelbücher’, Schubert durch die Brille 27 (2001): 29–48.
77 ‘fast alle der heute gebräuchlichen Ausgaben gehen auf Herbeck’s Audgabe zurück’: Mandyczewski, Schubert Gesamtausgabe, Revisionsbericht, Series 16, 1.
78 Nottebohm, Thematisches Verzeichniss, 256.
79 Schubert Chorwerke, vol. 2, ed. Alfred Dörffel (Leipzig: C.F. Peters, n.d.).