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- W2993749435 abstract "The opening gambit of Robert Schumann’s famous essay of 1840 on Schubert’s “Great” C-major Symphony considers the experience of a young musician visiting Vienna for the first time.1 Initially charmed by the bustle of the streets and awed by the tower of St. Stephen’s Cathedral, soon the musician will remember that not far from the inner city there lies a graveyard more important than all other sights and attractions. Schumann goes on to recall his own visit to Vienna, when he headed to the graves of Beethoven and Schubert but a few paces apart from one another in this cemetery in the suburb of Währing. He found a rosebush growing by the spot where Beethoven lay; Schubert’s grave by contrast was unadorned—a potent symbol for the neglect of his music. For Schumann, this visit, related as a romantic pilgrimage, was the fulfillment of one of his most ardent wishes; he goes on to inform readers that he almost envied a certain Count O’Donnell, whom he remembered as being buried between the two composers.2" @default.
- W2993749435 created "2019-12-13" @default.
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- W2993749435 date "2019-01-01" @default.
- W2993749435 modified "2023-09-25" @default.
- W2993749435 title "Exhumations, Honorary Graves, and the Fashioning of Vienna’s Self-Image as the “City of Music”" @default.
- W2993749435 doi "https://doi.org/10.1093/musqtl/gdz012" @default.
- W2993749435 hasPublicationYear "2019" @default.
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