This collection of articles, written by European, American and British scholars, clarifies problems of style and chronology in the music Schubert composed during the last decade of his life. Althought O. E. Deutsch's documentary biography and memoirs set new milestones in Schubert research, they left some problems of chronology unanswered. Some of the essays in this volume examine or re-examine these problems, using different methods. Robert Winter, in the longest essay, proposes numerous re-datings of works composed between 1822 and 1828 which result from a careful examination of types of paper and watermarks. Other contributors point out the limitations of applying stylistic criteria as the basis for the dating of individual works. The articles touch on all areas of Schubert's output, with the emphasis on his songs, theatre music, and orchestral and chamber works. Althought this book will be of primary interest to musicologists, and others interested in Schubert, the essays concerned with song and the theatre will also attract a wider readership.

Few operas have had more written about them than The Magic Flute, yet few are as often exposed to misguided comment - or to idiosyncratic productions. This book sets out to provide a straightforward account of Mozart's last opera, exposing the half-truths and legends that have proliferated since its first production in 1791. In the first chapter a hitherto unsuspected source for the opening scene is presented and Branscombe reveals the complex relationship between the stories, essays and stage-works on which the plot is based. The second chapter studies the intellectual background, with special attention to Freemasonry. A detailed synopsis follows, then the history of the composition, based on documentary evidence and, in the case of the autograph score, the paper-types used. Chapter 5 examines the identity of the librettist and the qualities of his work, and chapter 6 is a detailed study (by Erik Smith) of Mozart's music and more generally of his late style. Chapter 7 covers the first performance, the cast, early reception, and then the rapid growth in the opera's fame; an outline history of productions concludes the chapter. Anthony Besch discusses the nature of the challenge to the director presented by Die Zauberfloete and suggests how the problems can be overcome. The book contains illustrations, a synopsis, bibliography and discography and will be of interest to music students, scholars and opera-goers.

'One of the first men of this century' is how Heine described himself when he claimed to have been born in the early hours of 1800. It was typical of Heine to create this humorous doubt - he was in fact born in 1797. He was a restless and homeless poet, a Jew among Germans, a German in Paris, a rebel among the bourgeoisie and always, as his famous doppelganger poems show, a man divided against himself. This selection, with the German originals accompanied by English prose translations, provides the perfect introduction to Heine. He can be magnificent as an acute, irreverent commentator on politics and current events, though his genius most often strikes home in the poems filled with despair, or sensuality, or sweetness, or self-mockery, in which he draws out the whole gamut of emotions provoked by love and immanent death.