The contributors

Leon Botstein is President of Bard College, where he is Leon Levy Professor in the Arts and Humanities. He serves as the music director and principal conductor of the American Symphony Orchestra and the artistic director of the Bard Music Festival. He is editor of The Musical Quarterly and author of Judentum und Modernität: Essays zur Rolle der Juden in der deutschen und österreichischen Kultur, 1848–1938 and of the forthcoming Music and its Public: Habits of Listening and the Crisis of Musical Modernism in Vienna, 1870–1914.

Martin Chusid is Professor of Music and Director of the American Institute for Verdi Studies at New York University. He wrote his dissertation on Schubert’s chamber music, edited and wrote a monograph on the “Unfinished” Symphony, edited the string quintets and a volume of string quartets for the Neue Schubert-Ausgabe, and wrote numerous articles on Schubert’s music. He is currently preparing a facsimile edition of Schubert’s Schwanengesang, together with a volume of essays. He has compiled a catalogue of Verdi’s operas, co-edited the Verdi Companion, edited Rigoletto for the new critical edition, and written numerous articles on the operas of Verdi, Mozart, and Dvo ák.

Thomas A. Denny teaches music history at Skidmore College. He has published articles on Schubert in the Journal of Musicology, Journal of Musicological Research, Schubert durch die Brille, and is editing the opera Fierrabras for the Neue Schubert-Ausgabe. In 1995, in collaboration with the Westfield Center, he organized a conference on Schubert’s piano music at the Smithsonian Institution in Washington, D.C.

Christopher H. Gibbs has taught music history at Columbia University, Haverford College, and currently at the State University of New York at Buffalo. He is the director of the Schubertiade at the 92nd Street Y in New York City. His dissertation, an examination of the reception of Schubert Lieder, won the 1992 dissertation prize of the Austrian Cultural Institute.

David Gramit is Associate Professor in music history at the University of Alberta. His essays on the social and intellectual context of Schubert’s circle, Schubert reception, and the construction of musical meaning in nineteenth-century culture have appeared in 19th-Century Music, Music and Letters, the Journal of Musicological Research, Current Musicology, and Schubert durch die Brille.

L. Michael Griffel is Professor of Music at Hunter College and the Graduate School of the City University of New York, and serves on the graduate faculty at the Mannes College of Music. A specialist in the instrumental music of Schubert, he is completing Franz Schubert: A Guide to Research.

Xavier Hascher teaches music theory at Strasbourg University for the Humanities and is associate researcher at the Institute for Aesthetics and Art Sciences of Paris Panthéon-Sorbonne University. He is the chairman of the French Schubert Society and editor of Cahiers F. Schubert. He has published Schubert, la forme sonate et son évolution and is preparing another book on the reception of Schubert’s works in France during the nineteenth century.

William Kinderman is Professor of Music at the University of Victoria, British Columbia, and has taught extensively at the Hochschule der Künste, Berlin. He is the author of Beethoven’s Diabelli Variations, Beethoven, and editor of Beethoven’s Compositional Process. An accomplished pianist, he has recorded the Diabelli Variations for Hyperion.

David Montgomery is a conductor, pianist, musicologist, and editor. He received the Ph.D. from U.C.L.A. in 1987 and has since contributed to major English and American journals on the subjects of performance practice and nineteenth-century aesthetics and analysis. He has served as editor and musicologist for Sony Classical and as a historical advisor to Columbia Pictures. As a pianist David Montgomery devotes himself particularly to nineteenth-century Viennese works, and as a conductor is engaged in a series of recordings with the Jena Philharmonic for BMG’s Arte Nova label. Mr Montgomery lives in Hamburg, Germany.

Kristina Muxfeldt teaches music history at Yale University. She has published on a variety of topics in early nineteenth-century social history and aesthetics.

Margaret Notley has published articles on Brahms, Bruckner, and Viennese musical life in 19th-Century Music, the Journal of the American Musicological Society, and several anthologies. She is a fellow of the National Endowment for the Humanities in 1996–97.

After a successful career as a schoolmaster, as a producer and administrator in the BBC education department, John Reed retired to a busy life as a writer. His first book, Schubert: The Final Years, was noteworthy for its redating of the “Great” C Major Symphony. His most important books, however, are the critical biography of Schubert published in the “Master Musicians” series, and the Schubert Song Companion, which was awarded the Vincent Duckles Prize of the Music Library Association of America. He is an Honorary Member of the International Franz Schubert Institute of Vienna, and was the first Chairman of the Schubert Institute of the UK.

Charles Rosen is a pianist. Among his books are The Classical Style, Sonata Forms, The Frontiers of Meaning: Three Informal Lectures on Music, and The Romantic Generation.

Glenn Stanley is Associate Professor of Music at the University of Connecticut, Storrs, was guest editor of Beethoven Forum III and a contributor to the revised Groves Dictionary of Music and Musicians. He is the editor of the forthcoming Cambridge Companion to Beethoven.

Susan Youens is Professor of Musicology at the University of Notre Dame and author of Retracing a Winter’s Journey: Schubert’s Winterreise, Schubert – Die schöne Müllerin, Hugo Wolf: The Vocal Music, and Schubert’s Poets and the Making of Song.