Schubert in the European Imagination: Fin-de-Si�穡cle Vienna examines the composer's historical and cultural reception by Viennese modernists. By 1900, issues of gender had crossed with those of
nationalism, especially in the city that came to consider Schubert as its favorite musical son. As Messing here explains and explores in rich detail, composers, writers, and visual artists
manipulated the conventions of the composer and gender in ways that critiqued the very culture that had created this image. In order to expose the hypocrisy of social relationships, painter
Gustav Klimt and writers Arthur Schnitzler, Hugo von Hofmannsthal, and Peter Altenberg exploited the collision between innocence and sexuality, and Schubert was a readily familiar sign for the
former. The composer Arnold Schoenberg substituted his own formulation of Schubert in place of the older, popular conceptions of the composer, adding him to an illustrious list of figures whose
significance he sought to redesign. Scott Messing is Charles A. Dana Professor of Music at Alma College, and author of Neoclassicism in Music (University of Rochester Press, 1996).
