German art song in F. Schubert’s work: principles of authentic vocal performance
Authors: Nymenska Zhanna 
Published: February 2025

Statement of the problem. In the modern musical world, an increasingly important place is occupied by a historically informed performance aimed at reproducing authentic sound parameters in a modern interpretation of the music of the past. It is appropriate to extend the theory of historically informed performance to various areas of music making, one of which is vocal art. An unique era in its history is the vocal work by F. Schubert, the founder of Deutsche Kunstlied (German art song) as a genre phenomenon, along with which the corresponding performance style was formed. “Historically informed performance reflects the artistic culture of interpreting music of interrupted traditions,” says N. Kliuchynska (2022: 15). The “interruption of tradition” of performing Schubert’s art song in the Ukrainian musical space is due to a number of reasons, among which the absence of its Ukrainian translations has great importance, making their performance in Ukrainian concert programs difficult. There is no German-speaking tradition of performing Schubert’s Deutsche Kunstlied in modern Ukraine, although its observance seems appropriate. It is also expedient to form a performing archetype of Deutsche Kunstlied, and precisely on the basis of the reconstruction of those of its interpretative principles that were formed with the direct participation of the composer during his lifetime, thanks, in particular, to home concerts- “Schubertiads”. The formation of such an archetype becomes a prerequisite for adequate interpretation of the models of Schubert’s Deutsche Kunstlied in Ukrainian vocal art of our days. Objectives, methods, and novelty of the research. The purpose of the study is to form a performance paradigm of Schubert’s Deutsche Kunstlied, suitable for contemporary Ukrainian «historical performers». The study based on interaction of the principles of historicism and reconstruction, paradigmatic analysis, as well as the theory of historically informed performance (in particular by N. Kliuchynska, 2022). The novelty of the research lies in the development of the principles of the performance paradigm of Schubert’s Deutsche Kunstlied, for that the concept of “performance archetype” was introduced; in revealing the performance specificity of the “Schubertiads” that took place during the composer’s lifetime; in determining the features of the vocal timbre and performance manner of the ideal, according to F. Schubert himself, interpreters of his songs – J. M. Vogl and C. von Sch&#246;nstein; in systematizing the principles of authentic vocal performance of Schubert’s German art song, which developed during the composer’s lifetime. Research results. As a basis for the formation of a current interpretation model of Schubert’s Deutsche Kunstlied in Ukraine, it is appropriate to lay the traditions of its artistic reading, which developed during the composer’s lifetime thanks to the “Schubertiades” – salon concerts organizing by friends and admirers of Schubert, where his music was performing. It was the Schubertiades, which took place throughout almost the entire creative life of the composer (1815–1828), that became the source of the life-time tradition of interpreting his works. The first Austrian singers who were involved by the composer in the performance of Deutsche Kunstlied were Johann-Michael Vogl (1768–1840) and Baron Carl von Sch&#246;nstein (1796–1876). Both singers, who had a common voice type – tenor-baritone, were outstanding interpreters of the composer’s works. Both artists mastered the art of not only chamber, but also opera singing. For example, J.-M. Vogl became a performer of Schubert’s songs, when gained recognition as a court opera singer and wonderful actor. Therefore, the theatrical and operatic traits inherent in F. Schubert’s songs, acquired a corresponding performance presentation in the lifetime performances of the Deutsche Kunstlied. The appropriateness of the theatrical performance of Schubert’s songs is evidenced by the composer’s interpretation of them as opera scenes in the narrative genre (ballads “Gretchen am Spinnrade” and “Erlk&#246;nig” with lyrics by Goethe, and other). This means that the singer, preparing for the performance of Schubert’s art songs, must find specific operatic and theatrical peculiarities that distinguish each of them. Therefore, a high level of artistry is required from a modern singer, a combination of the properties of the chamber song, theatrical and operatic drama in the performance of F. Schubert’s Deutsche Kunstlied. Conclusion. The tradition of performing Schubert’s German art songs, which was formed during the composer’s lifetime, should be considered a peculiar combination of the principles of salon, chamber, theatricality, opera and concert performance, which were characteristic of the performing practice of Schubertiades. These artistic projects have not lost their relevance in the 20th and 21st centuries, turning into annual Schubert festivals held in Austria since 1976. The joining of Ukrainian singers to modern Schubert projects appears as a convincing argument in favor of the expediency of building a performance paradigm for modern interpreting Schubert’s songs based on the principles of their authentic vocal performance, which developed during the composer’s lifetime in the creative atmosphere of Schubertiades.