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Performances of Fitrabras and the other Schubert operas have been very rare. Parts of Fierrabras were given in concert form in Vienna in 1853 and again in 1858. The first stage production was in Karlsruhe, February 9, 1897, but the music was revised for that performance by 0. Neitzel and the text by F. Mottl. The text was translated into French for a production in Brussels in 1926. A concert version was also heard in London in 1938. None of these performances, with the possible exception of the one in Brussels, was in the original version. It has always been assumed that the work could not be performed as it stands; at any rate, no one has ever tried. True, there are certain problems in production, especially in the rapid shift of scenes in the third act, but modern stage technique could undoubtedly conquer such difficulties easily.

The following analysis of Franz Schubert's (1797-1828) song cycle Schwanengesang (1828) was undertaken in the hope that such a treatment of the final contributions of this important master of song literature would prove of interest to students of this field.The materials examined comprise the fourteen songs collectively known as Schwanengesang (Dying Strains), taken from the G. Schirmer's Edition of Schubert's Songs with English translations by Theodore Baker. From a synopsis of the art song concluded with critical remarks on Schubert's style and contributions to the art of writing songs, the author has proceeded to a few general statements on the song cycle itself. This is followed by an analysis of each song from the point of view of the text, the general harmonic scheme, the vocal line, and the function and type of accompaniment.