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Far more illuminating is the remainder of the chapter, which describes the political and artistic repression in Metternich’s Austria that Schubert and his circle faced, and connects the absent charcoal burner to the revolutionary Italian Carbonari: “literally ‘charcoal burners,’ the secret society whose black and red were feared by the Hapsburg regime.”

(Michael Cooper, ‘Review: ‘Schubert’s Winter Journey’ Allows Ian Bostridge to Obsess’, New York  Times, 18 Feb. 2015)