Rhapsodie is also a rare example for a blackletter design issued as foundry type after World War II. The other contemporary German releases in this classification group that I can think of were started before 1945 – and before the infamous Schrifterlass from 1941 in which the Nazis defamed blackletter as a Jewish conspiracy, effectively banning fraktur and related styles from official use – and only picked up again after the end of the Nazi regime. This includes Hermann Zapf’s Gilgengart (1950, designed in 1939–1940) and Hans Kühne’s Kühne-Schrift (1954, conceived before 1941). I don’t know when Kühne’s Andreas-Schrift (1948/1954) was started.
With its capitals that are less intricate than many other fraktur typefaces, Rhapsodie is easily readable even for people not accustomed to blackletter. The design with relatively wide proportions and long extenders is accompanied by a second set of decorated swash capitals. These are stylistically even closer to roman cursive forms, see e.g. A, G, M, V, or Z, and were also utilized for the Antik-Galerie sign.