Is Schubert Best Known for His LiederGerman Art Song

Austrian composer (1797–1828)

Oil painting of Franz Schubert past Wilhelm August Rieder (1875), fabricated from his own 1825 watercolour portrait

Franz Peter Schubert (German: [ˈfʁant͡s ˈpeːtɐ ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left backside a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and bedchamber music. His major works include "Erlkönig" (D. 328), the Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. eight in B pocket-sized, D. 759 (Unfinished Symphony), the "Corking" Symphony No. nine in C major, D. 944, the String Quintet (D. 956), the three final pianoforte sonatas (D. 958–960), the opera Fierrabras (D. 796), the incidental music to the play Rosamunde (D. 797), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911).

Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His male parent gave him his first violin lessons and his elder brother gave him piano lessons, only Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a educatee at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. He left the Stadtkonvikt at the stop of 1813, and returned home to live with his begetter, where he began studying to become a schoolteacher. Despite this, he continued his studies in limerick with Antonio Salieri and still equanimous prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped institute his name among the Viennese citizenry. He gave a concert of his ain works to critical acclamation in March 1828, the just time he did then in his career. He died eight months later on at the historic period of 31, the cause officially attributed to typhoid fever, simply believed by some historians to exist syphilis.

Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, simply interest in his piece of work increased greatly in the decades post-obit his expiry. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked amongst the greatest composers in the history of Western music and his work continues to be admired.

Biography [edit]

Early life and education [edit]

Franz Peter Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, Archduchy of Austria on 31 January 1797, and baptized in the Catholic Church the following mean solar day.^[one] He was the twelfth child of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812).^[2] Schubert'due south immediate ancestors came originally from the province of Zuckmantel in Austrian Silesia.^[3] His male parent, the son of a Moravian peasant, was a well-known parish schoolmaster, and his schoolhouse in Lichtental (in Vienna's ninth district) had numerous students in attendance.^[iv] He came to Vienna from Zukmantel in 1784 and was appointed schoolmaster two years afterward.^[iii] His mother was the daughter of a Silesian primary locksmith and had been a housemaid for a Viennese family before marriage. Of Franz Theodor and Elisabeth's xiv children (one of them illegitimate, born in 1783),^[5] nine died in infancy.

At the age of five, Schubert began to receive regular lessons from his father, and a year subsequently he was enrolled at his father's school.^[6] Although information technology is not known exactly when he received his first musical education, he was given piano lessons past his brother Ignaz, simply they lasted for a very curt time as Schubert excelled him within a few months.^[7] Ignaz later recalled:

I was amazed when Franz told me, a few months subsequently we began, that he had no need of whatever further instruction from me, and that for the future he would make his own mode. And in truth his progress in a curt menses was and so great that I was forced to acknowledge in him a principal who had completely distanced and outstripped me, and whom I despaired of overtaking.^[eight]

His father gave him his showtime violin lessons when he was eight years old, training him to the bespeak where he could play easy duets proficiently.^[9] Soon afterwards, Schubert was given his offset lessons exterior the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental. Holzer would often assure Schubert'south father, with tears in his optics, that he had never had such a pupil as Schubert,^[8] and the lessons may have largely consisted of conversations and expressions of adoration.^[10] Holzer gave the young Schubert educational activity in piano and organ as well equally in figured bass.^[8] According to Holzer, however, he did not give him whatsoever real didactics as Schubert would already know annihilation that he tried to teach him; rather, he looked upon Schubert with "astonishment and silence".^[9] The boy seemed to proceeds more from an acquaintance with a friendly apprentice joiner who took him to a neighbouring piano warehouse where Schubert could practise on meliorate instruments.^[eleven] He also played viola in the family unit string quartet, with his brothers Ferdinand and Ignaz on first and second violin and his male parent on the cello. Schubert wrote his earliest cord quartets for this ensemble.^[12]

Young Schubert first came to the attending of Antonio Salieri, and so Vienna's leading musical authority, in 1804, when his vocal talent was recognized.^[12] In Nov 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship. At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, the symphonies of Joseph Haydn and his younger blood brother Michael Haydn, and the overtures and symphonies of Beethoven, a composer for whom he developed admiration.^{[xiii] [14]} His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education.^[15] One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important composer of lieder. The precocious young pupil "wanted to modernize" Zumsteeg'southward songs, as reported by Joseph von Spaun, Schubert's friend.^[sixteen] Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his brusk life. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript newspaper.^[15]

In the concurrently, Schubert'southward talent began to evidence in his compositions; Salieri decided to start training him privately in music theory and composition. According to Ferdinand, the boy's start composition for piano was a Fantasy for 4 hands; his first vocal, Klagegesang der Hagar, would be written a year later.^[17] Schubert was occasionally permitted to atomic number 82 the Stadtkonvikt's orchestra,^[eighteen] and it was the offset orchestra he wrote for. He devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, pianoforte pieces and, more ambitiously, liturgical choral works in the grade of a "Save Regina" (D 27), a "Kyrie" (D 31), in add-on to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother),^[xix] the cantata Wer ist groß? for male person voices and orchestra (D 110, for his father's birthday in 1813), and his first symphony (D 82).^[20]

Instructor at his begetter's school [edit]

At the finish of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule. In 1814, he entered his male parent'south school every bit teacher of the youngest pupils. For over 2 years immature Schubert endured severe drudgery;^[21] there were, yet, compensatory interests fifty-fifty and so. He continued to accept individual lessons in composition from Salieri, who gave Schubert more than actual technical training than any of his other teachers, before they parted ways in 1817.^[eighteen]

In 1814, Schubert met a immature soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a "Salve Regina" and a "Tantum Ergo") for her; she was as well a soloist in the premiere of his Mass No. 1 (D. 105) in September^[22] 1814.^[21] Schubert wanted to marry her, but was hindered by the harsh union-consent law of 1815^[23] requiring an aspiring bridegroom to evidence he had the means to support a family.^[24] In November 1816, after failing to gain a musical post in Laibach (at present Ljubljana, Slovenia), Schubert sent Grob's brother Heinrich a drove of songs retained by the family into the twentieth century.^[25]

One of Schubert's about prolific years was 1815. He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works (despite his being an agnostic),^{[26] [27]} a symphony, and near 140 Lieder.^[28] In that year, he was as well introduced to Anselm Hüttenbrenner and Franz von Schober, who would get his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1815.^[29]

Throughout 1815, Schubert lived at domicile with his father. He continued to teach at the school and give individual musical educational activity, earning plenty coin for his bones needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries.^[30] Spaun was well aware that Schubert was discontented with his life at the school, and was concerned for Schubert'south development intellectually and musically. In May 1816, Spaun moved from his flat in Landskrongasse (in the inner urban center) to a new habitation in the Landstraße suburb; one of the first things he did later on he settled into the new dwelling house was to invite Schubert to spend a few days with him. This was probably Schubert'due south first visit away from home or school.^[31] Schubert's unhappiness during his years as a schoolteacher perhaps showed early signs of low, and it is nearly certain that Schubert suffered from cyclothymia throughout his life.^[32]

In 1989 the musicologist Maynard Solomon suggested that Schubert was erotically attracted to men,^[33] a thesis that has been heatedly debated.^{[34] [35]} The musicologist and Schubert expert Rita Steblin has said that he was "chasing women".^[36] The theory of Schubert'due south sexuality or "Schubert as Other" has continued to influence current scholarship.^[37]

Support from friends [edit]

Significant changes happened in 1816. Schober, a pupil and of proficient family and some ways, invited Schubert to social club with him at his mother'south firm. The proposal was peculiarly opportune, for Schubert had just made the unsuccessful application for the post of kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father'south school. By the terminate of the year, he became a invitee in Schober's lodgings.^[38] For a time, he attempted to increase the household resource by giving music lessons, simply they were presently abandoned, and he devoted himself to composition.^[39] "I etch every forenoon, and when ane piece is done, I begin some other."^[40] During this year, he focused on orchestral and choral works, although he as well connected to write Lieder.^[41] Much of this piece of work was unpublished, but manuscripts and copies circulated among friends and admirers.^[42]

In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert'southward main proponents in Viennese musical circles. Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music.^[43] These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his decease, preserving his piece of work.^[44]

In late 1817, Schubert'south father gained a new position at a school in Rossau, not far from Lichtental. Schubert rejoined his father and reluctantly took upwards pedagogy duties there. In early 1818, he applied for membership in the prestigious Gesellschaft der Musikfreunde, intending to gain admission as an accompanist, but also so that his music, particularly the songs, could be performed in the evening concerts. He was rejected on the footing that he was "no apprentice", although he had been employed as a schoolteacher at the time and there were professional person musicians already among the society's membership.^{[45] [46]} However, he began to gain more notice in the press, and the first public operation of a secular piece of work, an overture performed in February 1818, received praise from the press in Vienna and abroad.^[47]

Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (at present Želiezovce, Slovakia). The pay was relatively skilful, and his duties teaching piano and singing to the two daughters were relatively light, allowing him to compose happily. Schubert may have written his Marche Militaire in D major (D. 733 no. 1) for Marie and Karoline, in addition to other piano duets.^[48] On his return from Zseliz, he took up residence with his friend Mayrhofer.^[46]

During the early on 1820s, Schubert was role of a close-knit circle of artists and students who had social gatherings together that became known every bit Schubertiads. Many of them took identify in Ignaz von Sonnleithner'southward large apartment in the Gundelhof (Brandstätte 5, Vienna). The tight circumvolve of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested past the Austrian constabulary, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of whatever gathering of youth or students. Ane of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and so permanently forbidden to enter Vienna. The other 4, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious linguistic communication".^[49] While Schubert never saw Senn over again, he did set some of his poems, Selige Welt (D. 743) and Schwanengesang (D 744), to music. The incident may have played a function in a falling-out with Mayrhofer, with whom he was living at the time.^[50]

Schubert, who was merely a little more than than five feet tall,^[51] was nicknamed "Schwammerl" by his friends, which Gibbs describes equally translating to "Tubby" or "Little Mushroom".^[52] "Schwamm" is German (in the Austrian and Bavarian dialects) for mushroom; the ending "-erl" makes it a atomic. Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert'south heavy drinking "... come not only in later accounts, but also in documents dating from his lifetime."^[53]

Musical maturity [edit]

The compositions of 1819 and 1820 show a marked advance in development and maturity of mode.^[39] The unfinished oratorio Lazarus (D. 689) was begun in February; later followed, amidst some smaller works, by the hymn "Der 23. Psalm" (D. 706), the octet "Gesang der Geister über den Wassern" (D. 714), the Quartettsatz in C pocket-size (D. 703), and the Wanderer Fantasy in C major for piano (D. 760). In 1820, two of Schubert's operas were staged: Dice Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on 14 June, and Dice Zauberharfe (D. 644) appeared at the Theater an der Wien on 21 August.^[54] Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof (Brandstätte 5, Vienna), a society which grew out of the quartet-parties at his home. Now he began to presume a more prominent position, addressing a wider public.^[54] Publishers, however, remained afar, with Anton Diabelli hesitantly agreeing to print some of his works on committee.^[55] The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive parsimonious royalties.^[56] The situation improved somewhat in March 1821 when Vogl performed the song "Erlkönig" (D. 328) at a concert that was extremely well received.^[57] That calendar month, Schubert composed a Variation on a Waltz by Diabelli (D 718), being ane of the l composers who contributed to the Vaterländischer Künstlerverein publication.

The production of the two operas turned Schubert'south attention more firmly than ever in the direction of the stage, where, for a diversity of reasons, he was nearly completely unsuccessful. All in all, he embarked on twenty stage projects, each of them failures that were quickly forgotten. In 1822, Alfonso und Estrella was rejected, partly owing to its libretto (written by Schubert's friend Franz von Schober).^[58] In 1823, Fierrabras (D 796) was rejected: Domenico Barbaia, impresario for the court theatres, largely lost involvement in new German opera due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe.^[59] Die Verschworenen (The Conspirators, D 787) was prohibited by the censor (plainly because of its title),^[60] and Rosamunde, Fürstin von Zypern (D 797) was withdrawn after two nights, attributable to the poor quality of the play for which Schubert had written incidental music.^[56]

Despite his operatic failures, Schubert's reputation was growing steadily on other fronts. In 1821, the Gesellschaft der Musikfreunde finally accepted him every bit a performing member, and the number of performances of his music grew remarkably.^[61] These performances helped Schubert's reputation grow rapidly among the members of the Gesellschaft^[61] and established his name.^[58] Some of the members of the Gesellschaft, well-nigh notably Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a sizeable influence on the affairs of the society, and every bit a consequence of that and of Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821. In April, i of his male-vox quartets was performed, and in Nov, his Overture in E small (D. 648) received its beginning public performance;^[61] at a different concert on the same twenty-four hour period equally the premiere of the Overture, his vocal Der Wanderer (D. 489) was performed.^[58]

In 1822, Schubert made the acquaintance of both Weber and Beethoven, simply fiddling came of it in either case;^[56] however, Beethoven is said to have acknowledged the younger man's gifts on a few occasions. On his deathbed, Beethoven is said to have looked into some of the younger homo'southward works and exclaimed: "Truly, the spark of divine genius resides in this Schubert!" Beethoven also reportedly predicted that Schubert "would make a corking sensation in the earth," and regretted that he had not been more than familiar with him earlier; he wished to see his operas and works for piano, but his severe illness prevented him from doing so.^[62]

Last years and masterworks [edit]

Despite his preoccupation with the stage, and afterward with his official duties, Schubert wrote much music during these years.^[56] He completed the Mass in A-flat major, (D. 678) in 1822, and afterwards that twelvemonth embarked suddenly on a piece of work which more decisively than most any other in those years showed his maturing personal vision, the Symphony in B minor, known as the Unfinished Symphony (D. 759).^[63] The reason he left it unfinished – after writing two movements and sketches some way into a tertiary – continues to be discussed and written about, and it is too remarkable that he did non mention it to any of his friends, even though, equally Brian Newbould notes, he must have felt thrilled past what he was achieving.^[64] In 1823, Schubert wrote his first big-scale song wheel, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller.^[65] This serial, together with the later cycle Winterreise (D. 911, likewise setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder.^[66] He also composed the vocal Du bist die Ruh' (You are rest and peace,^[67] D. 776) during this year. As well in that twelvemonth, symptoms of syphilis first appeared.^[68]

In 1824, he wrote the Variations in E pocket-sized for flute and piano; Trockne Blumen, a song from the cycle Die schöne Müllerin; and several string quartets. He also wrote the Sonata in A minor for arpeggione and pianoforte (D. 821) at the time when there was a modest craze over that musical instrument.^[69] In the leap of that yr, he wrote the Octet in F major (D. 803), a sketch for a "G Symphony," and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom and wrote the Divertissement à la hongroise in G minor for piano duet (D. 818) and the Cord Quartet in A minor Rosamunde (D. 804).^[56] It has been said that he held a hopeless passion for his student, the Countess Caroline Esterházy,^[lxx] but the merely piece of work he dedicated to her was his Fantasia in F small-scale for piano duet (D. 940).^[71] His friend Eduard von Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:

In love with a Countess of youthful grace,
—A pupil of Galt'south; in desperate example
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother^[72]

The setbacks of previous years were compensated past the prosperity and happiness of 1825. Publication had been moving more chop-chop, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday in Upper Austria where he was welcomed with enthusiasm.^[56] It was during this tour that he produced the 7-song cycle Fräulein am See, based on Walter Scott's The Lady of the Lake, and including "Ellens Gesang Three" ("Hymn to the Virgin") (D. 839, Op. 52, No. 6); the lyrics of Adam Storck's German translation of the Scott poem are now ofttimes replaced by the full text of the traditional Roman Catholic prayer Hail Mary (Ave Maria in Latin), but for which the Schubert melody is not an original setting. The original but opens with the greeting "Ave Maria", which likewise recurs only in the refrain.^[73] In 1825, Schubert too wrote the Piano Sonata in A minor (D 845, outset published as op. 42), and began the Symphony in C major (Corking C major, D. 944), which was completed the following twelvemonth.^[74]

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz, Austria, in 1827. In 1826, he dedicated a symphony (D. 944, that later came to be known as the Corking C major) to the Gesellschaft der Musikfreunde and received an honorarium in return.^[75] The String Quartet No. fourteen in D pocket-sized (D. 810), with the variations on Decease and the Maiden, was written during the winter of 1825–1826, and get-go played on 25 January 1826. Later in the year came the String Quartet No. 15 in 1000 major, (D 887, starting time published equally op. 161), the Rondo in B minor for violin and pianoforte (D. 895), Rondeau brillant, and the Piano Sonata in Chiliad major, (D 894, first published equally Fantasie in G, op. 78). He as well produced in 1826 three Shakespearian songs, of which " Ständchen " (D. 889) and " An Sylvia " (D. 891) were allegedly written on the aforementioned day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening.^[76]

The works of his last two years reveal a composer inbound a new professional and compositional stage.^[77] Although parts of Schubert's personality were influenced past his friends, he nurtured an intensely personal dimension in solitude; information technology was out of this dimension that he wrote his greatest music.^[78] The death of Beethoven affected Schubert deeply,^[79] and may take motivated Schubert to attain new artistic peaks. In 1827, Schubert wrote the vocal cycle Winterreise (D. 911), the Fantasy in C major for violin and piano (D. 934, first published every bit op. mail service. 159), the Impromptus for piano, and the two piano trios (the first in B-apartment major (D. 898), and the 2d in E-apartment major, (D. 929);^[lxxx] in 1828 the cantata Mirjams Siegesgesang (Victory Vocal of Miriam, D 942) on a text by Franz Grillparzer, the Mass in E-flat major (D. 950), the Tantum Ergo (D. 962) in the aforementioned central, the String Quintet in C major (D. 956), the second "Benedictus" to the Mass in C major (D. 961), the 3 final piano sonatas (D. 958, D. 959, and D. 960), and the collection 13 Lieder nach Gedichten von Rellstab und Heine for vocalization and piano, also known as Schwanengesang (Swan-song, D. 957).^[81] (This collection – which includes settings of words by Heinrich Heine, Ludwig Rellstab, and Johann Gabriel Seidl – is non a true song bike like Die schöne Müllerin or Winterreise.^[82]) The Bully C major symphony is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825—that work, once considered lost, is now more often than not seen equally an early phase of his C major symphony) and was revised for prospective operation in 1828. The orchestra of the Gesellschaft reportedly read through the symphony at a rehearsal, merely never scheduled a public operation of it. The reasons proceed to exist unknown, although the difficulty of the symphony is the possible caption.^[83] In the last weeks of his life, he began to sketch three movements for a new Symphony in D major (D 936A);^[84] In this work, he anticipates Mahler'south utilize of folksong-similar harmonics and bare soundscapes.^[85] Schubert expressed the wish, were he to survive his final illness, to further develop his noesis of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter.^[86]

On 26 March 1828, the anniversary of Beethoven's decease, Schubert gave, for the only time in his career, a public concert of his own works.^[87] The concert was a success popularly and financially,^[87] even though information technology would be overshadowed by Niccolò Paganini's beginning appearances in Vienna before long subsequently.^[88]

Final illness and decease [edit]

Memorial at the Kalvarienberg Church building, Hernals

The site of Schubert'due south first tomb at Währing

In the midst of this creative activity, his health deteriorated. By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was nigh decease. In the late summer of 1828, he saw the physician Ernst Rinna, who may have confirmed Schubert'southward suspicions that he was ill beyond cure and likely to die shortly.^[89] Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, once more suggesting that Schubert suffered from it).^[90] At the beginning of November, he again fell sick, experiencing headaches, fever, swollen joints, and vomiting. He was generally unable to retain solid food and his condition worsened. Five days before Schubert's expiry, his friend the violinist Karl Holz and his cord quartet visited to play for him. The concluding musical work he had wished to hear was Beethoven's String Quartet No. fourteen in C-precipitous small-scale, Op. 131; Holz commented: "The King of Harmony has sent the Male monarch of Vocal a friendly bidding to the crossing".^[91]

Schubert died in Vienna, aged 31, on 19 November 1828, at the flat of his brother Ferdinand. The cause of his death was officially diagnosed as typhoid fever, though other theories take been proposed, including the tertiary stage of syphilis.^[89] Information technology was near the grave of Beethoven, whom he had admired all his life, that Schubert was buried at his own request, in the hamlet cemetery of Währing on the edge of the Vienna Woods.^[92] A year earlier he had served every bit a torchbearer at Beethoven's funeral.

In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark.^[92] In 1888, both Schubert'southward and Beethoven's graves were moved to the Zentralfriedhof where they can now exist found next to those of Johann Strauss 2 and Johannes Brahms.^[93] Anton Bruckner was nowadays at both exhumations, and he reached into both coffins and held the revered skulls in his hands.^[94] The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust. His epitaph, written past his friend, the poet Franz Grillparzer, reads: Die Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen ("The art of music has here interred a precious treasure, but withal far fairer hopes").

Music [edit]

Schubert was remarkably prolific, writing over 1,500 works in his brusque career. His compositional style progressed quickly throughout his short life.^[95] The largest number of his compositions are songs for solo vocalism and piano (roughly 630).^[96] Schubert also composed a considerable number of secular works for 2 or more than voices, namely part songs, choruses and cantatas. He completed viii orchestral overtures and seven complete symphonies, in add-on to fragments of vi others. While he composed no concertos, he did write iii concertante works for violin and orchestra. Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at to the lowest degree xi more in varying states of completion,^[a] numerous miscellaneous works and many short dances, in addition to producing a large gear up of works for piano four easily. He also wrote over fifty chamber works, including some bitty works. Schubert'southward sacred output includes 7 masses, one oratorio and ane requiem, amid other mass movements and numerous smaller compositions.^[97] He completed only eleven of his twenty stage works.^[98]

Style [edit]

In July 1947 the Austrian composer Ernst Krenek discussed Schubert's style, abashedly admitting that he had at first "shared the broad-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as J. Southward. Bach or Beethoven". Krenek wrote that he reached a completely different assessment subsequently a close study of Schubert's pieces at the urging of his friend and beau composer Eduard Erdmann. Krenek pointed to the piano sonatas every bit giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did non know, and did not care, well-nigh the craft of composition." Each sonata then in impress, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his mannerly ideas into conventional moulds; on the contrary he was a thinking artist with a bully appetite for experimentation."^[99]

Instrumental music, stage works and church building music [edit]

That "appetite for experimentation" manifests itself repeatedly in Schubert'due south output in a wide diversity of forms and genres, including opera, liturgical music, bedroom and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for instance, the second movement of the Cord Quintet (D. 956), which is in E major, features a key section in the distant key of F small-scale.^[100] It also appears in unusual choices of instrumentation, equally in the Sonata in A pocket-size for arpeggione and pianoforte (D. 821), or the unconventional scoring of the Trout Quintet (D. 667) for pianoforte, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and string quartet.

Although Schubert was clearly influenced by the Classical sonata forms of Beethoven and Mozart, his formal structures and his developments tend to give the impression more of melodic evolution than of harmonic drama.^[101] This combination of Classical form and long-breathed Romantic tune sometimes lends them a discursive way: his Great C Major Symphony was described past Robert Schumann as running to "heavenly lengths".^[102]

Lieder and fine art songs [edit]

It was in the genre of the Lied that Schubert made his most indelible marking. Leon Plantinga remarks that "in his more than than six hundred Lieder he explored and expanded the potentialities of the genre, every bit no composer before him."^[103] Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism.^[104]

Autograph of Die Nebensonnen (The Sun dogs) from Winterreise

Among Schubert's treatments of the verse of Goethe, his settings of "Gretchen am Spinnrade" (D. 118) and "Der Erlkönig" (D. 328) are particularly striking for their dramatic content, forward-looking uses of harmony, and use of eloquent pictorial keyboard figurations, such equally the depiction of the spinning wheel and treadle in the piano in "Gretchen" and the furious and ceaseless gallop in " Erlkönig ".^[105] He composed music using the poems of myriad poets, with Goethe, Mayrhofer, and Schiller the most frequent, and others, including Heinrich Heine, Friedrich Rückert, and Joseph Freiherr von Eichendorff. Of particular notation are his 2 vocal cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. His final collection of songs, published in 1828 later on his death, Schwanengesang, is too an innovative contribution to German Lieder literature, as it features poems by unlike poets, namely Ludwig Rellstab, Heine, and Johann Gabriel Seidl. The Wiener Theaterzeitung, writing about Winterreise at the fourth dimension, commented that information technology was a work that "none can sing or hear without being deeply moved".^[106]

Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, particularly Lieder and shorter piano works: "The tendency of the romantic schoolhouse has been toward curt forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of pianoforte forte pieces which the romantic school has preferably cultivated.... Schubert created a new epoch with the Lied.... All other songwriters have followed in his footsteps."^[107]

Publication – catalogue [edit]

Interior of museum at Schubert'south birthplace, Vienna, 1914

When Schubert died he had around 100 opus numbers published, mainly songs, sleeping accommodation music and smaller piano compositions.^[108] Publication of smaller pieces continued (including opus numbers up to 173 in the 1860s, 50 instalments with songs published past Diabelli and dozens of first publications Peters),^[109] but the manuscripts of many of the longer works, whose beingness was not widely known, remained subconscious in cabinets and file boxes of Schubert's family, friends, and publishers.^[110] Even some of Schubert'southward friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized every bit the "prince of song", although in that location was recognition of some of his larger-scale efforts.^[111] In 1838 Robert Schumann, on a visit to Vienna, establish the dusty manuscript of the C major Symphony (D. 944) and took it dorsum to Leipzig where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. An important step towards the recovery of the neglected works was the journey to Vienna which the music historian George Grove and the composer Arthur Sullivan made in October 1867.^[56] The travellers unearthed the manuscripts of six of the symphonies, parts of the incidental music to Rosamunde, the Mass No. 1 in F major (D. 105), and the operas Des Teufels Lustschloss (D. 84), Fernardo (D. 220), Der vierjährige Posten (D. 190), and Die Freunde von Salamanka (D. 326), and several other unnamed works. With these discoveries, Grove and Sullivan were able to inform the public of the existence of these works; in addition, they were able to copy the fourth and sixth symphonies, the Rosamunde incidental music, and the overture to Die Freunde von Salamanka.^[110] This led to more than widespread public interest in Schubert's work.^[112]

Consummate editions [edit]

From 1884 to 1897, Breitkopf & Härtel published Franz Schubert's Works, a critical edition including a contribution made – among others – by Johannes Brahms, editor of the first series containing eight symphonies.^[113] The publication of the Neue Schubert-Ausgabe past Bärenreiter started in the second half of the 20th century.^[114]

Deutsch catalogue [edit]

Since relatively few of Schubert'south works were published in his lifetime, only a small number of them have opus numbers assigned, and even in those cases, the sequence of the numbers does not requite a practiced indication of the guild of composition. Austrian musicologist Otto Erich Deutsch (1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works. This was showtime published in English in 1951 (Schubert Thematic Catalogue) and afterwards revised for a new edition in German in 1978 (Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge – Franz Schubert: Thematic Catalogue of his Works in Chronological Gild).^[115]

Numbering issues [edit]

Confusion arose quite early over the numbering of Schubert'south tardily symphonies. Schubert's last completed symphony, the Dandy C major D 944, was assigned the numbers seven, viii, ix and 10, depending on publication. Similarly the Unfinished D 759 has been indicated with the numbers 7, 8, and nine.^[116]

The order usually followed for these late symphonies by English language-language sources is:

• No. 7: E major, D 729
• No. 8: B modest, D 759 Unfinished
• No. 9: C major, D 944 Neat C major
• No. 10: D major, D 936A

An even broader confusion arose over the numbering of the piano sonatas, with numbering systems ranging from 15 to 23 sonatas.

Instruments [edit]

Among pianos Schubert had access to were a Benignus Seidner piano (at present displayed at the Schubert Geburtshaus in Vienna) and an Anton Walter & Sohn piano (today in the drove of the Vienna Kunsthistorisches Museum). Schubert was also familiar with instruments by Viennese piano builder Conrad Graf.^[117]

Recognition [edit]

A feeling of regret for the loss of potential masterpieces caused past Schubert's early on expiry at age 31 was expressed in the epitaph on his big tombstone written by Grillparzer: "Here music has buried a treasure, but fifty-fifty fairer hopes."^[118] Some prominent musicians share a similar view, including the pianist Radu Lupu, who said: "[Schubert] is the composer for whom I am actually nigh sorry that he died so young. ... Only before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to larn a picayune more than well-nigh counterpoint, and he was perfectly right. We'll never know in what direction he was going or would have gone."^[119] Nevertheless, others have expressed disagreement with this early view. For instance, Robert Schumann said: "It is pointless to gauge at what more [Schubert] might have achieved. He did enough; and permit them be honoured who have striven and accomplished as he did",^[120] and the pianist András Schiff said that: "Schubert lived a very short life, simply it was a very full-bodied life. In 31 years, he lived more than than other people would live in 100 years, and it is needless to speculate what could he have written had he lived another 50 years. It's irrelevant, just like with Mozart; these are the two natural geniuses of music."^[121]

The Wiener Schubertbund, one of Vienna's leading choral societies, was founded in 1863, whilst the Gründerzeit was taking place. The Schubertbund quickly became a rallying point for schoolteachers and other members of the Viennese middle class who felt increasingly embattled during the Gründerzeit and the aftermath of the Panic of 1873. In 1872, the dedication of the Schubert Denkmal, a gift to the urban center from Vienna's leading male chorus, the Wiener Männergesang-Verein, took place; the chorus performed at the upshot.^[122] The Denkmal was designed by Austrian sculptor Carl Kundmann and is located in Vienna'southward Stadtpark.

Schubert'southward chamber music continues to be popular. In a survey conducted by the ABC Classic FM radio station in 2008, Schubert'south chamber works dominated the field, with the Trout Quintet ranked first, the String Quintet in C major ranked 2d, and the Notturno in E-flat major for piano trio ranked third. Furthermore, viii more of his chamber works were among the 100 ranked pieces: both piano trios, the String Quartet No. 14 (Expiry and the Maiden), the String Quartet No. 15, the Arpeggione Sonata, the Octet, the Fantasie in F minor for pianoforte four-hands, and the Adagio and Rondo Concertante for pianoforte quartet.^[123]

The New York Times ' chief music critic Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him:

You have to love the guy, who died at 31, sick, impoverished and neglected except by a circumvolve of friends who were in awe of his genius. For his hundreds of songs alone – including the haunting cycle Winterreise, which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life... Schubert'due south kickoff few symphonies may be works in progress. Just the Unfinished and peculiarly the Great C major Symphony are astonishing. The latter i paves the style for Bruckner and prefigures Mahler.^[124]

Tributes by other musicians [edit]

From the 1830s through the 1870s, Franz Liszt transcribed and arranged several of Schubert'south works, especially the songs. Liszt, who was a significant strength in spreading Schubert'south work later his death, said Schubert was "the most poetic musician who ever lived."^[125] Schubert's symphonies were of item interest to Antonín Dvořák. Hector Berlioz and Anton Bruckner acknowledged the influence of the Nifty C Major Symphony.^[126] It was Robert Schumann who, having seen the manuscript of the Great C Major Symphony in Vienna in 1838, drew it to the attention of Mendelssohn, who led the commencement operation of the symphony, in a heavily abridged version, in Leipzig in 1839.^[127] In the 20th century, composers such equally Richard Strauss, Anton Webern, Benjamin Britten, George Crumb, and Hans Zender championed or paid homage to Schubert in some of their works. Britten, an achieved pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.^[126]

German electronic music grouping Kraftwerk has an instrumental piece titled Franz Schubert on their 1977 album Trans-Europe Express.

Commemorations [edit]

In 1897, the 100th anniversary of Schubert's nascence was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognising Schubert as the creator of the art song, and one of Republic of austria's favourite sons.^{[128] [129]} Karlsruhe saw the first production of his opera Fierrabras.^[130]

In 1928, Schubert Week was held in Europe and the United States to mark the centenary of the composer'due south death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with acme prize money of $ten,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory".^[131] The winning entry was Kurt Atterberg's sixth symphony.^[131]

In picture show and television receiver [edit]

Schubert has featured as a character in several films including Schubert'southward Dream of Spring (1931), Gently My Songs Entreat (1933), Serenade (1940), The Great Enkindling (1941), It'south But Love (1947), Franz Schubert (1953), Das Dreimäderlhaus (1958), and Mit meinen heißen Tränen (1986). Schubert's music has also been featured in numerous mail service-silent era films, including Walt Disney's Fantasia (1940), which features Ave Maria (D. 839);^[132] and the biographical film Carrington (1995), which features the second movement of the String Quintet in C major (D. 956),^[133] also as the English version of The Adventures of Milo and Otis (1989), which features Serenade and Auf dem Wasser zu singen (D. 774).

Schubert's String Quartet No. 15 in G is featured prominently in the Woody Allen film Crimes and Misdemeanors (1989). The Piano Quintet in A major, D. 667 (Trout Quintet) is featured in the 2011 film Sherlock Holmes: A Game of Shadows by Guy Ritchie. The music of the String Quartet No. xiv in D minor, "Death and the Maiden", is often used to back-trail documentaries or films, notably the 1994 pic of that proper name by Roman Polanski.

Schubert's life was covered in the documentary Franz Peter Schubert: The Greatest Love and the Greatest Sorrow by Christopher Nupen (1994),^[134] and in the documentary Schubert – The Wanderer by András Schiff and Mischa Scorer (1997), both produced for the BBC.^{[121] [135]} "Great Performances," "Now Hear This: The Schubert Generation Series," hosted by Scott Yoo, explored commentary and performances by contemporary musician admirers.^[136]

Footnotes [edit]

1. ^ D 537, 568, 575, 664, 784, 845, 850, 894, 958, 959, 960 incontrovertibly complete; D 157, 279, 459, 557, 566 as further sonatas whose completeness has been debated; D 571, 613, 625, 655, 769A, 840 equally further unfinished sonatas; and many other possible sonata fragments and isolated movements maybe associated with some of the in a higher place-listed sonatas.

References [edit]

Notes [edit]

1. ^ Duncan (1905), p. two
2. ^ McKay (1996), p. 2
3. ^ ^{a b} Kreissle (1869), p. 1
4. ^ Wilberforce (1866), p. two: "the schoolhouse was much frequented"
5. ^ Steblin, Rita (2001). "Franz Schubert – das dreizehnte Kind", Wiener Geschichtsblätter, 245–265
6. ^ Hadow 1911, p. 383.
7. ^ McKay (1996), p. eleven
8. ^ ^{a b c} Kreissle (1869), p. 5
9. ^ ^{a b} Duncan (1905), p. 3
10. ^ Brown (1983), pp. 2–iii
11. ^ Wilberforce (1866), p. iii
12. ^ ^{a b} Gibbs (2000), p. 26
13. ^ McKay (1996), p. 22
14. ^ Duncan (1905), pp. five–vii
15. ^ ^{a b} Duncan (1905), p. seven
16. ^ Gibbs (2000), p. 29
17. ^ Kreissle (1869), p. 6
18. ^ ^{a b} Duncan (1905), p. 9
19. ^ Frost (1915), p. ix
20. ^ Duncan (1905), p. 10
21. ^ ^{a b} Duncan (1905), pp. 13–fourteen
22. ^ Benedikt, Erich. "Notizen zu Schuberts Messen. Mit neuem Uraufführungsdatum der Messe in F-Dur", Österreichische Musikzeitschrift 52, ane–2/1997, p. 64
23. ^ Steblin (1998)
24. ^ Gibbs (2000), p. 39
25. ^ Newbould (1999), p. 64
26. ^ McKay (1996), p. 308
27. ^ Hutchings (1967), p. 166: "The unctuous style we hear every Christmas is institute in church building music by Schubert and the Chevalier Neukomm, both known in private letters to exist doubter."
28. ^ Newbould (1999), p. twoscore
29. ^ Gramit (1997), p. 108
30. ^ McKay (1996), p. 55
31. ^ McKay (1996), p. 59
32. ^ McKay (1996), p. 138
33. ^ Solomon, M. (Spring 1989): "Franz Schubert and the Peacocks of Benvenuto Cellini. 19th-Century Music, vol. 12, pp. 193–206.
34. ^ "Schubert: Music, Sexuality, Culture." 19th-Century Music, 1993, 17:3–101.
35. ^ "Schubert à la Mode", The New York Review of Books, xx October 1994
36. ^ Steblin, Rita (1993): "The Peacock'south Tale: Schubert's Sexuality Reconsidered." 19th-Century Music. Berkeley, California: Univ. of California Press, ISSN 0148-2076, ZDB-ID 4395712, T 17., 1, pp. 5–33; Steblin, Rita (1996), Babette und Therese Kunz: neue Forschungen zum Freundeskreis um Franz Schubert und Leopold Kupelwieser, Wien: Vom Pasqualatihaus. ISBN 978-3-901254-sixteen-ane; Steblin, Rita (1997): "Schubert's 'Nina' and the Truthful Peacocks". The Musical Times 138, pp. 13–19; Steblin, Rita (1998): Dice Unsinnsgesellschaft: Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis. Böhlau. ISBN 978-3-205-98820-5; Steblin, Rita (2001): "Schubert's Problematic Relationship with Johann Mayrhofer: New Documentary Evidence". Barbara Haggh (ed.): Essays on Music and Civilization in Honor of Herbert Kellman. Paris-Tours: Minerve, pp. 465–495; Steblin, Rita (2008), "Schubert's Pepi: His Dear Affair with the Chambermaid Josepha Pöcklhofer and Her Surprising Fate". The Musical Times, pp. 47–69.
37. ^ Horton, Julian (2015). Schubert. Routledge, pages 11–xvii
38. ^ McKay (1996), p. 68
39. ^ ^{a b} Hadow 1911, p. 384.
40. ^ Duncan (1905), p. 26
41. ^ McKay (1996), p. 56
42. ^ Gibbs (2000), p. 44
43. ^ Newbould (1999), p. 66
44. ^ Duncan (1905), pp. 90–93
45. ^ McKay (1996), 75
46. ^ ^{a b} Newbould (1999) pp. 69–72
47. ^ Gibbs (2000), p. 59
48. ^ Newbould (1999), p. 235
49. ^ Gibbs (2000), p. 67
50. ^ Gibbs (2000), p. 68
51. ^ McKay (1996), p. 70
52. ^ Gibbs (2000), p. seven
53. ^ Gibbs (2000), p. 97
54. ^ ^{a b} Austin (1873), pp. 46–47
55. ^ Wilberforce (1866), pp. 90–92
56. ^ ^{a b c d east f grand} Hadow 1911, p. 385.
57. ^ Wilberforce (1866), p. 25
58. ^ ^{a b c} Newbould (1999), p. 173
59. ^ Denny (1997), pp. 245–246
60. ^ Gibbs (2000), p. 111
61. ^ ^{a b c} McKay (1996), p. 101
62. ^ Thayer (1921), pp. 299–300
63. ^ Newbould (1999), p. 182
64. ^ Newbould (1999), pp. 182–183
65. ^ Newbould (1999), p. 215
66. ^ Dirda, Michael (4 Feb 2015). "Ian Bostridge's 'Schubert's Wintertime Journey examines the composer'southward melancholy work". The Washington Post . Retrieved 8 February 2015. Franz Schubert's Winterreise is the greatest, and the well-nigh bleakly melancholy, of all song cycles.
67. ^ Reed (1997), pp. 208–209
68. ^ Newbould (1999), p. 210
69. ^ Newbould (1999), pp. 221–225
70. ^ Newbould (1999), p. 260
71. ^ Newbould (1999), p. 218
72. ^ Duncan (1905), p. 99
73. ^ Emmons (2006), p. 38
74. ^ Newbould (1999), p. 228
75. ^ Newbould (1999), p. 254
76. ^ Smith & Carlson (1995), p. 78
77. ^ Gibbs (1999), p. 62
78. ^ McKay (1996), p. 268
79. ^ McKay (1996), p. 276
80. ^ Newbould (1999) pp. 261–263
81. ^ Newbould (1999) pp. 270–274
82. ^ McKay (1996), p. 313: "That Schubert in no manner considered the songs as a cycle is confirmed by his alphabetic character to Probst of 2 October mentioning that he had recently written 'several songs by Heine'."
83. ^ Griffel (1997), p. 203
84. ^ Newbould (1999), p. 385
85. ^ Newbould (1999) ibid, and comments in the liner notes to the CD recording issued on Hyperion Records
86. ^ Schonberg (1997), p. 130
87. ^ ^{a b} Newbould (1999), pp. 265–266
88. ^ Gibbs (1997), p. 44
89. ^ ^{a b} Newbould (1999), p. 275.
90. ^ Gibbs (2000), pp. 168–169
91. ^ Deutsche (1998), p. 300
92. ^ ^{a b} Duncan (1905), pp. 79–80
93. ^ Gibbs (2000), p. 197
94. ^ Tom Service, "Sex, decease and dissonance: the strange, obsessive world of Anton Bruckner", The Guardian, 1 Apr 2014. Retrieved 11 August 2020
95. ^ Gammond (1982), p. 143, discussing in particular his sleeping accommodation music
96. ^ Gibbs (1997), p. 21
97. ^ Ewen (2007), p. 384
98. ^ McKay, Elizabeth (1997). Franz Schubert. In: The New Grove Dictionary of Opera. London and New York: Macmillan
99. ^ Lev.
100. ^ Gammond (1982), p. 117
101. ^ Gammond (1982), pp. 76–81
102. ^ Brown (2002), p. 630
103. ^ Plantinga (1984), p. 117
104. ^ Plantinga (1984), pp. 107–117
105. ^ Swafford (1992), p. 211
106. ^ Gammond (1982), pp. 153–156
107. ^ Dvořák (1894), pp. 344–345
108. ^ Deutsch 1978, p. 668^{[ incomplete brusque citation ]}
109. ^ Deutsch 1978, pp. 668–669^{[ incomplete brusk citation ]}
110. ^ ^{a b} Kreissle (1869), pp. 297–332, in which Grove recounts his visit to Vienna.
111. ^ Gibbs (2000), pp. 61–62
112. ^ Run into due east.one thousand. Kreissle (1869), p. 324, where Grove describes current (1860s) involvement in Schubert's work, and Gibbs (1997), pp. 250–251, describing the size and telescopic of the 1897 Schubert centennial commemorations.
113. ^ Deutsch (1995), p. 13
114. ^ "Neue Schubert-Ausgabe". Bärenreiter Verlag. Archived from the original on twenty July 2018. Retrieved 20 July 2018.
115. ^ See Deutsch (1995)
116. ^ See #Numbering of symphonies
117. ^ "Jeffrey Dane – The Composers' Pianos". world wide web.collectionscanada.gc.ca . Retrieved 5 February 2021.
118. ^ Duncan (1905), p. 80
119. ^ Montparker, Carol (May–June 1981). "Radu Lupu: Acclaim in Spite of Himself". Clavier. p. thirteen.
120. ^ Gibbs (1997), p. 18
121. ^ ^{a b} Schubert – The Wanderer .
122. ^ Botstein (1997), p. 35
123. ^ "The Classical Music Chamber Music 100". Australian Dissemination Co. Retrieved 24 August 2010.
124. ^ Tommasini, Anthony (21 January 2011). "The Greatest Composers – A Top 10 Listing". The New York Times . Retrieved 20 August 2017.
125. ^ Liszt (1989), p. 144
126. ^ ^{a b} Newbould (1999), pp. 403–404
127. ^ Brown (1983), p. 73
128. ^ Rodenberg (1900), p. 118
129. ^ The Musical Times, February 1897, p. 113
130. ^ Gibbs (1997), p. 318
131. ^ ^{a b} "Schubert Ecstasy". Time. 3 Dec 1928. Archived from the original on 5 May 2009. Retrieved 8 April 2009.
132. ^ Gabler, Jay. "From 'Baldheaded Mountain' to 'Ave Maria': The hell-to-heaven 'Fantasia' climax". Retrieved five Baronial 2018.
133. ^ Schroeder (2009), pp. 272–274.
134. ^ "Franz Peter Schubert: The Greatest Dear and the Greatest Sorrow". BBC 4. Retrieved sixteen June 2018.
135. ^ Schiff András filmje Schubertről [András Schiff tells almost Schubert] on YouTube
136. ^ Now Hear This "The Schubert Generation", PBS, September 25, 2020. Retrieved January xvi, 2022.

Sources [edit]

Works past Otto Erich Deutsch

Otto Erich Deutsch, working in the get-go half of the 20th century, was probably the preeminent scholar of Schubert's life and music. In addition to the catalogue of Schubert's works, he collected and organized a great deal of textile about Schubert, some of which remains in print.

• Deutsch, Otto Erich; Wakeling, Donald R. (1995). The Schubert Thematic Catalogue. Courier Dover Publications. ISBN978-0-486-28685-3.
• Deutsch, Otto Erich (1977). Schubert: A Documentary Biography. Translated by Blom, Eric. Da Capo Press. ISBN978-0-306-77420-1.
• Deutsch, Otto Erich (1998) [1958]. Schubert: Memoirs by His Friends. Oxford University Press. ISBN978-0-xix-816436-4.
• Schubert, Franz; Deutsch, Otto Erich (1928). Franz Schubert's Letters and Other Writings. Translated past Savile, Venetia. A. A. Knopf. ISBN978-0-8369-5242-one. OCLC 891887.

19th- and early 20th-century scholarship

• Austin, George Lowell (1873). The Life of Franz Schubert. Shepard and Gill. ISBN978-0-404-12856-2. OCLC 4450950.
• Duncan, Edmondstoune (1905). Schubert. J.Thou. Dent. ISBN978-ane-4437-8279-1. OCLC 2058050.
• Dvořák, Antonín (July 1894). "Franz Schubert". Century Illustrated Magazine. Cairns Collection of American Women Writers. 48 (iii). OCLC 4279873.
• Frost, Henry Frederic (1915). Schubert. Scribner. OCLC 45465176.
• Grove, George; Fuller-Maitland, John Alexander (1908). Grove's Dictionary of Music and Musicians. Vol. 4. Macmillan. OCLC 407077.
• This article incorporates text from a publication at present in the public domain:Hadow, William Henry (1911). "Schubert, Franz Peter". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 24 (11th ed.). Cambridge University Press. pp. 383–386.
• Kreissle von Hellborn, Heinrich (1869) [1865]. The Life of Franz Schubert. Vol. one. Translated past Coleridge, Arthur Knuckles. Longmans, Light-green, and Company. The start full-length biography of Schubert (volume 1).
• Kreissle von Hellborn, Heinrich (1869) [1865]. The Life of Franz Schubert. Vol. 2. Translated by Coleridge, Arthur Knuckles. Longmans, Green, and Co. The first full-length biography of Schubert (book 2).
• Rodenberg, Julius; Pechel, Rudolf (1900). Deutsche Rundschau, volume 102 (Jan–Mar 1900) (in German). Gebrüder Paetel. OCLC 1566444.
• Thayer, Alexander Wheelock; Krehbiel, Henry E.; Deiters, Hermann; Riemann, Hugo (1921). The Life of Ludwig van Beethoven. Vol. iii. New York: The Beethoven Association. OCLC 422583.
• Wilberforce, Edward (1866). Franz Schubert: A Musical Biography. London: W. H. Allen & Co. [ISBN unspecified]
• "Book 38". The Musical Times. Novello. 38. February 1897. OCLC 1608351.

Modern scholarship

• Botstein, Leon (1997). "Contexts: musical, political, and cultural". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge University Printing. ISBN978-0-521-48424-iv.
• Brown, A. Peter (2002). The Symphonic Repertoire. Indiana University Press. ISBN978-0-253-33487-ix.
• Brown, Maurice John Edwin (1983). The New Grove Schubert. New York: W. W. Norton & Company. ISBN978-0-393-01683-3. OCLC 9398015.
• Denny, Thomas A. (1997). "Schubert's operas". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge Academy Press. ISBN978-0-521-48424-4.
• Deutsch, Otto Erich; et al. (1978). Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge. Bärenreiter. ISBN978-3-7618-0571-8.
• Emmons, Shirlee; Lewis, Wilbur Watkin (2006). Researching the Song: A Dictionary. Oxford Academy Press Us. ISBN978-0-19-515202-9.
• Ewen, David (2007). Composers of Yesterday. Vancouver: Read Books. ISBN978-1-4067-5987-7.
• Gammond, Peter (1982). Schubert. London: Methuen. ISBN978-0-413-46990-8.
• Gibbs, Christopher H. (1997). "Introduction: the elusive Schubert". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge Academy Press. ISBN978-0-521-48424-4.
• Gibbs, Christopher H. (2000). The Life of Schubert . Cambridge Academy Press. ISBN978-0-521-59512-4.
• Gibbs, Christopher H., ed. (1997). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge University Press. ISBN978-0-521-48424-4.
• Gramit, David (1997). "Music, cultivation, and identity in Schubert's circle". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge University Press. ISBN978-0-521-48424-four.
• Griffel, Fifty. Michael (1997). "Schubert's orchestral music". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge University Press. ISBN978-0-521-48424-4.
• Hutchings, Arthur (1967). Church Music in the Nineteenth Century. London: Oxford Academy Press. ISBN978-0-8371-9695-4.
• Lev, Ray (1947). Franz Schubert – Piano Sonata no. 15 in C major (Unfinished); Allegretto in C modest – Ray Lev, Pianist (78 RPM). U.s.a.: Concert Hall Club. Release B3.
• Liszt, Franz (1989). An Artist's Journey: Lettres D'united nations Bachelier ès Musique, 1835–1841. Translated past Suttoni, Charles. University of Chicago Press. ISBN978-0-226-48510-ii.
• McKay, Elizabeth Norman (1996). Franz Schubert: A Biography. Oxford University Press. ISBN978-0-xix-816681-eight.
• Newbould, Brian (1999). Schubert: The Music and the Man . University of California Printing. ISBN978-0-520-21957-1.
• Plantinga, Leon (1984). Romantic Music: A History of Musical Mode in Nineteenth-Century Europe. Norton. ISBN978-0-393-95196-vii.
• Reed, John (fifteen August 1997). The Schubert Vocal Companion. Manchester University Press. ISBN978-1-901341-00-iii.
• Schonberg, Harold C. (1997). The Lives of the Bang-up Composers . W. W. Norton. ISBN978-0-393-03857-half dozen.
• Schroeder, David (2009). Our Schubert: His Enduring Legacy. Scarecrow Press. ISBN978-0-8108-6927-1.
• Smith, Jane Stuart; Carlson, Betty; Schaeffer, Francis A. (1995). The Gift of Music: Keen Composers and Their Influence. Good News Publishers. ISBN978-0-89107-869-2.
• Steblin, Rita (1998). "Schubert's Human relationship with Women: An Historical Account". In Newbould, Brian (ed.). Schubert Studies. Ashgate. pp. 159–182. ISBN978-i-85928-253-3.
• Steblin, Rita (1998). "In Defence force of Scholarship and Archival Research: Why Schubert's Brothers Were Immune to Ally". Current Musicology. 62: 7–17.
• Swafford, Jan (1992). The Vintage Guide to Classical Music. Vintage Books. ISBN978-0-679-72805-4.
• Uhde, Jürgen; Wieland, Renate (2013). Schubert. Späte Klaviermusik: Spuren ihrer inneren Geschichte (in German). Bärenreiter. ISBN9783761823330.

Numbering of symphonies

The following sources illustrate the defoliation around the numbering of Schubert's belatedly symphonies. The B minor Unfinished Symphony is variously published equally No. seven and No. 8, in both German and English.

• Schubert, Franz (1996). Symphony, No vii, D 759, B minor, Unfinished (in German language). Bärenreiter. OCLC 39794412. German-language publication of the Unfinished Symphony score as No. vii.
• Schubert, Franz (2008). Symphony No. 7 in B modest D 759 Unfinished Symphony. Eulenburg Audio+Score Serial. Eulenburg. ISBN978-3-7957-6529-3. English-language publication of the Unfinished Symphony score every bit No. vii.
• Schubert, Franz; Reichenberger, Teresa (1986). Symphony No. viii in B pocket-sized, D. 759 Unfinished (Paperback). ISBN978-3-7957-6278-0. English-language publication of the Unfinished Symphony score every bit No. eight.

External links [edit]

• Franz Schubert at the Musopen projection
• Texts and translations of vocal music by Schubert at The LiederNet Archive
• Franz Schubert Museum in Hohenems/Austria
• "Discovering Schubert". BBC Radio iii.
• Franz Schubert at the Internet Broadway Database
• Digital reproductions of score manuscripts and messages past Franz Schubert
• Franz-Schubert-Institut in Baden bei Wien

Recordings [edit]

• Schubertlied.de – Free recordings of many Lieder by Schubert (mp3)
• Schubert cylinder recordings, from the UCSB Cylinder Audio Annal at the Academy of California, Santa Barbara Library.

Sheet music [edit]

• Schubertline.co.united kingdom of great britain and northern ireland nigh 250 of Schubert'south Songs (Schubertline edition)
• Complimentary scores by Franz Schubert at the International Music Score Library Project (IMSLP)
• Free scores past Franz Schubert in the Choral Public Domain Library (ChoralWiki)
• Free digital scores by Franz Schubert in the OpenScore Lieder Corpus

workmanplaragnight.blogspot.com

Source: https://en.wikipedia.org/wiki/Franz_Schubert

Share this post