Franz Schubert: biography, interesting facts, videos, creativity. General characteristics of Schubert's work What Schubert wrote what genres

Franz Peter Schubert; January 31, Himmelpfortgrund, Austria - November 19, Vienna) - Austrian composer, one of the founders of romanticism in music, author of about 600 songs, nine symphonies, as well as a large amount of chamber and solo piano music.

Interest in Schubert's music was moderate during his lifetime, but grew significantly posthumously. Schubert's works have still not lost their popularity and are among the most famous examples of classical music.

Biography

Childhood

Schubert struggled with mathematics and Latin in his studies, and in 1813 he decided to leave the chapel. Schubert returned home, entered a teachers' seminary, and then got a job as a teacher at the school where his father worked. In his spare time, he composed music. He studied mainly Gluck, Mozart and Beethoven. He wrote his first independent works - the opera "Satan's Pleasure Castle" and the Mass in F major - in 1814.

Maturity

Schubert's work did not correspond to his calling, and he made attempts to establish himself as a composer. But publishers refused to publish his works. In the spring of 1816, he was denied the post of bandmaster in Laibach (now Ljubljana). Soon Joseph von Spaun introduced Schubert to the poet Franz von Schober. Schober arranged for Schubert to meet the famous baritone Johann Michael Vogl. Schubert's songs performed by Vogl began to enjoy great popularity in the Viennese salons. In January 1818, Schubert's first composition was published - the song Erlafsee(as a supplement to the anthology edited by F. Sartori).

In the 1820s, Schubert began to have health problems. In December 1822 he fell ill, but after a stay in hospital in the autumn of 1823 his health improved.

Last years

Schubert's first grave

Creation

Schubert's creative heritage covers a variety of genres. He created 9 symphonies, over 25 chamber instrumental works, 15 piano sonatas, many pieces for piano for two and four hands, 10 operas, 6 masses, a number of works for choir, for vocal ensemble, and finally, about 600 songs. During his lifetime, and for quite a long time after the composer’s death, he was valued mainly as a songwriter. Only from the 19th century did researchers begin to gradually comprehend his achievements in other areas of creativity. Thanks to Schubert, the song for the first time became equal in importance to other genres. Her poetic images reflect almost the entire history of Austrian and German poetry, including some foreign authors.

In 1897, the publishers Breitkopf and Hertel published a critical edition of the composer's works, whose chief editor was Johannes Brahms. Twentieth-century composers such as Benjamin Britten, Richard Strauss, and George Crum were either persistent popularizers of Schubert's music or made allusions to it in their own music. Britten, who was an accomplished pianist, accompanied performances of many of Schubert's songs and often played his solos and duets.

Unfinished Symphony

The exact date of creation of the symphony in B minor (Unfinished) is unknown. It was dedicated to the amateur musical society in Graz, and Schubert presented two parts of it in 1824.

The manuscript was kept for more than 40 years by Schubert's friend Anselm Hüttenbrenner, until the Viennese conductor Johann Herbeck discovered it and performed it at a concert in 1865. The symphony was published in 1866.

It remains a mystery to Schubert himself why he did not complete the “Unfinished” Symphony. It seems that he intended to bring it to its logical conclusion, the first scherzos were completely finished, and the rest were discovered in sketches.

From another point of view, the “Unfinished” symphony is a completely completed work, since the circle of images and their development exhausts itself within two parts. Thus, at one time Beethoven created sonatas in two parts, and later works of this kind became common among romantic composers.

Currently, there are several options for completing the “Unfinished” Symphony (in particular, the options of the English musicologist Brian Newbould). Brian Newbould) and Russian composer Anton Safronov).

Essays

Octet. Schubert's autograph.

• Piano Sonata - Moderato

  Piano Sonata - Andante

  Piano Sonata - Menuetto

  Piano Sonata - Allegretto

  Piano Sonata - Moderato

  Piano Sonata - Andante

  Piano Sonata - Scherzo

  Piano Sonata - Allegro

  Mass in G, movement 1

  Mass in G, movement 2

  Mass in G, movement 3

  Mass in G, movement 4

  Mass in G, movement 5

  Mass in G, movement 6

  Impromptu in B-flat, movement 1

  Impromptu in B-flat, movement 2

  Impromptu in B-flat, movement 3

  Impromptu in B-flat, movement 4

  Impromptu in B-flat, movement 5

  Impromptu in B-flat, movement 6

  Impromptu in B-flat, movement 7

  Impromptu in A-flat, D. 935/2 (Op. 142 No. 2)

  Der Hirt auf dem Felsen

• Playback help

• Operas - Alfonso and Estrella (1822; staged 1854, Weimar), Fierrabras (1823; staged 1897, Karlsruhe), 3 unfinished, including Count von Gleichen, etc.;
• Singspiel (7), including Claudina von Villa Bella (on a text by Goethe, 1815, the first of 3 acts has been preserved; staged 1978, Vienna), The Twin Brothers (1820, Vienna), The Conspirators, or Home War (1823; staged 1861 , Frankfurt am Main);
• Music for plays - The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.);
• For soloists, choir and orchestra - 7 masses (1814-1828), German Requiem (1818), Magnificat (1815), offertories and other spiritual works, oratorios, cantatas, including Miriam's Victory Song (1828);
• For orchestra - symphonies (1813; 1815; 1815; Tragic, 1816; 1816; Small C major, 1818; 1821, unfinished; Unfinished, 1822; Major C major, 1828), 8 overtures;
• Chamber instrumental ensembles - 4 sonatas (1816-1817), fantasy (1827) for violin and piano; sonata for arpeggione and piano (1824), 2 piano trios (1827, 1828?), 2 string trios (1816, 1817), 14 or 16 string quartets (1811-1826), Trout piano quintet (1819?), string quintet ( 1828), octet for strings and winds (1824), etc.;
• For piano 2 hands - 23 sonatas (including 6 unfinished; 1815-1828), fantasy (Wanderer, 1822, etc.), 11 impromptu (1827-28), 6 musical moments (1823-1828), rondo, variations and other pieces, over 400 dances (waltzes, ländlers, German dances, minuets, ecosaises, gallops, etc.; 1812-1827);
• For piano 4 hands - sonatas, overtures, fantasies, Hungarian divertissement (1824), rondos, variations, polonaises, marches, etc.;
• Vocal ensembles for male, female voices and mixed compositions with and without accompaniment;
• Songs for voice and piano, (more than 600) including the cycles “The Beautiful Miller's Wife” (1823) and “Winter Retreat” (1827), the collection “Swan Song” (1828), “Ellens dritter Gesang” , also known as Schubert's "Ave Maria").

In astronomy

Asteroid (540) Rosamund is named after Franz Schubert's musical play Rosamund (English) Russian , opened in 1904.

see also

Notes

1. Now part of Alsergrund, Vienna's 9th district.
2. Schubert Franz. Collier's Encyclopedia. - Open society. 2000.. Archived from the original on May 31, 2012. Retrieved March 24, 2012.
3. Walther Dürr, Andreas Krause (Hrsg.): Schubert Handbuch, Bärenreiter/Metzler, Kassel u.a. bzw. Stuttgart u.a., 2. Aufl. 2007, S. 68, ISBN 978-3-7618-2041-4
4. Dietmar Grieser: Der Onkel aus Preßburg. Auf österreichischen Spuren durch die Slowakei, Amalthea-Verlag, Wien 2009, ISBN 978-3-85002-684-0, S. 184
5. Andreas Otte, Konrad Wink. Kerners Krankheiten großer Musiker. - Schattauer, Stuttgart/New York, 6. Aufl. 2008, S. 169, ISBN 978-3-7945-2601-7
6. Kreissle von Hellborn, Heinrich (1865). Franz Schubert, pp. 297-332
7. Gibbs, Christopher H. (2000). The Life Of Schubert. Cambridge University Press, pp. 61-62, ISBN 0-521-59512-6
8. For example, Kreisl, on page 324, describes the interest in Schubert's work in the 1860s, and Gibbs, on pages 250–251, describes the scale of the celebrations for the composer's centenary in 1897.
9. Liszt, Franz; Suttoni, Charles (translator, contributor) (1989). An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835-1841. University of Chicago Press, p. 144. ISBN 0-226-48510-2
10. Newbould, Brian (1999). Schubert: The Music and the Man. University of California Press, pp. 403-404. ISBN 0-520-21957-0
11. V. Galatskaya. Franz Schubert // Musical literature of foreign countries. Vol. III. - M.: Music. 1983. - P. 155
12. V. Galatskaya. Franz Schubert // Musical literature of foreign countries. Vol. III. - M.: Music. 1983. - P. 212

Literature

• Glazunov A.K. Franz Schubert. App.: Ossovsky A.V. Chronograph, list of works and bibliogr. F. Schubert. - M.: Academia, 1928. - 48 p.
• Memories of Franz Schubert. Comp., translation, preface. and note. Yu. N. Khokhlova. - M., 1964.
• The life of Franz Schubert in documents. Comp. Yu. N. Khokhlov. - M., 1963.
• Konen V. Schubert. Ed. 2nd, add. - M.: Muzgiz, 1959. - 304 p.
• Wulfius P. Franz Schubert: Essays on Life and Work. - M.: Music, 1983. - 447 p.
• Khokhlov Yu. N."Winter Reise" by Franz Schubert. - M., 1967.
• Khokhlov Yu. N. About the last period of Schubert's work. - M., 1968.
• Khokhlov Yu. N. Schubert. Some problems of creative biography. - M., 1972.
• Khokhlov Yu. N. Schubert's songs: Features of style. - M.: Music, 1987. - 302 p.
• Khokhlov Yu. N. Strophic song and its development from Gluck to Schubert. - M.: Editorial URSS, 1997.
• Khokhlov Yu. N. Piano sonatas by Franz Schubert. - M.: Editorial URSS, 1998. - ISBN 5-901006-55-0.
• Khokhlov Yu. N."The Beautiful Miller's Wife" by Franz Schubert. - M.: Editorial URSS, 2002. - ISBN 5-354-00104-8.
• Franz Schubert: To the 200th anniversary of his birth: Proceedings of the International Scientific Conference. - M.: Prest, 1997. - 126 p. - ISBN 5-86203-073-5.
• Franz Schubert: correspondence, notes, diaries, poems. Comp. Yu. N. Khokhlov. - M.: Editorial URSS, 2005.
• Franz Schubert and Russian musical culture. Rep. ed. Yu. N. Khokhlov. - M., 2009. - ISBN 978-5-89598-219-8.
• Schubert and Schubertianism: Collection of materials from a scientific musicological symposium. Comp. G. I. Ganzburg. - Kharkov, 1994. - 120 p.
• Alfred Einstein: Schubert. Ein musikalisches Porträt. - Pan-Verlag, Zürich, 1952.
• Peter Gülke: Franz Schubert und seine Zeit. - Laaber-Verlag, Laaber, 2002. - ISBN 3-89007-537-1.
• Peter Härtling: Schubert. 12 moments musicaux und ein Roman. - Dtv, Munich, 2003. - ISBN 3-423-13137-3.
• Ernst Hilmar: Franz Schubert. - Rowohlt, Reinbek, 2004. - ISBN 3-499-50608-4.
• Kreissle. Franz Schubert. - Vienna, 1861.
• Von Helborn. Franz Schubert.
• Risse. Franz Schubert und seine Lieder. - Hanover, 1871.
• Aug. Reissmann. Franz Schubert, sein Leben und seine Werke. - Berlin, 1873.
• H. Barbedette. F. Schubert, sa vie, ses oeuvres, son temps. - Paris, 1866.
• A. Audley. Franz Schubert, sa vie et ses oeuvres. - P., 1871.

Links

• Schubert's Catalog of Works, Unfinished Eighth Symphony

Name: Franz Schubert

Age: 31 year

Height: 156

Activity: composer, one of the founders of romanticism in music

Family status: wasn't married

Franz Schubert: biography

Woland from the novel said: “Never ask for anything! Never and nothing, and especially among those who are stronger than you. They will offer and give everything themselves!”

This quote from the immortal work “The Master and Margarita” characterizes the life of the Austrian composer Franz Schubert, familiar to most from the song “Ave Maria” (“Ellen’s Third Song”).

During his life, he did not strive for fame. Although the Austrian’s works were distributed from all salons in Vienna, Schubert lived extremely meagerly. Once the writer hung his coat on the balcony with the pockets turned inside out. This gesture was addressed to creditors and meant that there was nothing more to take from Schubert. Having known the sweetness of fame only fleetingly, Franz died at the age of 31. But centuries later, this musical genius became recognized not only in his homeland, but throughout the world: Schubert’s creative legacy is immense, he composed about a thousand works: songs, waltzes, sonatas, serenades and other compositions.

Childhood and adolescence

Franz Peter Schubert was born in Austria, near the picturesque city of Vienna. The gifted boy grew up in an ordinary poor family: his father, schoolteacher Franz Theodor, came from a peasant family, and his mother, cook Elisabeth (née Fitz), was the daughter of a repairman from Silesia. In addition to Franz, the couple raised four more children (out of 14 children born, 9 died in infancy).

It is not surprising that the future maestro showed an early love for sheet music, because music was constantly flowing in his house: Schubert the elder loved to play the violin and cello as an amateur, and Franz’s brother was fond of the piano and clavier. Franz Jr. was surrounded by a delightful world of melodies, as the hospitable Schubert family often received guests and organized musical evenings.

Noticing the talent of their son, who at the age of seven played music on the keys without studying notes, the parents sent Franz to the Lichtenthal parochial school, where the boy tried to master playing the organ, and M. Holzer taught young Schubert the vocal art, which he mastered brilliantly.

When the future composer was 11 years old, he was accepted as a choir member into the court chapel located in Vienna, and was also enrolled in the Konvikt boarding school, where he made his best friends. At the educational institution, Schubert zealously learned the basics of music, but the boy was not good at mathematics and the Latin language.

It is worth saying that no one doubted the talent of the young Austrian. Wenzel Ruzicka, who taught Franz the bass voice of polyphonic musical composition, once stated:

“I have nothing to teach him! He already knows everything from the Lord God.”

And in 1808, to the delight of his parents, Schubert was accepted into the imperial choir. When the boy was 13 years old, he independently wrote his first serious musical composition, and after 2 years the recognized composer Antonio Salieri began working with the young man, who did not even take any monetary compensation from the young Franz.

Music

When Schubert's sonorous, boyish voice began to break, the young composer was understandably forced to leave Konvikt. Franz's father dreamed that he would enter a teacher's seminary and follow in his footsteps. Schubert could not resist the will of his parent, so after graduation he began working at a school, where he taught the alphabet to junior grades.

In 1814 he wrote the opera Satan's Pleasure Castle and a mass in F major. And by the age of 20, Schubert had become the author of at least five symphonies, seven sonatas and three hundred songs. Music did not leave Schubert’s thoughts for a minute: the talented composer woke up even in the middle of the night in order to have time to record the melody that sounded in his sleep.

In his free time from work, the Austrian organized musical evenings: acquaintances and close friends appeared in the house of Schubert, who did not leave the piano and often improvised.

In the spring of 1816, Franz tried to get a job as the director of the choir chapel, but his plans were not destined to come true. Soon, thanks to friends, Schubert met the famous Austrian baritone Johann Fogal.

It was this singer of romances who helped Schubert establish himself in life: he performed songs to the accompaniment of Franz in the music salons of Vienna.

But it cannot be said that the Austrian mastered the keyboard instrument as masterfully as, for example, Beethoven. He did not always make the right impression on the listening public, so Fogal received the attention of the audience at his performances.

Franz Schubert composes music in nature

In 1817, Franz became the author of the music for the song “Trout” based on the words of his namesake Christian Schubert. The composer also became famous thanks to the music for the famous ballad of the German writer “The Forest King,” and in the winter of 1818, Franz’s work “Erlafsee” was published by the publishing house, although before Schubert’s fame, the editors constantly found an excuse to refuse the young performer.

It is worth noting that during the years of peak popularity, Franz acquired profitable acquaintances. So, his comrades (writer Bauernfeld, composer Hüttenbrenner, artist Schwind and other friends) helped the musician with money.

When Schubert was finally convinced of his calling, he left his job at the school in 1818. But his father did not like his son’s spontaneous decision, so he deprived his now adult child of financial assistance. Because of this, Franz had to ask friends for a place to sleep.

Fortune in the composer's life was very changeable. The opera Alfonso and Estrella, composed by Schober, which Franz considered his success, was rejected. In this regard, Schubert's financial situation worsened. Also in 1822, the composer contracted an illness that undermined his health. In mid-summer, Franz moved to Zeliz, where he settled on the estate of Count Johann Esterhazy. There Schubert taught music lessons to his children.

In 1823, Schubert became an honorary member of the Styrian and Linz Musical Unions. In the same year, the musician composed the song cycle “The Beautiful Miller's Wife” based on the words of the romantic poet Wilhelm Müller. These songs tell about a young man who went in search of happiness.

But the young man’s happiness lay in love: when he saw the miller’s daughter, Cupid’s arrow rushed into his heart. But the beloved drew attention to his rival, a young hunter, so the joyful and sublime feeling of the traveler soon grew into desperate grief.

After the tremendous success of “The Beautiful Miller's Wife” in the winter and autumn of 1827, Schubert worked on another cycle called “Winter Reise”. The music written to Müller's words is characterized by pessimism. Franz himself called his brainchild “a wreath of creepy songs.” It is noteworthy that Schubert wrote such gloomy compositions about unrequited love shortly before his own death.

Franz's biography indicates that at times he had to live in dilapidated attics, where, with the light of a burning torch, he composed great works on scraps of greasy paper. The composer was extremely poor, but he did not want to exist on the financial help of friends.

“What will happen to me...” wrote Schubert, “in my old age, perhaps, like Goethe’s harpist, I will have to go from door to door and beg for bread.”

But Franz could not even imagine that he would not grow old. When the musician was on the verge of despair, the goddess of fate smiled at him again: in 1828, Schubert was elected a member of the Vienna Society of Friends of Music, and on March 26, the composer gave his first concert. The performance was triumphant, and the hall was bursting with loud applause. On this day, Franz learned for the first and last time in his life what real success was.

Personal life

In life, the great composer was very timid and shy. Therefore, many of the writer’s circle profited from his gullibility. Franz's financial situation became a stumbling block on the path to happiness, because his beloved chose a rich groom.

Schubert's love was called Teresa Gorb. Franz met this person while in the church choir. It is worth noting that the fair-haired girl was not known as a beauty, but, on the contrary, had an ordinary appearance: her pale face was “decorated” by smallpox marks, and her eyelids “flaunted” sparse and white eyelashes.

But it was not Schubert’s appearance that attracted him in choosing a lady of his heart. He was flattered that Teresa listened to music with awe and inspiration, and at these moments her face took on a ruddy appearance and happiness shone in her eyes.

But, since the girl was raised without a father, her mother insisted that she choose the latter between love and money. Therefore, Gorb married a wealthy pastry chef.

Other information about Schubert's personal life is very scarce. According to rumors, the composer was infected with syphilis in 1822, an incurable disease at that time. Based on this, it can be assumed that Franz did not disdain visiting brothels.

Death

In the autumn of 1828, Franz Schubert was tormented by a two-week fever caused by an infectious intestinal disease - typhoid fever. On November 19, at the age of 32, the great composer died.

The Austrian (in accordance with his last wish) was buried at the Wehring cemetery next to the grave of his idol, Beethoven.

• With the proceeds from the triumphal concert, which took place in 1828, Franz Schubert purchased a piano.
• In the fall of 1822, the composer wrote “Symphony No. 8,” which went down in history as the “Unfinished Symphony.” The fact is that Franz first created this work in the form of a sketch, and then in the score. But for some unknown reason, Schubert never finished working on his brainchild. According to rumors, the remaining parts of the manuscript were lost and were kept by friends of the Austrian.

• Some people mistakenly attribute to Schubert the authorship of the title of the impromptu play. But the phrase “Musical Moment” was invented by the publisher Leydesdorff.
• Schubert adored Goethe. The musician dreamed of getting to know this famous writer better, but his dream was not destined to come true.
• Schubert's major C major symphony was found 10 years after his death.

• The asteroid, which was discovered in 1904, was named after Franz's play Rosamund.
• After the composer's death, a mass of unpublished manuscripts remained. For a long time people did not know what Schubert composed.

Discography

Songs (over 600 in total)

• Cycle “The Beautiful Miller's Wife” (1823)
• Cycle "Winter Reise" (1827)
• Collection "Swan Song" (1827-1828, posthumous)
• About 70 songs based on Goethe's texts
• About 50 songs based on Schiller's texts

Symphonies

• First D major (1813)
• Second B major (1815)
• Third D major (1815)
• Fourth C minor “Tragic” (1816)
• Fifth B major (1816)
• Sixth C major (1818)

Quartets (22 in total)

• Quartet B major op. 168 (1814)
• Quartet g minor (1815)
• Quartet a minor op. 29 (1824)
• Quartet in d minor (1824-1826)
• Quartet G major op. 161 (1826)

Franz Schubert went down in music history as the first of the great Romantic composers. In that “era of disappointment” that followed the French Revolution, attention to the individual with his passions, sorrows and joys seemed so natural - and this “song of the human soul” was brilliantly embodied in the works of Schubert, which remained “songlike” even in large forms .

Franz Schubert's birthplace is Lichtenthal, a suburb of Vienna, the European musical capital. In a large family, the parish school teachers valued music: his father played cello and violin, and Franz’s older brother played piano, and they became the talented boy’s first mentors. From the age of seven, he studied organ playing with the church bandmaster and singing with the regent. His beautiful voice allowed him to become a student at the age of eleven at Konvict, a boarding school that trained singers for the court chapel. Here one of his mentors was Antonio Salieri. While playing in the school orchestra, where he was eventually trusted to perform the duties of a conductor, Schubert became acquainted with many symphonic masterpieces, and the symphonies especially shocked him.

In Konvikt, Schubert created his first works, including. It was dedicated to the director of Konvikt, but the young composer did not feel much sympathy for either this person or the educational institution he headed: Schubert was burdened by the strictest discipline, mind-drying cramming, and far from the best relationships with mentors - devoting all his strength to music, he did not paid special attention to other academic disciplines. Schubert was not expelled for poor academic performance only because he left Konvikt on time without permission.

Even during his studies, Schubert had conflicts with his father: dissatisfied with his son’s success, Schubert Sr. forbade him to be at home on weekends (an exception was made only on the day of his mother’s funeral). An even more serious conflict arose when the question of choosing a life path arose: for all his interest in music, Schubert’s father did not consider the profession of a musician a worthy occupation. He wanted his son to choose a more respected profession as a teacher, which would guarantee a small but reliable income, and would also exempt him from military service. The young man had to obey. He worked at school for four years, but this did not stop him from creating a lot of music - operas, symphonies, masses, sonatas, and many songs. But if Schubert’s operas are now forgotten, and in the instrumental works of those years the influence of Viennese classicism is quite strong, then in the songs the individual features of the composer’s creative appearance were revealed in all their glory. Among the works of these years are such masterpieces as "", "Rose", "".

At the same time, Schubert suffered one of the most significant disappointments of his life. His beloved Teresa Grob was forced to obey her mother, who did not want to see a teacher with a penny salary as her son-in-law. With tears in her eyes, the girl went down the aisle with someone else and lived a long, prosperous life as the wife of a wealthy burgher. One can only guess how happy she was, but Schubert never found personal happiness in marriage.

Boring school duties, which distracted him from creating music, became increasingly burdensome for Schubert, and in 1817 he dropped out of school. After that, the father did not want to hear about his son. In Vienna, the composer lives first with one friend, then with another - these artists, poets and musicians were not much richer than himself. Schubert often did not even have money for music paper; he wrote down his musical thoughts on scraps of newspaper. But poverty did not make him gloomy and gloomy - he always remained cheerful and sociable.

It was not easy for the composer to make his way in the musical world of Vienna - he was not a virtuoso performer, moreover, he was extremely modest; Schubert's sonatas and symphonies did not gain popularity during the author's lifetime, but they found a lively understanding among friends. At friendly meetings, the soul of which was Schubert (they were even called “Schubertiads”), discussions were held about art, politics and philosophy, but dancing was an integral part of such evenings. The music for the dances was improvised by Schubert, and he wrote down the most successful discoveries - this is how Schubert's waltzes, ländlers and ecosaises were born. One of the participants in the Schubertiads, Michael Vogl, often performed Schubert’s songs on the concert stage, becoming a promoter of his work.

The 1820s became the time of creative flourishing for the composer. Then he created the last two symphonies - and, sonatas, chamber ensembles, as well as musical moments and impromptu. In 1823, one of his best creations was born - the vocal cycle “”, a kind of “novel in songs”. Despite the tragic ending, the cycle does not leave a feeling of hopelessness.

But tragic motives sound more and more clearly in Schubert’s music. Their focus is the second vocal cycle “” (the composer himself called it “terrible”). He often turns to the works of Heinrich Heine - along with songs based on poems by other poets, works based on his poems were published posthumously in the form of a collection "".

In 1828, the composer's friends organized a concert of his works, which brought Schubert great joy. Unfortunately, the first concert turned out to be the last that took place during his lifetime: the composer died of illness that same year. On Schubert's tombstone are inscribed the words: "Music has buried here rich treasures, but even more wonderful hopes."

All rights reserved. Copying prohibited

Franz Peter Schubert was a representative of the musical romanticism movement in Austria. His works sounded a longing for a bright ideal, which was so lacking in real life. Schubert's music, heartfelt and soulful, took a lot from traditional folk art. His works are distinguished by melody and harmony, and a special emotional mood.

Franz Peter Schubert was a representative of the movement of musical romanticism in Austria. His works sounded a longing for a bright ideal, which was so lacking in real life. Schubert's music, heartfelt and soulful, took a lot from traditional folk art. His works are distinguished by melody and harmony, and a special emotional mood.

Schubert was born on January 31, 1797, into a family Franz Theodor Schubert- school teacher and amateur cellist. The boy fell in love with music from an early age and easily mastered musical instruments. Young Schubert sang beautifully - he had an excellent voice as a child - so in 1808 he was accepted into the Imperial Chapel. He received his general education at the Konvikt boarding school. In the school orchestra, Schubert was second violin, but Latin and mathematics were not easy for him.

Schubert was expelled from the choir as a teenager. In 1810, Schubert began writing music. Over the course of 3 years, he composed several pieces for piano, a symphony and even an opera. The famous man himself became interested in the young talent Salieri. (He studied composition with Schubert in the period 1812-17.)

Since 1813, Schubert taught at school. That year he composed his first famous masterpiece, the song Gretchen am Spinnrade (“Gretchen at the Spinning Wheel”) based on Goethe’s poems.

In 1815–16 Schubert wrote many works: more than one and a half hundred songs, several instrumental quartets and symphonies, four operettas, two masses. In 1816, his famous Fifth Symphony in B flat major, the songs “The Forest King” and “The Wanderer” were written.

The composer was lucky enough to meet the famous baritone singer M. Foglem. Vogl began performing Schubert's songs, and they soon gained popularity in all Viennese salons.

In the summer of 1818, Schubert left school and went to the residence of the famous art connoisseur and philanthropist - Count Johanna Esterhazy. There he taught and continued to write music. During this period the Sixth Symphony was created. Returning to Vienna, the composer received a lucrative order for the operetta “The Twin Brothers”. The musical performance premiered in 1820 and was successful.

The next two years were difficult financially for the composer. He did not know how to achieve the favor of patrons and did not want to. In 1822, he completed work on the opera Alfonso and Estrella, but it was never staged.

During 1823, the composer was plagued by serious illnesses. Despite his physical weakness, he wrote two more operas. These works also did not see the stage. The composer did not lose heart and continued to create. The music for the play Rosamund and the song cycle called “The Beautiful Miller's Wife” were well received by the audience. Schubert again went to teach with the Esterhazy family and there, in the princely country residence, he slightly improved his health.

In 1825, the composer toured extensively with Vogl in Austria. At this time, a vocal cycle was written based on Scott's words, which included the famous ode "Ave Maria".

Schubert's songs and vocal cycles were known and popular in Austria - both among the noble public and among the common people. At that time, many private houses hosted evenings dedicated exclusively to the composer’s works – the Schubertiades. In 1827, the composer created the famous cycle “Winter Retreat”.

The composer's health, meanwhile, was getting worse. In 1828, he felt signs of another serious illness. Instead of paying attention to his health, Schubert feverishly continued to work. At this time, the composer’s main masterpieces were released: the famous “Symphony in C Major”, the C Major Quintet for string instruments, three piano sonatas and a vocal cycle with the symbolic name “Swan Song”. (This cycle was published and performed after the composer's death).

Not all publishers agreed to publish Schubert's works; it happened that they paid him unreasonably little. He did not give up and worked until his last days.

Schubert died on November 19, 1828. The cause of death was typhus - the composer’s body, weakened by hard work, was unable to cope with the disease. He was buried next to Beethoven, but subsequently the ashes were transferred to the central cemetery of Vienna.

The composer lived only 31 years, but his contribution to the musical heritage of the 19th century is enormous. He created a lot in the song-romance genre; he wrote about 650 songs. At that time, German poetry was flourishing - it became the source of his inspiration. Schubert took poetic texts and, with the help of music, gave them their own context, a new meaning. His songs were characterized by a direct impact on listeners - they became not observers, but participants in the plot of the musical composition.

Schubert managed to do a lot not only in the song, but also in the orchestral genre. His symphonies introduce listeners to a new, original musical world, far from the classical style of the 19th century. All his orchestral works are distinguished by the brightness of emotions and enormous power of impact.

Schubert's harmonious inner world is reflected in his chamber works. The composer often wrote pieces to be performed four hands, intended for “home” use. His trios, quartets, and quintets captivate with their frankness and emotional openness. This was Schubert - he had nothing to hide from his listener.

Schubert's piano sonatas are second only to Beethoven's in their emotional intensity and mastery. They combine traditional song and dance forms with classical musical techniques.

All of Schubert's works are imbued with the charm of his beloved city - old Vienna. During his life, he did not always have it easy, and Vienna did not always appreciate his talent. After his death, many unpublished manuscripts remained. Musicians and critics, friends, and relatives of the composer made a lot of efforts to find, embody and publish a significant number of his works. The popularization of this wonderful music continued for a century. It led to worldwide recognition of the musical genius Franz Peter Schubert.

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Which is known to all figures of musical art, was born on January 31, 1797 in the suburbs of the Austrian capital Vienna. He was the fourth son of a schoolteacher and cellist. All the teachers of the future musician noted his talent and diligence, with which he easily mastered knowledge in the field of music.

Education

Success and excellent mastery of his voice helped Schubert enter the Imperial Chapel, and then one of the best schools in Vienna - Konvikt. At the age of thirteen, he began to write his first compositions: songs, piano pieces, symphonies and operas. In 1812, Franz met the famous Salieri, who became interested in the talented young man. For five years they collaborated on creating compositions.

The composer Franz Schubert was formed precisely during his studies with Salieri - from 1812 to 1817. In 1813, he became a student at the teachers' seminary, and a year later he became a teacher at the school where his father once worked. It was then that he composed one of his first masses and set Goethe's poems to music.

Creation

In 1815-1816, Franz Schubert, whose biography is today studied in schools during music lessons, was quite productive. During this period he composed more than 250 songs, four symphonies, three masses and several operettas and string quartets. It was then that songs were created that spread throughout the world - “Forest King” and “Wanderer”.

But despite all this, Franz Schubert, whose works are today considered classics of world music, was as poor as a church rat. With the help of his friend J. von Spaun, the composer met the poet F. von Schober, who, in turn, was able to organize a meeting between Schubert and the then popular baritone M. Vogl.

Franz continued to work at the school, but in the summer of 1818 he decided to leave his service and went to the estate of Count Esterhazy, where he worked as a music teacher for several months. In 1819, Schubert completed the famous Sixth Symphony, and then composed several variations on a French song, which he dedicated to Beethoven.

Returning to Vienna, Franz Schubert, whose biography turned out to be too short, created the opera “The Twin Brothers” upon request. It was first staged in the summer of 1820 at the Kärtnertortheater. Schubert spent the summer of 1819 together with the baritone Vogl, and it was then that he managed to compose “Trout” (A major) - a popular quintet for piano.

The following years turned out to be quite difficult for the composer, since he was not equipped to seek the patronage of influential officials and figures in the art world. In 1823, he was quite seriously ill and was in a state of despondency. Nobody wanted to stage his operas, but Franz pulled himself together and wrote a vocal cycle called “The Beautiful Miller's Wife.”

In 1825, Franz Schubert, whose biography is familiar to many classical music lovers, managed to restore his health. His new opuses for piano were born. Until 1828, the composer worked hard to create his

At the beginning of 1828, Schubert's health began to fail. Apparently, the composer had a presentiment of his imminent death, so he tried to write at a feverish pace. It was in 1828 that he created a huge number of masterpieces, which gained popularity after the death of the author. Franz Schubert died on November 19, 1828 from typhus.