Franz Schubert

creativity composer Schubert

Childhood and years of study. Franz Schubert was born in 1797 in the Vienna suburb of Lichtenthal. His father, a school teacher, came from a peasant family. Mother was the daughter of a mechanic. The family loved music very much and constantly organized musical evenings. His father played the cello, and his brothers played various instruments.

Having discovered little Franz's musical abilities, his father and older brother Ignatz began to teach him to play the violin and piano. Franz had a wonderful voice. He sang in the church choir, performing difficult solo parts. The father was pleased with his son's success.

When Franz was eleven years old, he was assigned to a convict - a training school for church singers. The environment of the educational institution was conducive to the development of the boy’s musical abilities. In the school student orchestra, he played in the first violin group, and sometimes even served as conductor.

Already in those years, Schubert began to compose. His first works were fantasia for piano, a number of songs. The young composer writes a lot, with great passion, often to the detriment of other school activities. The boy's outstanding abilities attracted the attention of the famous court composer Salieri, with whom Schubert studied for a year.

Over time, the rapid development of Franz's musical talent began to cause concern in his father. But no prohibitions could delay the development of the boy’s talent.

Years creative flourishing. For three years he served as an assistant teacher, teaching children literacy and other elementary subjects. But his attraction to music and his desire to compose is becoming stronger. The father's desire to make his son a teacher with a small but reliable income failed. The young composer firmly decided to devote himself to music and left teaching at school. For several years (from 1817 to 1822) Schubert lived alternately with one or the other of his comrades. Some of them (Spaun and Stadler) were friends of the composer from their convict days. The soul of this circle was Schubert. Short, stocky, very short-sighted, Schubert had enormous charm. During meetings, friends got acquainted with fiction, poetry of the past and present.

But sometimes such meetings were devoted exclusively to Schubert’s music; they even received the name “Schubertiad”. On such evenings, the composer did not leave the piano, immediately composing ecosaises, waltzes, landlers and other dances. Many of them remained unrecorded.

The last years of life and creativity. He writes symphonies, piano sonatas, quartets, quintets, trios, masses, operas, a lot of songs and much other music. Having neither funds nor influential patrons, Schubert had almost no opportunity to publish his works.

And yet the Viennese came to know and love Schubert’s music. Like the old ones folk songs, passed from singer to singer, his works gradually gained admirers.

Insecurity and constant failures in life had a serious impact on Schubert's health. At the age of 27, the composer wrote to his friend Schober: “...I feel like an unhappy, insignificant person in the world...” This mood was reflected in the music last period. If earlier Schubert created mainly light, joyful works, then a year before his death he wrote songs, combining them common name « winter journey" In 1828, through the efforts of friends, the only concert of his works during Schubert’s lifetime was organized. The concert was a huge success and brought the composer great joy and hope for the future. The end came unexpectedly. Schubert fell ill with typhus, and in the fall of 1828 Schubert died. The remaining property was valued for pennies, and many works were lost. The famous poet of the time, Grillparzer, who had composed Beethoven’s funeral eulogy a year earlier, wrote on the modest monument to Schubert in the Vienna cemetery: “Death buried here a rich treasure, but even more beautiful hopes.”

Major works.

Over 600 songs

• 9 symphonies (one of them lost)
• 13 overtures for symphony orchestra
• 22 piano sonatas

Several collections of pieces and individual dances for piano

• 8 impromptu
• 6" musical moments»

“Hungarian Divertissement” (for piano 4 hands)

Trios, quartets, quintets for various compositions

Schubert Franz

Biography of Schubert Franz - Early Years.
Franz was born on January 31, 1797. Place of birth: suburb of Vienna. His dad worked as a school teacher and was very diligent and cultured. He tried to give his children an appropriate education that corresponded to his worldview. Franz's two older brothers, like their father, became teachers. The future composer was to share the same fate with them. But there was one circumstance in accordance with which Schubert’s biography followed the path of music. A community of amateur musicians constantly gathered in the Schubert family on holidays, and Franz’s father taught his son to play the violin and, at the same time, another brother to play the clavier. Schubert was taught musical notation by the church regent, who also taught organ lessons.
Franz spent almost his entire life in Vienna, which throughout the 19th century was undoubtedly the musical capital of the world. Numerous masters came here to give concerts, Rossini's operas were constantly sold out, and the sounds of the bands of Lanner and Strauss the Elder were heard, which brought the Viennese waltz to all corners of Europe. But despite all the beauty of the works, the inconsistency of dreams and real life, which were clearly visible, created a state of melancholy and despondency in people.
Soon everyone saw that Franz was not just a boy who could play instruments, but a real talent! As a result, when the boy was already 11 years old, he was sent to study at the Konvikt church singing school. Schubert's biography was so rapid that he soon played first violin in the student orchestra that was there, and even conducted from time to time.
Already at the age of 13, Franz composed his first work. The craving for creating music attracted Schubert more and more and he became less and less interested in other areas of life. He was very burdened by the obligation to learn anything that did not relate to music. After 5 years, Franz left the convict without completing his education. After this, he had difficulty communicating with his father, who still believed that his son should lead a righteous life. Not wanting to end up quarreling with his dad, Franz went to get an education at a teacher’s seminary, and after that he was an assistant teacher at the school where his dad worked. But despite the temporary agreement with his father, Franz never became a teacher with a stable income.
Since 1814, Schubert's biography finds itself in its most fruitful period, which lasts 3 years. During this time, Franz wrote many works that many people of that time know. And at that moment the composer decides to leave his service at the school, and the father, as a sign of protest, cuts off all flow of money to his son and no longer speaks to him.
Biography of Schubert Franz - Mature years.
For some time, Franz alternately lives with friends, among whom there are also musicians, artists, poets and singers. A small society is created, with Schubert at the center. For more full picture It’s worth imagining the composer’s appearance: short, stocky, short-sighted, modest and attractive. It was then that Franz began to organize the so-called “Schubertiads,” when friends gathered in the evening to listen and discuss Schubert’s music. In the evenings, Franz sat at the piano all the time, performing his old music and improvising. Something new comes out to him all the time, around the clock. It happened that he got up in the middle of the night to quickly write down the compositions he had imagined.
But despite all the talent and help of his comrades, the father’s efforts took their toll: the composer lived in cold rooms and gave lessons that he hated in order to get at least a little money. Schubert had a lover, but he was never able to connect his life with her, since she preferred a wealthy pastry chef to him.
In 1822, from the pen of Schubert, one of his best works came out - the seventh “Unfinished Symphony”. A year later he writes an amazing example of vocal lyricism, “The Beautiful Miller's Wife.” In these two works, such a movement as romanticism was fully demonstrated with the help of music.
From that time on, it seems that Schumann’s biography should have gone smoothly; thanks to the efforts of his associates, Franz finally reconciled with his dad and returned home. But nevertheless, soon he again goes to live separately, which is difficult for him. Because of his kindness and gullibility, he is constantly deceived by publishers. Most of Schubert's compositions and works turned out to be famous even during his time, but he himself lived in complete poverty. Unlike many contemporary composers, Schubert rarely dared to play his works in public and only occasionally acted as an accompanist for his own songs. As for the symphonies, they were not performed at all while the composer was alive, and the 7th and 8th were completely lost. Schumann obtained the score of the 8th 10 years after Schubert’s death, and the “Unfinished” symphony was performed for the first time only in 1865.
Subsequently, the society that gathered around Franz disintegrated and the composer’s existence became increasingly difficult. Despite the opportunity to work, the composer did not make any effort to take a position that would give him a means of subsistence.
When Schubert had only a short time to live, he was very ill, but the flow of works did not stop. Schubert's biography as a composer is distinguished by the fact that over time his compositions became more and more thoughtful.
Shortly before his death, Franz's friends staged a concert in Vienna, which delighted everyone who was present. The composer's head was captured by new plans, which were not destined to come true, since Franz contracted typhus. His weak immune system could not resist the disease and he died on November 19, 1828.
Composer Franz Schubert was buried in a cemetery in Vienna. On the monument dedicated to him there is an inscription: “Death buried here a rich treasure, but even more wonderful hopes.”
As a rule, the art of Beethoven, who was older but lived at the same time, was filled with progressive ideas that were simply adored by the European society of that time. But the peak of Schubert’s creativity was in times of reaction, when for people own life stood higher than heroism aimed at benefiting society, which is so noticeably visible in Beethoven’s repertoire.

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© Biography of Schubert Franz. Biography of the Austrian composer Schubert. Biography Viennese composer Schubert

Schubert lived only thirty-one years. He died exhausted physically and mentally, exhausted by failures in life. None of the composer's nine symphonies were performed during his lifetime. Of the six hundred songs, about two hundred were published, and of the two dozen piano sonatas, only three.

***

Schubert was not alone in his dissatisfaction with the life around him. This dissatisfaction and protest the best people societies were reflected in a new direction in art - romanticism. Schubert was one of the first Romantic composers.
Franz Schubert was born in 1797 in the Vienna suburb of Lichtenthal. His father, a school teacher, came from a peasant family. Mother was the daughter of a mechanic. The family loved music very much and constantly organized musical evenings. His father played the cello, and his brothers played various instruments.

Having discovered little Franz's musical abilities, his father and older brother Ignatz began to teach him to play the violin and piano. Soon the boy was able to take part in home performances string quartets, playing the viola part. Franz had a wonderful voice. He sang in the church choir, performing difficult solo parts. The father was pleased with his son's success.

When Franz was eleven years old, he was assigned to a convict - a training school for church singers. The environment of the educational institution was conducive to the development of the boy’s musical abilities. In the school student orchestra, he played in the first violin group, and sometimes even served as conductor. The orchestra's repertoire was varied. Schubert became acquainted with symphonic works of various genres (symphonies, overtures), quartets, and vocal works. He confided to his friends that Mozart's Symphony in G Minor shocked him. Beethoven's music became a high example for him.

Already in those years, Schubert began to compose. His first works were fantasia for piano, a number of songs. The young composer writes a lot, with great passion, often to the detriment of other school activities. The boy's outstanding abilities attracted the attention of the famous court composer Salieri, with whom Schubert studied for a year.
Over time, the rapid development of Franz's musical talent began to cause concern in his father. Knowing well how difficult the path of musicians was, even world famous ones, the father wanted to protect his son from a similar fate. As punishment for his excessive passion for music, he even forbade him to holidays be at home. But no prohibitions could delay the development of the boy’s talent.

Schubert decided to break with the convict. Throw away boring and unnecessary textbooks, forget about worthless cramming that drains your heart and mind, and go free. Give yourself entirely to music, live only by it and for its sake. On October 28, 1813, he completed his first symphony in D major. On last sheet Schubert wrote in the score: “The end and the end.” The end of the symphony and the end of the convict.

For three years he served as an assistant teacher, teaching children literacy and other elementary subjects. But his attraction to music and his desire to compose becomes stronger. One can only be amazed at the resilience of his creative nature. It was during these years of school hard labor from 1814 to 1817, when it seemed that everything was against him, that he created an amazing number of works.

In 1815 alone, Schubert wrote 144 songs, 4 operas, 2 symphonies, 2 masses, 2 piano sonatas, string quartet. Among the creations of this period there are many that are illuminated by the unfading flame of genius. These are the Tragic and Fifth B-flat major symphonies, as well as the songs “Rosochka”, “Margarita at the Spinning Wheel”, “The Forest King”, “Margarita at the Spinning Wheel” - a monodrama, a confession of the soul.

“The Forest King” - a drama with several actors. They have their own characters, sharply different from each other, their own actions, completely dissimilar, their own aspirations, opposing and hostile, their own feelings, incompatible and polar.

The story behind the creation of this masterpiece is amazing. It arose in a fit of inspiration.” “One day,” recalls Shpaun, a friend of the composer, “we went to see Schubert, who was then living with his father. We found our friend in the greatest excitement. With a book in his hand, he walked back and forth around the room, reading “The Forest King” aloud. Suddenly he sat down at the table and began to write. When he stood up, the magnificent ballad was ready.”

The father's desire to make his son a teacher with a small but reliable income failed. The young composer firmly decided to devote himself to music and left teaching at school. He was not afraid of a quarrel with his father. The entire subsequent short life of Schubert represents creative feat. Experiencing great material need and deprivation, he worked tirelessly, creating one work after another.

Financial adversity, unfortunately, prevented him from marrying his beloved girl. Teresa Grob sang in the church choir. From the very first rehearsals, Schubert noticed her, although she was inconspicuous. Blonde-haired, with whitish eyebrows, as if faded in the sun, and a grainy face, like most dull blondes, she did not sparkle with beauty at all.Rather, on the contrary - at first glance she seemed ugly. Traces of smallpox clearly appeared on her round face. But as soon as the music sounded, the colorless face was transformed. It had just been extinguished and therefore lifeless. Now, illuminated inner light, it lived and radiated.

No matter how accustomed Schubert was to the callousness of fate, he did not imagine that fate would treat him so cruelly. “Happy is he who finds a true friend. Even happier is he who finds it in his wife.” , he wrote in his diary.

However, the dreams went to waste. Teresa's mother, who raised her without a father, intervened. Her father owned a small silk-spinning factory. Having died, he left the family a small fortune, and the widow turned all her worries to ensuring that the already meager capital did not decrease.
Naturally, she pinned hopes for a better future on her daughter’s marriage. And it is even more natural that Schubert did not suit her. In addition to the assistant's penny salary school teacher he had music, and, as you know, it is not capital. You can live by music, but you can’t live by it.
A submissive girl from the suburbs, brought up in subordination to her elders, did not even allow disobedience in her thoughts. The only thing she allowed herself was tears. Having cried quietly until the wedding, Teresa walked down the aisle with swollen eyes.
She became the wife of a pastry chef and lived a long, monotonously prosperous gray life, dying at the age of seventy-eight. By the time she was taken to the cemetery, Schubert’s ashes had long since decayed in the grave.

For several years (from 1817 to 1822) Schubert lived alternately with one or the other of his comrades. Some of them (Spaun and Stadler) were friends of the composer from the convict days. Later they were joined by the multi-talented artist Schober, the artist Schwind, the poet Mayrhofer, the singer Vogl and others. The soul of this circle was Schubert.
Short, stocky, very short-sighted, Schubert had enormous charm. His radiant eyes were especially beautiful, in which, as in a mirror, kindness, shyness and gentleness of character were reflected. And his delicate, changeable complexion and curly brown hair gave his appearance a special attractiveness.

During meetings, friends got acquainted with fiction, poetry of the past and present. They argued heatedly, discussing issues that arose, and criticized the existing social order. But sometimes such meetings were devoted exclusively to Schubert’s music; they even received the name “Schubertiad”.
On such evenings, the composer did not leave the piano, immediately composing ecosaises, waltzes, landlers and other dances. Many of them remained unrecorded. Schubert's songs, which he often performed himself, evoked no less admiration. Often these friendly gatherings turned into country walks.

Saturated with bold, lively thought, poetry, and beautiful music, these meetings represented a rare contrast with the empty and meaningless entertainment of secular youth.
The unsettled life and cheerful entertainment could not distract Schubert from his stormy, continuous, inspired creativity. He worked systematically, day after day. “I compose every morning, when I finish one piece, I start another” , - admitted the composer. Schubert composed music unusually quickly.

On some days he created up to a dozen songs! Musical thoughts were born continuously, the composer barely had time to write them down on paper. And if it wasn’t at hand, he wrote the menu on the back, on scraps and scraps. Needing money, he especially suffered from a lack of music paper. Caring friends supplied the composer with it. Music also visited him in his dreams.
When he woke up, he tried to write it down as soon as possible, so he did not part with his glasses even at night. And if the work did not immediately develop into a perfect and complete form, the composer continued to work on it until he was completely satisfied.

Thus, for some poetic texts, Schubert wrote up to seven versions of songs! During this period, Schubert wrote two of his wonderful works - “The Unfinished Symphony” and the cycle of songs “The Beautiful Miller’s Wife”. “The Unfinished Symphony” consists not of four parts, as is customary, but of two. And the point is not at all that Schubert did not have time to finish the remaining two parts. He started on the third - a minuet, as the classical symphony demanded, but abandoned his idea. The symphony, as it sounded, was completely completed. Everything else would turn out to be superfluous and unnecessary.
And if the classical form requires two more parts, you have to give up the form. Which is what he did. Schubert's element was song. In it he reached unprecedented heights. He elevated the genre, previously considered insignificant, to the level of artistic perfection. And having done this, he went further - he saturated chamber music with songfulness - quartets, quintets - and then symphonic music.

The combination of what seemed incompatible - miniature with large-scale, small with large, song with symphony - gave a new, qualitatively different from everything that came before - a lyric-romantic symphony. Her world is a world of simple and intimate human feelings, the most subtle and deep psychological experiences. This is a confession of the soul, expressed not with a pen or a word, but with sound.

The song cycle “The Beautiful Miller's Wife” is a clear confirmation of this. Schubert wrote it based on poems by the German poet Wilhelm Müller. “The Beautiful Miller's Wife” is an inspired creation, illuminated by gentle poetry, joy, and the romance of pure and high feelings.
The cycle consists of twenty separate songs. And all together they form a single dramatic play with a beginning, twists and turns, and a denouement, with one lyrical hero - a wandering mill apprentice.
However, the hero in “The Beautiful Miller's Wife” is not alone. Next to him there is another, no less important hero - a stream. He lives his stormy, intensely changing life.

The works of the last decade of Schubert's life are very diverse. He writes symphonies, piano sonatas, quartets, quintets, trios, masses, operas, a lot of songs and much other music. But during the composer’s lifetime, his works were rarely performed, and most of them remained in manuscripts.
Having neither funds nor influential patrons, Schubert had almost no opportunity to publish his works. Songs, the main thing in Schubert's work, were then considered more suitable for home music playing than for open concerts. Compared to the symphony and opera, songs were not considered an important musical genre.

Not a single Schubert opera was accepted for production, and not a single one of his symphonies was performed by an orchestra. Moreover, the notes of his best Eighth and Ninth Symphonies were found only many years after the composer's death. And the songs based on Goethe’s words, sent to him by Schubert, never received the poet’s attention.
Timidity, inability to manage his affairs, reluctance to ask, to humiliate himself in front of influential people were also an important reason for Schubert's constant financial difficulties. But, despite the constant lack of money, and often hunger, the composer did not want to go either into the service of Prince Esterhazy or as a court organist, where he was invited. At times, Schubert did not even have a piano and composed without an instrument. Financial difficulties did not prevent him from composing music.

And yet the Viennese came to know and love Schubert’s music, which itself made its way to their hearts. Like ancient folk songs, passed on from singer to singer, his works gradually gained admirers. These were not regulars of brilliant court salons, representatives of the upper class. Like a forest stream, Schubert's music found its way to the hearts of ordinary residents of Vienna and its suburbs.
A major role was played here by the outstanding singer of that time, Johann Michael Vogl, who performed Schubert's songs to the accompaniment of the composer himself. Insecurity and continuous failures in life had a serious impact on Schubert's health. His body was exhausted. Reconciliation with father recent years life, a calmer, more balanced home life could no longer change anything. Schubert could not stop composing music; this was the meaning of his life.

But creativity required a huge expenditure of effort and energy, which became less and less every day. At twenty-seven years old, the composer wrote to his friend Schober: “I feel like an unhappy, insignificant person in the world.”
This mood was reflected in the music of the last period. If earlier Schubert created mainly bright, joyful works, then a year before his death he wrote songs, uniting them under the common title “Winter Reise”.
This has never happened to him before. He wrote about suffering and suffered. He wrote about hopeless melancholy and was hopelessly melancholy. He wrote about the excruciating pain of his soul and experienced mental anguish. “Winter Way” is a journey through the torment of both the lyrical hero and the author.

The cycle, written in the blood of the heart, excites the blood and stirs the hearts. A thin thread woven by the artist connected the soul of one person with the souls of millions of people with an invisible but indissoluble connection. She opened their hearts to the flow of feelings rushing from his heart.

In 1828, through the efforts of friends, the only concert of his works during Schubert’s lifetime was organized. The concert was a huge success and brought great joy to the composer. His plans for the future became more rosy. Despite his failing health, he continues to compose. The end came unexpectedly. Schubert fell ill with typhus.
The weakened body could not withstand the serious illness, and on November 19, 1828, Schubert died. The remaining property was valued for pennies. Many works have disappeared.

The famous poet of the time, Grillparzer, who had composed a funeral eulogy for Beethoven a year earlier, wrote on the modest monument to Schubert in the Vienna cemetery:

Amazing deep and like I think it's a mysterious melody. Sadness, faith, renunciation.
F. Schubert composed his song Ave Maria in 1825. Initially, this work by F. Schubert had little to do with Ave Maria. The title of the song was "Ellen's Third Song" and the lyrics to which the music was written were taken from German translation Walter Scott's poem "The Maid of the Lake" by Adam Stork.

Franz Schubert went down in music history as the first of the great Romantic composers. In that “era of disappointment” that followed French Revolution, it seemed so natural to pay attention to an individual person with his passions, sorrows and joys - and this “song human soul“was brilliantly embodied in Schubert’s works, 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. Beautiful voice allowed him to become, at the age of eleven, a student 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 either for this man or for the one he led. educational institution: Schubert was burdened by the strictest discipline and mind-draining cramming, and far from better relationship with mentors - devoting all his energy to music, he did not pay much 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 choice arose life path: 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. To a young man I 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 instrumental works In those years, the influence of Viennese classicism was quite strong, and in the songs the individual features of the composer’s creative image 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 into musical world Vienna - he was not a virtuoso performer, moreover, he was distinguished by extreme modesty; 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 - 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."

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At the age of eleven, Franz was accepted into the Konvict - the court chapel, where, in addition to singing, he studied playing many instruments and music theory (under the guidance of Antonio Salieri). Leaving the chapel in the city, Schubert got a job as a teacher at a school. He studied mainly Gluck, Mozart and Beethoven. First independent works- the opera "Satan's Pleasure Castle" and the Mass in F major - he wrote in the city.

Why didn't Schubert complete the symphony?

Sometimes it is difficult for an ordinary person to understand the lifestyle that people lead creative people: writers, composers, artists. Their work is of a different kind than that of artisans or accountants.

Franz Schubert, an Austrian composer, lived only 31 years, but wrote more than 600 songs, many beautiful symphonies and sonatas, a large number of choirs and chamber music. He worked very hard.

But the publishers of his music paid him little. The lack of money haunted him all the time.

The exact date when Schubert composed the Eighth Symphony in B minor (Unfinished) is unknown. It was dedicated to the musical society of Austria, and Schubert presented two parts of it in 1824.

The manuscript lay there for more than 40 years until a Viennese conductor discovered it and performed it at a concert.

It has always remained a mystery to Schubert himself why he did not complete the Eighth Symphony. It seems that he was determined to bring it to its logical conclusion, the first scherzos were completely finished, and the rest were discovered in sketches. From this point of view, the “Unfinished” symphony is a completely finished work, since the circle of images and their development exhausts itself within two parts.

Essays

Octet. Schubert's autograph.

• Operas- Alfonso and Estrella (1822; staged 1854, Weimar), Fierabras (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; production 1978, Vienna), The Twin Brothers (1820, Vienna), The Conspirators, or Home War (1823; production 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 (1814-28), German Requiem (1818), Magnificat (1815), offertories and other wind 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 (1816-17), 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 (1811-26), Trout piano quintet (1819?), string quintet ( 1828), octet for strings and winds (1824), etc.;
• For piano 2 hands- 23 sonatas (including 6 unfinished; 1815-28), fantasy (Wanderer, 1822, etc.), 11 impromptu (1827-28), 6 musical moments (1823-28), rondo, variations and others plays, over 400 dances (waltzes, landlers, German dances, minuets, ecosaises, gallops, etc.; 1812-27);
• For piano 4 hands- sonatas, overtures, fantasies, Hungarian divertissement (1824), rondos, variations, polonaises, marches, etc.;
• Vocal ensembles for men's, women's voices and mixed trains, accompanied and unaccompanied;
• Songs for voice and piano, (more than 600) including the cycles The Beautiful Miller's Wife (1823) and Winter's Journey (1827), the collection Swan Song (1828).

See also

• Famous art critic Mikhail Kazinik about Schubert, film “Ad Libitum”

Bibliography

• Konen V. Schubert. - ed. 2nd, add. - M.: Muzgiz, 1959. - 304 p. (Most suitable for an initial introduction to the life and work of Schubert)
• Wulfius P. Franz Schubert: Essays on Life and Work. - M.: Muzyka, 1983. - 447 pp., ill., notes. (Seven essays on the life and work of Schubert. Contains the most detailed index of Schubert’s works in Russian)
• Khokhlov Yu. N. Schubert's songs: Features of style. - M.: Music, 1987. - 302 pp., notes. (Under investigation creative method Sh. based on the material of his songs, characterizes him song creativity. Contains a list of more than 130 titles of works about Schubert and his songwriting)
• Alfred Einstein: Schubert. Ein musikalisches Portrit, Pan-Verlag, Zrich 1952 (als E-Book frei verfügbar bei http://www.musikwissenschaft.tu-berlin.de/wi)
• 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";
• Rissé, "Franz Schubert und seine Lieder" (Hannover, 1871);
• Aug. Reissmann, “Franz Schubert, sein Leben und seine Werke” (B., 1873);
• H. Barbedette, "F. Schubert, sa vie, ses oeuvres, son temps" (P., 1866);
• Mme A. Audley, “Franz Schubert, sa vie et ses oeuvres” (P., 1871).

Links

• Schubert's Catalog of Works, Unfinished Eighth Symphony (English)
• NOTES (!)118.126MB, PDF format Complete collection of Schubert's vocal works in 7 parts in the Sheet Music Archive of Boris Tarakanov
• Franz Schubert: Sheet music of works at the International Music Score Library Project

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• Franz von Sickingen
• Franz von Hipper

See what "Franz Schubert" is in other dictionaries:

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