Schubert Elevated the Art Song to a Genre of Larger Significance Partly Through

Austrian composer (1797–1828)

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

Franz Peter Schubert (High 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 behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), vii complete symphonies, sacred music, operas, incidental music, and a large trunk of piano and chamber music. His major works include "Erlkönig" (D. 328), the Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the "Great" Symphony No. 9 in C major, D. 944, the String Quintet (D. 956), the three concluding piano sonatas (D. 958–960), the opera Fierrabras (D. 796), the incidental music to the play Rosamunde (D. 797), and the song cycles Dice schöne Müllerin (D. 795) and Winterreise (D. 911).

Built-in in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early historic period. His father gave him his first violin lessons and his elderberry brother gave him piano lessons, only Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a student 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 terminate of 1813, and returned abode to live with his male parent, where he began studying to go a schoolteacher. Despite this, he connected his studies in composition with Antonio Salieri and notwithstanding composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde every bit a performing member, which helped establish his name amongst the Viennese citizenry. He gave a concert of his own works to critical acclamation in March 1828, the just time he did then in his career. He died 8 months subsequently at the historic period of 31, the cause officially attributed to typhoid fever, but believed past some historians to be syphilis.

Appreciation of Schubert'southward music while he was alive was limited to a relatively small-scale circumvolve of admirers in Vienna, but interest in his piece of work increased profoundly in the decades post-obit his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among 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 built-in in Himmelpfortgrund (at present a part of Alsergrund), Vienna, Archduchy of Austria on 31 January 1797, and baptized in the Catholic Church the following twenty-four hour period.^[i] He was the twelfth kid of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812).^[2] Schubert's immediate ancestors came originally from the province of Zuckmantel in Austrian Silesia.^[three] His father, 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.^[4] He came to Vienna from Zukmantel in 1784 and was appointed schoolmaster two years later.^[3] His mother was the daughter of a Silesian chief locksmith and had been a housemaid for a Viennese family before wedlock. Of Franz Theodor and Elisabeth's 14 children (one of them illegitimate, built-in in 1783),^[5] ix died in infancy.

At the historic period of five, Schubert began to receive regular lessons from his father, and a yr after he was enrolled at his father's schoolhouse.^[vi] Although information technology is not known exactly when he received his offset musical pedagogy, he was given piano lessons by his blood brother Ignaz, but they lasted for a very brusque fourth dimension equally Schubert excelled him inside 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 any further instruction from me, and that for the hereafter he would make his own fashion. And in truth his progress in a short period was then bang-up that I was forced to acknowledge in him a primary who had completely distanced and outstripped me, and whom I despaired of overtaking.^[8]

His begetter gave him his first violin lessons when he was eight years old, preparation him to the point where he could play easy duets proficiently.^[9] Soon later on, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental. Holzer would often assure Schubert's begetter, with tears in his eyes, that he had never had such a pupil as Schubert,^[8] and the lessons may have largely consisted of conversations and expressions of adoration.^[ten] Holzer gave the young Schubert instruction in piano and organ as well every bit in figured bass.^[8] According to Holzer, notwithstanding, he did not requite him any existent instruction as Schubert would already know anything 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 pianoforte warehouse where Schubert could practise on better instruments.^[eleven] He besides played viola in the family string quartet, with his brothers Ferdinand and Ignaz on first and second violin and his father on the cello. Schubert wrote his primeval string quartets for this ensemble.^[12]

Young Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authorization, in 1804, when his vocal talent was recognized.^[12] In November 1808, he became a educatee 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 brother Michael Haydn, and the overtures and symphonies of Beethoven, a composer for whom he developed admiration.^{[13] [fourteen]} His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical didactics.^[xv] 1 important musical influence came from the songs past Johann Rudolf Zumsteeg, an important composer of lieder. The precocious young student "wanted to modernize" Zumsteeg'south songs, as reported by Joseph von Spaun, Schubert's friend.^[16] Schubert'south 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 paper.^[15]

In the meantime, Schubert's talent began to testify in his compositions; Salieri decided to start training him privately in music theory and composition. Co-ordinate to Ferdinand, the male child's first composition for piano was a Fantasy for four hands; his first song, Klagegesang der Hagar, would exist written a year later.^[17] Schubert was occasionally permitted to pb the Stadtkonvikt's orchestra,^[xviii] and it was the first orchestra he wrote for. He devoted much of the remainder of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a "Salve Regina" (D 27), a "Kyrie" (D 31), in addition to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother),^[19] the cantata Wer ist groß? for male voices and orchestra (D 110, for his male parent's birthday in 1813), and his first symphony (D 82).^[20]

Instructor at his begetter's school [edit]

At the cease of 1813, Schubert left the Stadtkonvikt and returned home for teacher preparation at the St Anna Normal-hauptschule. In 1814, he entered his father'south school every bit instructor of the youngest pupils. For over two years young Schubert endured severe drudgery;^[21] at that place were, nonetheless, compensatory interests fifty-fifty so. He continued to have individual lessons in limerick from Salieri, who gave Schubert more than bodily technical training than any of his other teachers, before they parted ways in 1817.^[xviii]

In 1814, Schubert met a young 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 also a soloist in the premiere of his Mass No. 1 (D. 105) in September^[22] 1814.^[21] Schubert wanted to marry her, just was hindered by the harsh marriage-consent law of 1815^[23] requiring an aspiring benedict to testify he had the means to back up a family.^[24] In Nov 1816, later on failing to gain a musical post in Laibach (at present Ljubljana, Slovenia), Schubert sent Grob'south brother Heinrich a drove of songs retained past the family into the twentieth century.^[25]

One of Schubert'southward most prolific years was 1815. He composed over xx,000 bars of music, more than half of which were for orchestra, including ix church works (despite his being an agnostic),^{[26] [27]} a symphony, and well-nigh 140 Lieder.^[28] In that year, he was likewise 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 dwelling with his father. He continued to teach at the school and requite private musical didactics, earning enough money for his basic 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 schoolhouse, and was concerned for Schubert'due south development intellectually and musically. In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in the Landstraße suburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him. This was probably Schubert's first visit away from dwelling or school.^[31] Schubert's unhappiness during his years as a schoolteacher perhaps showed early on signs of depression, and it is virtually 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 adept Rita Steblin has said that he was "chasing women".^[36] The theory of Schubert'south sexuality or "Schubert as Other" has continued to influence current scholarship.^[37]

Support from friends [edit]

Pregnant changes happened in 1816. Schober, a student and of good family and some means, invited Schubert to gild with him at his mother's firm. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the mail service of kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the stop of the year, he became a invitee in Schober's lodgings.^[38] For a time, he attempted to increase the household resources by giving music lessons, just they were soon abandoned, and he devoted himself to composition.^[39] "I compose every morn, and when one slice is done, I brainstorm another."^[xl] During this year, he focused on orchestral and choral works, although he likewise continued to write Lieder.^[41] Much of this piece of work was unpublished, but manuscripts and copies circulated amidst friends and admirers.^[42]

In early on 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone 20 years Schubert's senior. Vogl, for whom Schubert went on to write a nifty many songs, became 1 of Schubert's master proponents in Viennese musical circles. Schubert as well met Joseph Hüttenbrenner (blood brother of Anselm), who likewise 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 death, preserving his work.^[44]

In late 1817, Schubert's father gained a new position at a school in Rossau, non far from Lichtental. Schubert rejoined his father and reluctantly took up instruction duties at that place. 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, especially the songs, could exist performed in the evening concerts. He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and at that place were professional musicians already among the order's membership.^{[45] [46]} However, he began to proceeds more than detect in the press, and the starting time public performance of a secular work, an overture performed in Feb 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 (now Želiezovce, Slovakia). The pay was relatively skillful, and his duties teaching piano and singing to the two daughters were relatively lite, assuasive him to etch happily. Schubert may accept written his Marche Militaire in D major (D. 733 no. ane) 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 1820s, Schubert was role of a close-knit circle of artists and students who had social gatherings together that became known as Schubertiads. Many of them took identify in Ignaz von Sonnleithner's large apartment in the Gundelhof (Brandstätte v, Vienna). The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian constabulary, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard confronting revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a yr, then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in office 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 role in a falling-out with Mayrhofer, with whom he was living at the time.^[50]

Schubert, who was simply a little more than five feet alpine,^[51] was nicknamed "Schwammerl" past his friends, which Gibbs describes as translating to "Tubby" or "Petty Mushroom".^[52] "Schwamm" is German (in the Austrian and Bavarian dialects) for mushroom; the ending "-erl" makes information technology a diminutive. Gibbs also claims he may have occasionally drunk to backlog, noting that references to Schubert'due south heavy drinking "... come up 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 style.^[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 minor (D. 703), and the Wanderer Fantasy in C major for pianoforte (D. 760). In 1820, 2 of Schubert's operas were staged: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on fourteen June, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on 21 Baronial.^[54] Hitherto, his larger compositions (autonomously from his masses) had been restricted to the apprentice orchestra at the Gundelhof (Brandstätte 5, Vienna), a guild 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, nonetheless, remained afar, with Anton Diabelli hesitantly like-minded to impress some of his works on committee.^[55] The first 7 opus numbers (all songs) appeared on these terms; so the commission ceased, and he began to receive parsimonious royalties.^[56] The state of affairs improved somewhat in March 1821 when Vogl performed the song "Erlkönig" (D. 328) at a concert that was extremely well received.^[57] That month, Schubert composed a Variation on a Waltz by Diabelli (D 718), being one of the 50 composers who contributed to the Vaterländischer Künstlerverein publication.

The production of the two operas turned Schubert's attention more than firmly than e'er in the management of the stage, where, for a multifariousness of reasons, he was almost completely unsuccessful. All in all, he embarked on xx phase 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 interest in new German opera due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber'due south Euryanthe.^[59] Die Verschworenen (The Conspirators, D 787) was prohibited by the conscience (obviously because of its title),^[60] and Rosamunde, Fürstin von Zypern (D 797) was withdrawn after ii nights, owing to the poor quality of the play for which Schubert had written incidental music.^[56]

Despite his operatic failures, Schubert'south reputation was growing steadily on other fronts. In 1821, the Gesellschaft der Musikfreunde finally accepted him equally a performing fellow member, and the number of performances of his music grew remarkably.^[61] These performances helped Schubert'due south reputation grow rapidly among the members of the Gesellschaft^[61] and established his name.^[58] Some of the members of the Gesellschaft, virtually notably Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a sizeable influence on the affairs of the society, and as a result of that and of Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821. In Apr, one of his male-phonation quartets was performed, and in Nov, his Overture in E minor (D. 648) received its first public performance;^[61] at a unlike concert on the aforementioned mean solar day every bit the premiere of the Overture, his song Der Wanderer (D. 489) was performed.^[58]

In 1822, Schubert fabricated the acquaintance of both Weber and Beethoven, simply little came of it in either instance;^[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 human being'south works and exclaimed: "Truly, the spark of divine genius resides in this Schubert!" Beethoven also reportedly predicted that Schubert "would brand a great sensation in the world," and regretted that he had not been more than familiar with him earlier; he wished to come across 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 afterwards with his official duties, Schubert wrote much music during these years.^[56] He completed the Mass in A-apartment major, (D. 678) in 1822, and afterward that year embarked suddenly on a piece of work which more decisively than near any other in those years showed his maturing personal vision, the Symphony in B minor, known every bit the Unfinished Symphony (D. 759).^[63] The reason he left it unfinished – after writing two movements and sketches some way into a 3rd – continues to be discussed and written about, and it is also remarkable that he did not mention it to any of his friends, even though, as Brian Newbould notes, he must have felt thrilled by 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 series, together with the later cycle Winterreise (D. 911, too setting texts of Müller in 1827) is widely considered 1 of the pinnacles of Lieder.^[66] He also composed the vocal Du bist dice Ruh' (You are residue and peace,^[67] D. 776) during this twelvemonth. Also in that yr, symptoms of syphilis start appeared.^[68]

In 1824, he wrote the Variations in Eastward minor for flute and piano; Trockne Blumen, a song from the bicycle Die schöne Müllerin; and several string quartets. He also wrote the Sonata in A small for arpeggione and piano (D. 821) at the fourth dimension when in that location was a modest craze over that musical instrument.^[69] In the bound of that year, he wrote the Octet in F major (D. 803), a sketch for a "Grand Symphony," and in the summer went dorsum 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 pupil, the Countess Caroline Esterházy,^[lxx] but the only work he defended to her was his Fantasia in F small-scale for piano duet (D. 940).^[71] His friend Eduard von Bauernfeld penned the following poesy, which appears to reference Schubert's unrequited sentiments:

In dearest with a Countess of youthful grace,
—A pupil of Galt'due south; in drastic example
Immature Schubert surrenders himself to some other,
And fain would avoid such affectionate pother^[72]

The setbacks of previous years were compensated by the prosperity and happiness of 1825. Publication had been moving more rapidly, the stress of poverty was for a fourth dimension lightened, and in the summer he had a pleasant holiday in Upper Republic of austria where he was welcomed with enthusiasm.^[56] Information technology was during this bout that he produced the seven-song bike Fräulein am See, based on Walter Scott'south The Lady of the Lake, and including "Ellens Gesang III" ("Hymn to the Virgin") (D. 839, Op. 52, No. 6); the lyrics of Adam Storck's German translation of the Scott poem are now frequently 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 just opens with the greeting "Ave Maria", which also recurs only in the refrain.^[73] In 1825, Schubert besides wrote the Piano Sonata in A minor (D 845, first published as op. 42), and began the Symphony in C major (Great C major, D. 944), which was completed the post-obit yr.^[74]

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz, Republic of austria, in 1827. In 1826, he defended a symphony (D. 944, that later came to be known equally the Great C major) to the Gesellschaft der Musikfreunde and received an honorarium in return.^[75] The String Quartet No. 14 in D minor (D. 810), with the variations on Death and the Maiden, was written during the wintertime of 1825–1826, and first played on 25 January 1826. Subsequently in the yr came the String Quartet No. 15 in Grand major, (D 887, first published as op. 161), the Rondo in B pocket-sized for violin and piano (D. 895), Rondeau brillant, and the Piano Sonata in K major, (D 894, outset published as Fantasie in G, op. 78). He also produced in 1826 3 Shakespearian songs, of which " Ständchen " (D. 889) and " An Sylvia " (D. 891) were allegedly written on the same day, the sometime 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 2 years reveal a composer entering a new professional and compositional phase.^[77] Although parts of Schubert'south personality were influenced past his friends, he nurtured an intensely personal dimension in solitude; it was out of this dimension that he wrote his greatest music.^[78] The decease of Beethoven affected Schubert deeply,^[79] and may have motivated Schubert to achieve new artistic peaks. In 1827, Schubert wrote the song cycle Winterreise (D. 911), the Fantasy in C major for violin and piano (D. 934, beginning published as op. post. 159), the Impromptus for pianoforte, and the two pianoforte trios (the first in B-apartment major (D. 898), and the second in East-flat major, (D. 929);^[lxxx] in 1828 the cantata Mirjams Siegesgesang (Victory Song of Miriam, D 942) on a text by Franz Grillparzer, the Mass in Eastward-flat major (D. 950), the Tantum Ergo (D. 962) in the same central, the Cord Quintet in C major (D. 956), the 2nd "Benedictus" to the Mass in C major (D. 961), the iii final piano sonatas (D. 958, D. 959, and D. 960), and the collection 13 Lieder nach Gedichten von Rellstab und Heine for voice 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 not a true song cycle similar Die schöne Müllerin or Winterreise.^[82]) The Nifty C major symphony is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (existence referred to while he was on holiday at Gastein in 1825—that work, once considered lost, is at present more often than not seen equally an early stage of his C major symphony) and was revised for prospective performance in 1828. The orchestra of the Gesellschaft reportedly read through the symphony at a rehearsal, merely never scheduled a public performance of it. The reasons continue to exist unknown, although the difficulty of the symphony is the possible explanation.^[83] In the last weeks of his life, he began to sketch iii movements for a new Symphony in D major (D 936A);^[84] In this piece of work, he anticipates Mahler'due south utilize of folksong-similar harmonics and bare soundscapes.^[85] Schubert expressed the wish, were he to survive his concluding illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint chief Simon Sechter.^[86]

On 26 March 1828, the anniversary of Beethoven'due south death, Schubert gave, for the only time in his career, a public concert of his ain works.^[87] The concert was a success popularly and financially,^[87] even though it would be overshadowed by Niccolò Paganini's first appearances in Vienna shortly after.^[88]

Concluding illness and death [edit]

Memorial at the Kalvarienberg Church, Hernals

The site of Schubert's first tomb at Währing

In the midst of this creative activity, his health deteriorated. Past the late 1820s, Schubert's health was declining and he confided to some friends that he feared that he was about death. In the tardily summer of 1828, he saw the md Ernst Rinna, who may have confirmed Schubert's suspicions that he was sick beyond cure and likely to die soon.^[89] Some of his symptoms matched those of mercury poisoning (mercury was and so a common treatment for syphilis, once again suggesting that Schubert suffered from it).^[90] At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and airsickness. He was generally unable to retain solid food and his status worsened. V days earlier Schubert's death, his friend the violinist Karl Holz and his cord quartet visited to play for him. The last musical work he had wished to hear was Beethoven's Cord Quartet No. xiv in C-sharp minor, Op. 131; Holz commented: "The King of Harmony has sent the Rex of Song a friendly bidding to the crossing".^[91]

Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand. The crusade of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis.^[89] It was near the grave of Beethoven, whom he had admired all his life, that Schubert was buried at his own request, in the village cemetery of Währing on the edge of the Vienna Woods.^[92] A year before he had served as a torchbearer at Beethoven'south funeral.

In 1872, a memorial to Franz Schubert was erected in Vienna'southward Stadtpark.^[92] In 1888, both Schubert's and Beethoven'south graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss II and Johannes Brahms.^[93] Anton Bruckner was present 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, chosen the Schubert Park, and his former grave site was marked past a bust. His epitaph, written past his friend, the poet Franz Grillparzer, reads: Dice Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen ("The art of music has here interred a precious treasure, just yet far fairer hopes").

Music [edit]

Schubert was remarkably prolific, writing over i,500 works in his short career. His compositional mode progressed rapidly throughout his short life.^[95] The largest number of his compositions are songs for solo phonation and piano (roughly 630).^[96] Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. He completed viii orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write 3 concertante works for violin and orchestra. Schubert wrote a big body of music for solo piano, including eleven incontrovertibly completed sonatas and at to the lowest degree eleven more in varying states of completion,^[a] numerous miscellaneous works and many short dances, in addition to producing a large set of works for piano four easily. He also wrote over fifty sleeping accommodation works, including some fragmentary works. Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions.^[97] He completed only eleven of his twenty phase works.^[98]

Style [edit]

In July 1947 the Austrian composer Ernst Krenek discussed Schubert's style, abashedly albeit that he had at first "shared the broad-spread stance that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as J. S. Bach or Beethoven". Krenek wrote that he reached a completely different assessment after a close study of Schubert's pieces at the urging of his friend and fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did non know, and did not care, about the craft of composition." Each sonata then in print, co-ordinate to Krenek, exhibited "a corking 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 keen appetite for experimentation."^[99]

Instrumental music, stage works and church music [edit]

That "ambition for experimentation" manifests itself repeatedly in Schubert'due south output in a wide multifariousness of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works. Perhaps about familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the 2d motility of the String Quintet (D. 956), which is in E major, features a cardinal section in the afar cardinal of F pocket-sized.^[100] It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano (D. 821), or the unconventional scoring of the Trout Quintet (D. 667) for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and string quartet.

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

Lieder and art songs [edit]

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

Autograph of Die Nebensonnen (The Sunday dogs) from Winterreise

Amongst Schubert's treatments of the poetry 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 every bit 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 nearly frequent, and others, including Heinrich Heine, Friedrich Rückert, and Joseph Freiherr von Eichendorff. Of particular notation are his ii vocal cycles on the poems of Wilhelm Müller, Dice schöne Müllerin and Winterreise, which helped to institute the genre and its potential for musical, poetic, and nearly operatic dramatic narrative. His concluding collection of songs, published in 1828 after his expiry, Schwanengesang, is as well an innovative contribution to German Lieder literature, as it features poems by different poets, namely Ludwig Rellstab, Heine, and Johann Gabriel Seidl. The Wiener Theaterzeitung, writing about Winterreise at the time, commented that it was a piece of work that "none can sing or hear without being deeply moved".^[106]

Antonín Dvořák wrote in 1894 that Schubert, whom he considered 1 of the truly great composers, was clearly influential on shorter works, particularly Lieder and shorter piano works: "The trend of the romantic school has been toward short forms, and although Weber helped to prove the fashion, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic schoolhouse has preferably cultivated.... Schubert created a new epoch with the Lied.... All other songwriters accept followed in his footsteps."^[107]

Publication – catalogue [edit]

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

When Schubert died he had effectually 100 opus numbers published, mainly songs, sleeping accommodation music and smaller piano compositions.^[108] Publication of smaller pieces connected (including opus numbers up to 173 in the 1860s, 50 instalments with songs published by Diabelli and dozens of first publications Peters),^[109] but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers.^[110] Even some of Schubert'south friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of vocal", although there was recognition of some of his larger-scale efforts.^[111] In 1838 Robert Schumann, on a visit to Vienna, institute the dusty manuscript of the C major Symphony (D. 944) and took it back to Leipzig where it was performed past Felix Mendelssohn and historic in the Neue Zeitschrift. An important footstep towards the recovery of the neglected works was the journeying to Vienna which the music historian George Grove and the composer Arthur Sullivan fabricated 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'southward work.^[112]

Complete editions [edit]

From 1884 to 1897, Breitkopf & Härtel published Franz Schubert's Works, a critical edition including a contribution made – among others – past Johannes Brahms, editor of the first series containing eight symphonies.^[113] The publication of the Neue Schubert-Ausgabe by Bärenreiter started in the 2nd one-half of the 20th century.^[114]

Deutsch catalogue [edit]

Since relatively few of Schubert'southward works were published in his lifetime, merely a small number of them have opus numbers assigned, and even in those cases, the sequence of the numbers does not requite a expert indication of the social club of limerick. Austrian musicologist Otto Erich Deutsch (1883–1967) is known for compiling the get-go comprehensive catalogue of Schubert's works. This was start published in English in 1951 (Schubert Thematic Catalogue) and subsequently revised for a new edition in High german in 1978 (Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge – Franz Schubert: Thematic Catalogue of his Works in Chronological Order).^[115]

Numbering problems [edit]

Confusion arose quite early on over the numbering of Schubert's tardily symphonies. Schubert's concluding completed symphony, the Great C major D 944, was assigned the numbers 7, 8, ix and x, depending on publication. Similarly the Unfinished D 759 has been indicated with the numbers 7, viii, and 9.^[116]

The order usually followed for these belatedly symphonies by English-linguistic communication sources is:

• No. seven: Due east major, D 729
• No. 8: B minor, D 759 Unfinished
• No. 9: C major, D 944 Great C major
• No. 10: D major, D 936A

An even broader defoliation 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 (now 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 architect Conrad Graf.^[117]

Recognition [edit]

A feeling of regret for the loss of potential masterpieces acquired by Schubert's early on expiry at age 31 was expressed in the epitaph on his large tombstone written by Grillparzer: "Hither music has buried a treasure, only even 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 most sorry that he died so young. ... Just before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to learn a petty more about counterpoint, and he was perfectly right. We'll never know in what direction he was going or would have gone."^[119] Notwithstanding, others have expressed disagreement with this early on view. For case, Robert Schumann said: "It is pointless to guess at what more [Schubert] might take achieved. He did enough; and let them be honoured who have striven and achieved as he did",^[120] and the pianist András Schiff said that: "Schubert lived a very curt life, just it was a very concentrated life. In 31 years, he lived more other people would alive in 100 years, and it is needless to speculate what could he have written had he lived another l years. Information technology's irrelevant, merely similar 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 signal for schoolteachers and other members of the Viennese eye 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 souvenir to the city from Vienna'due south leading male chorus, the Wiener Männergesang-Verein, took place; the chorus performed at the event.^[122] The Denkmal was designed by Austrian sculptor Carl Kundmann and is located in Vienna's Stadtpark.

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

The New York Times ' main music critic Anthony Tommasini, who ranked Schubert as the 4th greatest composer, wrote of him:

You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone – including the haunting cycle Winterreise, which volition never release its tenacious hold on singers and audiences – Schubert is primal to our concert life... Schubert'south start few symphonies may be works in progress. Just the Unfinished and specially the Swell C major Symphony are amazing. The latter one paves the way for Bruckner and prefigures Mahler.^[124]

Tributes past other musicians [edit]

From the 1830s through the 1870s, Franz Liszt transcribed and arranged several of Schubert's works, especially the songs. Liszt, who was a significant force in spreading Schubert's work afterwards his death, said Schubert was "the almost poetic musician who e'er lived."^[125] Schubert'due south symphonies were of particular interest to Antonín Dvořák. Hector Berlioz and Anton Bruckner best-selling the influence of the Groovy C Major Symphony.^[126] Information technology was Robert Schumann who, having seen the manuscript of the Groovy C Major Symphony in Vienna in 1838, drew information technology to the attention of Mendelssohn, who led the start performance of the symphony, in a heavily abridged version, in Leipzig in 1839.^[127] In the 20th century, composers such every bit 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'south Lieder and performed many piano solo and duet works.^[126]

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

Commemorations [edit]

In 1897, the 100th anniversary of Schubert'south birth was marked in the musical world by festivals and performances defended to his music. In Vienna, in that location were ten days of concerts, and the Emperor Franz Joseph gave a speech communication recognising Schubert as the creator of the art song, and 1 of Austria's favourite sons.^{[128] [129]} Karlsruhe saw the kickoff production of his opera Fierrabras.^[130]

In 1928, Schubert Week was held in Europe and the The states to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top 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 flick and television [edit]

Schubert has featured as a grapheme in several films including Schubert'due south Dream of Spring (1931), Gently My Songs Entreat (1933), Serenade (1940), The Dandy Enkindling (1941), Information technology's Only Love (1947), Franz Schubert (1953), Das Dreimäderlhaus (1958), and Mit meinen heißen Tränen (1986). Schubert's music has too 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 picture Carrington (1995), which features the second movement of the String Quintet in C major (D. 956),^[133] as well equally 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 M is featured prominently in the Woody Allen motion picture 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. 14 in D minor, "Death and the Maiden", is often used to accompany documentaries or films, notably the 1994 film of that proper name past Roman Polanski.

Schubert's life was covered in the documentary Franz Peter Schubert: The Greatest Honey 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]} "Neat Performances," "Now Hear This: The Schubert Generation Series," hosted past 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 mayhap associated with some of the above-listed sonatas.

References [edit]

Notes [edit]

1. ^ Duncan (1905), p. 2
2. ^ McKay (1996), p. two
3. ^ ^{a b} Kreissle (1869), p. 1
4. ^ Wilberforce (1866), p. 2: "the school 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. 11
8. ^ ^{a b c} Kreissle (1869), p. five
9. ^ ^{a b} Duncan (1905), p. iii
10. ^ Brown (1983), pp. 2–3
11. ^ Wilberforce (1866), p. three
12. ^ ^{a b} Gibbs (2000), p. 26
13. ^ McKay (1996), p. 22
14. ^ Duncan (1905), pp. 5–7
15. ^ ^{a b} Duncan (1905), p. 7
16. ^ Gibbs (2000), p. 29
17. ^ Kreissle (1869), p. vi
18. ^ ^{a b} Duncan (1905), p. 9
19. ^ Frost (1915), p. 9
20. ^ Duncan (1905), p. ten
21. ^ ^{a b} Duncan (1905), pp. xiii–fourteen
22. ^ Benedikt, Erich. "Notizen zu Schuberts Messen. Mit neuem Uraufführungsdatum der Messe in F-Dur", Österreichische Musikzeitschrift 52, 1–2/1997, 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 nosotros hear every Christmas is found in church building music by Schubert and the Chevalier Neukomm, both known in individual letters to be agnostic."
28. ^ Newbould (1999), p. 40
29. ^ Gramit (1997), p. 108
30. ^ McKay (1996), p. 55
31. ^ McKay (1996), p. 59
32. ^ McKay (1996), p. 138
33. ^ Solomon, Chiliad. (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's Tale: Schubert'south Sexuality Reconsidered." 19th-Century Music. Berkeley, California: Univ. of California Printing, 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-three-901254-16-1; Steblin, Rita (1997): "Schubert's 'Nina' and the True Peacocks". The Musical Times 138, pp. thirteen–19; Steblin, Rita (1998): Die Unsinnsgesellschaft: Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis. Böhlau. ISBN 978-3-205-98820-5; Steblin, Rita (2001): "Schubert's Problematic Human relationship with Johann Mayrhofer: New Documentary Show". Barbara Haggh (ed.): Essays on Music and Culture in Award of Herbert Kellman. Paris-Tours: Minerve, pp. 465–495; Steblin, Rita (2008), "Schubert's Pepi: His Love 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. 7
53. ^ Gibbs (2000), p. 97
54. ^ ^{a b} Austin (1873), pp. 46–47
55. ^ Wilberforce (1866), pp. ninety–92
56. ^ ^{a b c d e f one thousand} 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 February 2015). "Ian Bostridge'due south 'Schubert'southward Wintertime Journey examines the composer's melancholy work". The Washington Mail service . Retrieved viii 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 way considered the songs as a cycle is confirmed by his letter to Probst of 2 October mentioning that he had recently written 'several songs past 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, death and dissonance: the foreign, obsessive world of Anton Bruckner", The Guardian, i April 2014. Retrieved 11 August 2020
95. ^ Gammond (1982), p. 143, discussing in detail his chamber 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. ^ Dark-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 curt citation ]}
109. ^ Deutsch 1978, pp. 668–669^{[ incomplete short citation ]}
110. ^ ^{a b} Kreissle (1869), pp. 297–332, in which Grove recounts his visit to Vienna.
111. ^ Gibbs (2000), pp. 61–62
112. ^ See e.g. Kreissle (1869), p. 324, where Grove describes electric current (1860s) interest in Schubert's piece of work, and Gibbs (1997), pp. 250–251, describing the size and scope of the 1897 Schubert centennial commemorations.
113. ^ Deutsch (1995), p. xiii
114. ^ "Neue Schubert-Ausgabe". Bärenreiter Verlag. Archived from the original on xx July 2018. Retrieved 20 July 2018.
115. ^ See Deutsch (1995)
116. ^ See #Numbering of symphonies
117. ^ "Jeffrey Dane – The Composers' Pianos". www.collectionscanada.gc.ca . Retrieved 5 February 2021.
118. ^ Duncan (1905), p. 80
119. ^ Montparker, Carol (May–June 1981). "Radu Lupu: Acclamation in Spite of Himself". Clavier. p. 13.
120. ^ Gibbs (1997), p. 18
121. ^ ^{a b} Schubert – The Wanderer .
122. ^ Botstein (1997), p. 35
123. ^ "The Classical Music Bedchamber Music 100". Australian Broadcasting Co. Retrieved 24 Baronial 2010.
124. ^ Tommasini, Anthony (21 Jan 2011). "The Greatest Composers – A Top x List". The New York Times . Retrieved 20 August 2017.
125. ^ Liszt (1989), p. 144
126. ^ ^{a b} Newbould (1999), pp. 403–404
127. ^ Chocolate-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 December 1928. Archived from the original on 5 May 2009. Retrieved 8 April 2009.
132. ^ Gabler, Jay. "From 'Bald Mountain' to 'Ave Maria': The hell-to-heaven 'Fantasia' climax". Retrieved 5 August 2018.
133. ^ Schroeder (2009), pp. 272–274.
134. ^ "Franz Peter Schubert: The Greatest Love and the Greatest Sorrow". BBC Iv. Retrieved 16 June 2018.
135. ^ Schiff András filmje Schubertről [András Schiff tells about Schubert] on YouTube
136. ^ Now Hear This "The Schubert Generation", PBS, September 25, 2020. Retrieved Jan sixteen, 2022.

Sources [edit]

Works by Otto Erich Deutsch

Otto Erich Deutsch, working in the first half of the 20th century, was probably the preeminent scholar of Schubert'southward life and music. In addition to the catalogue of Schubert'due south works, he nerveless and organized a great deal of cloth nearly 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 past Blom, Eric. Da Capo Printing. ISBN978-0-306-77420-1.
• Deutsch, Otto Erich (1998) [1958]. Schubert: Memoirs past His Friends. Oxford University Press. ISBN978-0-19-816436-4.
• Schubert, Franz; Deutsch, Otto Erich (1928). Franz Schubert'southward Letters and Other Writings. Translated by Savile, Venetia. A. A. Knopf. ISBN978-0-8369-5242-1. OCLC 891887.

19th- and early 20th-century scholarship

• Austin, George Lowell (1873). The Life of Franz Schubert. Shepard and Gill. ISBN978-0-404-12856-two. OCLC 4450950.
• Duncan, Edmondstoune (1905). Schubert. J.M. Dent. ISBN978-1-4437-8279-one. 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'due south Dictionary of Music and Musicians. Vol. iv. 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. ane. Translated past Coleridge, Arthur Knuckles. Longmans, Green, and Visitor. The beginning full-length biography of Schubert (volume 1).
• Kreissle von Hellborn, Heinrich (1869) [1865]. The Life of Franz Schubert. Vol. 2. Translated by Coleridge, Arthur Duke. Longmans, Green, and Co. The first full-length biography of Schubert (volume 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. 3. New York: The Beethoven Association. OCLC 422583.
• Wilberforce, Edward (1866). Franz Schubert: A Musical Biography. London: W. H. Allen & Co. [ISBN unspecified]
• "Volume 38". The Musical Times. Novello. 38. Feb 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. ISBN978-0-521-48424-4.
• Brown, A. Peter (2002). The Symphonic Repertoire. Indiana Academy Press. ISBN978-0-253-33487-ix.
• Brown, Maurice John Edwin (1983). The New Grove Schubert. New York: W. W. Norton & Visitor. ISBN978-0-393-01683-3. OCLC 9398015.
• Denny, Thomas A. (1997). "Schubert'due south operas". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge University 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-eight.
• Emmons, Shirlee; Lewis, Wilbur Watkin (2006). Researching the Vocal: A Lexicon. Oxford University Press United states. ISBN978-0-19-515202-9.
• Ewen, David (2007). Composers of Yesterday. Vancouver: Read Books. ISBN978-one-4067-5987-seven.
• 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 University Press. ISBN978-0-521-48424-iv.
• Gibbs, Christopher H. (2000). The Life of Schubert . Cambridge University Printing. 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 Printing. ISBN978-0-521-48424-4.
• Griffel, L. 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 University Press. ISBN978-0-8371-9695-4.
• Lev, Ray (1947). Franz Schubert – Piano Sonata no. 15 in C major (Unfinished); Allegretto in C pocket-size – Ray Lev, Pianist (78 RPM). United States: Concert Hall Society. Release B3.
• Liszt, Franz (1989). An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835–1841. Translated by Suttoni, Charles. University of Chicago Press. ISBN978-0-226-48510-2.
• McKay, Elizabeth Norman (1996). Franz Schubert: A Biography. Oxford Academy Press. ISBN978-0-nineteen-816681-viii.
• Newbould, Brian (1999). Schubert: The Music and the Human being . Academy of California Printing. ISBN978-0-520-21957-i.
• Plantinga, Leon (1984). Romantic Music: A History of Musical Style in Nineteenth-Century Europe. Norton. ISBN978-0-393-95196-seven.
• Reed, John (xv Baronial 1997). The Schubert Song Companion. Manchester University Press. ISBN978-1-901341-00-3.
• Schonberg, Harold C. (1997). The Lives of the Neat Composers . Due west. W. Norton. ISBN978-0-393-03857-6.
• Schroeder, David (2009). Our Schubert: His Enduring Legacy. Scarecrow Press. ISBN978-0-8108-6927-ane.
• Smith, Jane Stuart; Carlson, Betty; Schaeffer, Francis A. (1995). The Gift of Music: Swell Composers and Their Influence. Good News Publishers. ISBN978-0-89107-869-ii.
• Steblin, Rita (1998). "Schubert's Human relationship with Women: An Historical Account". In Newbould, Brian (ed.). Schubert Studies. Ashgate. pp. 159–182. ISBN978-ane-85928-253-3.
• Steblin, Rita (1998). "In Defense of Scholarship and Archival Research: Why Schubert'due south Brothers Were Allowed to Marry". Current Musicology. 62: seven–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 language). Bärenreiter. ISBN9783761823330.

Numbering of symphonies

The following sources illustrate the confusion around the numbering of Schubert's late symphonies. The B minor Unfinished Symphony is variously published equally No. 7 and No. viii, in both German language and English language.

• Schubert, Franz (1996). Symphony, No 7, D 759, B pocket-sized, Unfinished (in German). Bärenreiter. OCLC 39794412. German-language publication of the Unfinished Symphony score equally No. 7.
• Schubert, Franz (2008). Symphony No. seven in B small-scale D 759 Unfinished Symphony. Eulenburg Audio+Score Series. Eulenburg. ISBN978-three-7957-6529-three. English-language publication of the Unfinished Symphony score as No. 7.
• Schubert, Franz; Reichenberger, Teresa (1986). Symphony No. 8 in B minor, D. 759 Unfinished (Paperback). ISBN978-3-7957-6278-0. English-linguistic communication publication of the Unfinished Symphony score every bit No. viii.

External links [edit]

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

Recordings [edit]

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

Sheet music [edit]

• Schubertline.co.u.k. most 250 of Schubert'due south Songs (Schubertline edition)
• Free scores by Franz Schubert at the International Music Score Library Project (IMSLP)
• Free scores by Franz Schubert in the Choral Public Domain Library (ChoralWiki)
• Gratis digital scores by Franz Schubert in the OpenScore Lieder Corpus

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

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