Franz Schubert was born on January 31, 1797 in the Vienna suburb of Lichtental. His father, a school teacher, came from a peasant family. Mother was the daughter of a mechanic. The development of Schubert's musical abilities in childhood was facilitated by the musical environment of his family. His father played the cello, and his brothers played various instruments. The house was constantly hosting musical evenings.
Having discovered in little Franz 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 of string quartets, playing the viola part. Franz had a wonderful voice. He sang in the church choir, performing difficult solo parts.
At the age of eleven, he was assigned to a convict - a school for training church singers, where, in addition to singing, they studied playing many instruments and music theory (under the guidance of the famous court composer Salieri). There he played the violin, in the orchestra, sang in the choir, and participated in chamber ensembles.
Already in those years, Franz Schubert began to compose. His first works were fantasia for piano, a series of songs. On October 28, 1813, he completed his First Symphony in D major. Studying begins to interfere with creativity and Schubert decides to leave the convict in order to devote himself entirely to music.
In 1814-1818 Schubert works as a teacher's assistant at his father's school, teaching children literacy and other elementary subjects. But his attraction to music, his desire to compose, is becoming stronger. In his free time from work, he composed his first mass and set Goethe’s poem “Gretchen at the Spinning Wheel” to music.
The years 1815-1816 are notable for the phenomenal productivity of the young genius. In 1815 he composed two symphonies, two masses, four operettas, several string quartets and about 150 songs. In 1816, two more symphonies appeared - the Tragic and often-sounding Fifth in B flat major, as well as another mass and over 100 songs. Among the songs of these years are “The Wanderer” and the famous “Forest King” (both soon received universal recognition).
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 in 1818 left teaching at school, then left his family. For several years (from 1817 to 1822) Schubert lived alternately with one or the other of his comrades. He gave music lessons and tried several times to get a permanent music position, but without success.
Financial adversity, unfortunately, prevented him from marrying his beloved girl. Teresa Grob sang in the church choir. She did not sparkle with beauty, but as soon as the music sounded, the girl’s colorless face was transformed, it lived and radiated.
However, the dreams went to waste. Teresa's mother intervened, not satisfied with the assistant's pittance salary. school teacher and she married her daughter to a pastry chef.
A circle of friends formed around Schubert - admirers of his work, who provided him with all possible financial assistance (official J. Spaun, amateur poet F. Schober, poet I. Mayrhofer, artist M. Schwind, poet and comedian E. Bauernfeld, composer A. Hüttenbrenner etc.). The singer M. Vogl became a promoter of Schubert's songs. Often among friends and acquaintances on our own works by Schubert were performed; such evenings were called “Schubertiades.”
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. A delicate, changeable complexion and curly hair brown hair gave it appearance special attraction.
Remembering these evenings, Schubert wrote: “We all sat comfortably together and with maternal joy showed each other the children of our inspiration, not without anxiety awaiting the verdict dictated by love and justice... one inspired the other, and the universal desire for beauty united everyone.” There were heated and lengthy debates here about contemporary art and his destinies, about his vocation, about the role and responsibility of the artist, about the life of the people and the intelligentsia, about the situation in the country.” Thanks to the Schubertiades, his songs began to spread.
Schubert's performance is amazing. He worked systematically, day after day. “I compose every morning, when I finish one piece, I start another,” the composer admitted. 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. 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 result in 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!
In 1818 and 1824 as a music teacher to the daughters of Count I. Esterhazy, Schubert visited Hungary, where he listened to Hungarian folk and gypsy music; in 1819, 1823 and 1825 was with Vogl in Upper Austria, and visited Graz in 1827. Schubert's songs gained great fame. In 1823 he was elected an honorary member of the Styrian and Linz Musical Unions.
In 1822, Schubert wrote one of his best works - the seventh "Unfinished Symphony", and in the next - a masterpiece of vocal lyricism, a cycle of 20 songs "The Beautiful Miller's Wife". It was in these works that a new direction in music - romanticism - was expressed with exhaustive completeness.
At this time, thanks to the efforts of friends, Schubert made peace with his father and returned to his family. But the family idyll was short-lived - after two years, Schubert left again to live separately, despite his complete impracticality in everyday life. Trusting and naive, he often became a victim of his publishers, who profited from him. The author of a huge number of works, and in particular songs, which during his lifetime became popular in burgher circles, he barely made ends meet.
More and more, Schubert is plunging into despair and loneliness: the circle has disintegrated, his friends have become family people, with a position in society. “What will happen to me...,” he wrote, “I will probably have to do in my old age, like Goethe’s harpist, go from door to door and beg for bread..."
Recent years During his life he was sick a lot, he was in poverty, but his creative activity did not weaken. On the contrary, his music becomes deeper, larger and more expressive.
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:
“Here music buried not only a rich treasure, but also countless hopes.”
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.
Musical heritage:
Operas: "Bail"(Die Burgschaft, libretto unknown author based on Schiller's ballad, unfinished, 1816), "Sakuntala"(libretto by I. F. Neumann based on the Indian play by Kalidasa, sketches of 2 acts, 1820), "Alfonso and Estrella"(libretto by F. Schober, 1821-1822), "Fierabras"(libretto by J. Kupelwieser based on the ancient French romance of the same name and the German legend “Egingard and Emma”, 1823), "Count von Gleichen"(libretto by E. Bauernfeld based on the fairy tale “Melekhzala” by I.K.A.Museus, unfinished, 1827-1828)
Singspiel: "Knight of the Mirror"(Der Spiegelritter, libretto by A. Kotzebue; unfinished, approx. 1811-1812), "Satan's Pleasure Castle"(Des Teufels Lustschloss, libretto by Kotzebue, 1814), "Four years in office"(Der vierjahrige Posten, libretto by T. Körner, 1815), "Fernando"(libretto by A. Stadler, 1815), "Claudina von Villa Bella"(libretto by Goethe, 1815, 1st of 3 acts preserved), "Friends from Salamanca"(Die Freunde von Salamanka, libretto by J. Mayrhofer, 1815), "Adrast"(libretto by Mayrhofer, unfinished, between 1817 and 1819), "Twin Brothers"(Die Zwillingsbrüder, libretto by G. Hofmann, 1819), "The Conspirators(Die Verschworenen), or Home war" (Der hausli-che Krieg, libretto by I. F. Castelli based on the comedies of Aristophanes “Ecclesiasusae” and “Lysistrata”, 1823), "Magic Harp"(Die Zauberharfe, play by G. Hofmann with music by Sh., 1820), "Rosamund, Princess of Cyprus"(Rosamunde, Fürstin von Zypern, play by W. von Chezy with music by Schubert, 1823); duet and aria for Herold's comic opera "The Magic Bell", German words by F. Treitschke (1821, performed 1821, Vienna, "Kerntnertortheater")
Works for soloists, choir and orchestra:7 masses(1812, fragments preserved; 1 - 1814; 2-1815; 1816; 1819-1822; 1828), "German Requiem"(German Funeral Mass, 1818, published 1826 as Works of Ferdinand Schubert), "German Mass"(1827), 6 Tantum ergo(1814; 2 - 1816; 1821; 1822; 1828), 4 Kyrie eleison(1812; 3 - 1813), Magnificat(1815), 3 offertory(1815, 1815, 1828); 2 Stabat mater(1815, Latin; 1816, German), etc.
Oratorios and cantatas: " Who's great?"(Wer ist gross?, 1814), "Name Day of F. M. Virthaler, or Congratulatory Cantata"(Namensfeier fur F. M. Vierthaler, oder Gratulati-ons-Kantate, 1815), "Offering for the 50th anniversary of Mr. Salieri"(Beitrag zur fünfzigjahrigen Jubelfeier des Herrn Salieri, with piano, 1816), "In honor of Josef Spendow"(Zu Ehren von Josef Spendou, op. 128, 1816), "To the birthday of the singer I. M. Fogl, or Spring morning"(Zum Geburtstag des Sangers J. M. Vogl, oder Der Frühlings-morgen, with piano, 1819), "Lazarus, or the Triumph of the Resurrection"(La-zarus, oder Die Feier der Auterstebung, stage oratorio, unfinished, 1820), "To celebrate the recovery of Irena Kiesewetter"(Zur Feier der Genesung der Irene Kiesewetter, with piano 4 hands, 1827), "Miriam's Victory Song"(Mirjams Siegesgesang, words by Grillparzer, for solo soprano, mixed choir and piano, 1828)
Works for orchestra: symphonies: №1 (D major, 1813), № 2 (B major, 1814-1815), № 3 (D major, 1815), № 4 (c-moll, "Tragic", 1816), № 5 (B major, 1816), № 6 (C major, 1818), E-dur(not completed, 1821), h-moll("Unfinished", 1822), № 7 (C-dur, “big”, 1825-1828); overtures(D major, 1811; 2-D major, 1812; B major, 1816; D major, 1817; overtures "in Italian style" D-dur and C-dur, 1817; e-moll, 1819)
Works for instrument and orchestra: concert piece for violin(D major, 1816), Rondo for violin and string orchestra(A major, 1816), polonaise for violin(B major, 1817)
Chamber instrumental ensembles: for violin and piano: 3 sonatas(sonatinas, D major, a minor and g minor, 18)6), sonata(duet, A major, 1817); introduction and variations for flute and piano(e-moll, on the theme of the song "Dried Flowers" - "Trockne Blumen" from "The Beautiful Miller's Woman", 1824); sonata for arpeggion and piano-(a-minor, 1824); for piano trio - Nocturne(Es-dur, op. 148*, approx. 1828), piano trio(B-dur, op. 99, ca. 1828; Es-dur, op. 100, 1827); string trio(B-dur, 1816; B-dur, 1817); string quartets(g-moll - B-dur, 1810-1811; C-dur, 1812; B-dur, 1812-1813; C-dur, 1813; B-dur, two parts, 1813 .; D-dur, 1813; moll, 1815; c-moll, 1st part, 1820; a-moll, op. 29, 1824; 1824-1826: G major, op. 161, 1826); for string quartet - overture(c-moll, 1811), minuets and German dances(1813), piano quintet(A-dur, "Trout", ca. 1819); Overture for string quintet(c-moll, 1811); string quintet(C-dur, op. 163, 1828); octet for wood and horn(minuet and finale in F major, 1813); Octet for strings and winds(F-dur, op. 166, 1824); 6 minuets for wind nonet(D 2D**, 1811, No. 4-6 - in a piano sketch), nonet for winds(es-moll, 1813)
Works for piano 2 hands: sonatas: E-dur(1815), C major(not finished, 1815), E-dur(1816, parts 1 and 2), e-moll(fragment, approx. 1817),
a-moll(op. 164, 1817), As-dur(1817), e-moll(1817), Des-dur(1817), Es-dur(op. 122, previous edition, 1817), fis-moll(1817), H-dur(op. 147, 1817), C major(not finished, 1818), f-moll(1818; Adagio published as op. 145 no. l), cis-moll(not finished, 1819), A major(op. 120, 1819 or 1825), a-moll(op. 143, 1823), a-moll(op. 42, 1825), C major("Relic", unfinished, 1825), D major(op. 53, 1825), G major(op. 78, "Fantasie, Andante, Menuetto und Allegretto", 1826), C minor, A major, B minor (1828)
Fantasies: C major("Gratskaya", D 605A, approx. 1817), С-dur(fragment, between 1821 and 1823), C major "Wanderer"(op. 15, 1822)
Impromptu: 4 (op. 90, ca. 1827), 4 (op. 142, 1827), 3 (Three Piano Pieces, 1828); musical moments: 6 (op. 94, 1823-1828), 2 plays(not finished, D 916 B and C, approx. 1827), Rondo E major(op. 145 No. 2, 1817), Adagio G-dur(1815), Allegretto c-moll(1827), Andante C major(1812) and A major(1816 or 1817), "Hungarian Melody"(1st edition
3rd part "Hungarian divertissement", 1824) etc.
Variations:F major(10, 1815), a-moll on a theme by A. Hüttenbrenner(13, 1817), C minor to Diabelli's waltz(1821)
Dancing:German-12 (Viennese, circa 1812), 17 (1816-1824), 16 (op. 33, 1823-1824), 12 (op. 171, 1823), 6 (1824) , 6 (6. year), etc.; waltzes- 12 (1815-1821, op. 18), 20 (Last waltzes- Letzte Walzer, 1815-1823, op. 127), 36 (First Waltzes - Erste Walzer, 1816-1821, op. 9), 34 Sentimental Waltzes(Valses sentimentales, 1823-1824, op. 50), 12 Gratz Waltzes(1827, op. 91), 12 noble waltzes(Valses nobles, b. g., op. 77), etc.; Landlers-12 (8 preserved, ca. 1815), 17 from op. 18 (1815-1821), 8 (B major, 1816), 16 (Wiener Damen-Landler, before 1826, op. 67), etc.
Minuets: 20 (1813), 3 (with trio, 1816), etc.
Eco-sessions: 9 (from op. 18, 1815-1821), 12 (1815), 12 (1823), etc.; gallops; 3 or 4 fugues (D 13 and 24 A-C, 1812)
Works for piano 4 hands: sonatas in B major(op. 30, approx. 1818), C major(op. 140, Grand duet - Grand duo, 1824); overtures: g-moll(1819),
f-moll/F-major(op. 34, 1819); fantasies: G major(1810), g-moll(1811), c-moll(Great Sonata, 1813), f-moll(op. 103, 1828); Hungarian divertissement(Divertissement a la hongroise g-moll, op. 54, 1824), Divertimento in French style(Divertis-sement (a la française)) e-moll(op. 63 and 84, 1825), Allegro a minor(Life's storms - Lebensstürme, op. 144, 1828); rondo: D major op. 138(1818) and A major op. 107(1828); variations: 8 variations on a French song(e-moll, op. 10, 1818), 8 variations on an original theme(As-dur, op. 35, 1824), 8 variations on a theme from the opera "Maria" Herald (C-dur, op. 82 (No. 1, 1827), introduction and variations on an original theme(B-dur, op. 82 No. 2, ?); polonaises: 4 (op. 75, 1818), 6 (op. 61, 1826); 4 Landlers(1824); marches: 3 heroic(Trois marches hiroiques, op. 27, 1818 or 1824), 3 military(Trois mareches militaires, op. 51, approx. 1818), 6 large(6 grandes marches et trios, op. 40, 1818 or 1824), Great funeral(Grande marche funbre (a l "occasion de la morte de S. M. Alexander I), c-moll, op. 55, 1825), Big heroic(Grande Marche heroique (a l "occasion du sacre de S. M. Nicolas I), a-moll, op. 66, 1826), 2 characteristic(Deux marches caractéristiques, C-dur, op. 121, approx. 1826), Children's March(for F. Pachler, G-dur, 1827); fugue e-moll for piano or organ(op. 152, 1828)
Vocal ensembles: vocal tercets: "Lawyers"(Die Advokaten, for 2 tenors and bass with accompanying piano, op. 74, 1812: previously considered an arrangement of the terzetto of the same name by A. Fischer), "For my father's name day"(Zur Namensfeier mei-nes Vaters, 1813, for 2 tenors and bass with accompanying guitar) and others with and without accompaniment (also canons)
Vocal quartets for 2 tenors and 2 basses: 2 (op. 16, approx. 1822), 3 ("The Village" - Das Dorfchen, lyrics by Burger, "The Nightingale" - Die Nachtigall, lyrics by I. K. Unger, "The Spirit of Love" - Geist der Liebe, lyrics by Mattison , op. 11, 1817-1822), 4 (op. 17, ca. 1822), Gondolier(Der Gondelfahrer, lyrics by Mayrhofer, with piano accompaniment, op. 28, 1824), 3 (op. 64, before summer 1826), The Boatman's Song(Bootgesang, translation from W. Scott, with piano accompaniment, op. 52 no. 3, 1825), 16th century drinking song(Trinklied aus dem XVI. Jahrhundert, Latin words, op. 155, 1825), etc.
Vocal quintets: for 2 tenors and 3 basses, including: "Those who have suffered will understand"(Nur wer die Sehnsucht kennt, words of Goethe, 1819), "Moonlight"(Mondenschein, words by Schober, with piano accompaniment, op. 102, 1826), etc.
For other compositions of male voices: " Song of the Spirits over the Waters"(Gesang der Geister ьber den Wassern, words by Goethe, for 4 tenors and 4 basses accompanied by string instruments, op. 167, 1820-1821; early sketches and implementations for other compositions - 1816, 1817, 1820 .), "Night Glow"(Nachthelle, words by J. G. Seidl, for tenor solo, 2 tenors, 2 basses and piano, op. 134, 1826), "Night Song in the forest" etc.
For 2 sopranos and 2 contraltos: 23rd Psalm (trans. M. Mendelssohn, with piano accompaniment, op. 132, 1820), "God in Nature"(Gott in der Natur, words by E. K. Kleist, with piano accompaniment, op. 133, 1822)
For other female voice casts: " Coronach"(Coronach, translated from W. Scott, for 2 sopranos, viola and piano, op. 52 no. 4, 1825), "Serenade"(Standchen, lyrics by F. Grillparzer, for solo contralto, 2 sopranos, 2 contraltos and piano, op. 135, 1827; 1st edition for solo contralto, 2 tenors, 2 basses and piano, 1827) and etc.
For soprano, alto, tenor, bass and piano: " Prayer" etc.
For other mixed formulations: " Wedding roast"(Der Hochzeitsbraten, lyrics by F. Schober, for soprano, tenor, bass and piano, op. 104, 1827), "Faith, Hope and Love"(Glaube, Hoffnung und Liebe, words by J. A. F. Reil, for tenor, bass, mixed choir and wind instruments, 1828)
Over 600 songs for voice and piano: based on the words of German poets: J. V. Goethe - about 70, including "Gretchen at the Spinning Wheel"(Gretchen am Spinurade, op. 2), "The Shepherd's Lament"(Schafers Klagelied, op. 3 no. 1; both -1814), "The Closeness of a Lover"(Nahe des Geliebten, op. 5 no. 2), "Furious Love"(Rastlose Liebe, op. 5 No. l), "Sea Silence"(Meeres Stille op. 3 no. 2), "Wild Rose"(Heidenroslein, op. 3 no. 3), "By the month"(An den Mond, 2nd incarnation; all -1815), "Forest King"(Erl-konig, op. l), "The King in Fula"(Der Konig in Thule, op. 5 no. 5), "Hunter's Evensong"(Jagers Abendlied, op. 3 no. 4), "To the charioteer Kronos"(An Schwager Kronos, op. 19 No. l; all -1816), "Ganymede"(op. 19 no. 3, 1817), "Prometheus"(1819), "The Boundaries of Humanity"(Grenzen der Menschheit), "Zuleika I"(op. 14 No. l), "Zuleika II"(op. 31), "Secret"(Geheimes, op. 14 no. 2: all -1821), "Son of the Muses"(Der Musensohn, op. 92 no. l, 1822), "The Wanderer's Night Song II"(Wandrers Nachtlied II, ber allen Gipfein..., op. 96 No. 3, before 1824), songs of the Minions and the Harper from the novel "Wilhelm Meister's Years of Study"(1815-1826), including 3 Harper songs(op. 12, 1816-1822) and 4 songs from "Wilhelm Meister"(op. 62, 1826); F. Schiller - 41, including "A Girl's Complaint"(Des Madchens Klage, 3 incarnations, 1811, 1812, 1816; 2nd op. 58 no. 3), "Diver"(Der Taucher; 2nd edition, 1814-1815), "Bail"(Die Bürg-schaft, 1815), "Group from Tartarus"(Gruppe aus dem Tartarus, op. 24 No. l), "Struggle"(Der Kampf, op. 110; both -1817), "Wish"(Die Sehnsucht, 1813; 2nd incarnation, op. 39, ca. 1821), "Pilgrim"(Der Pilgrim, op. 37 no. 1, 1823), "Dithyramb"(Dythyrambe, op. 60 no. 2, 1824); W. Muller - song cycles "The beautiful miller's wife"(Die schone Mullerin, op. 25, 20 songs, 1823), "Winterreise"(Die Winterreise, op. 89, 24 songs, 1827), etc.; G. Heine - "Atlas"(Der Atlas), "Her portrait"(lhr Bild), "Fisherman"(Das Fischer-madchen), "City"(Die Stadt) "By the sea"(Am Meer) "Double"(Der Doppelganger; all - 1828), as well as to the words of I. P. Uts - 5, including "Gods of Love"(Die Liebesgotter, 1816); I. G. Jacobi - 7, including "Litany"(Litanei, 1816);
K.F.D. Shubart - 4, including "To Death"(An den Tod, 1816 or 1817), "Trout"(Die Forelle, op. 32, approx. 1817); F. G. Klopstock -13, including "Ties of Roses"(Das Rosenband) and "Infinite"(Dem Unendlichen, both -1815); F. L. Stolberg - 7, including "Barcarolle"(Auf dem Wasser zu singen, op. 72, 1823); M. Claudius -12, including "The Girl and Death"(Der Tod und das Madchen, op. 7 no. 3, 1817); L. G. K. Höltp - 23, including "To the Moon"(An den Mond, op. 57 no. 3, 1815) and "Bliss"(Seligkeit, 1816); F. Mattison - 27, including "Adelaide"(1814), "Accomplishment"(Vollendung) and "Earth"(Die Erde, D 989 and 989 A, ca. 1817);
L.G. Kosegarten - 22, including "Towards the Setting Sun"(An die untergehende Sonne, op. 44, 1817); I. G. Zalisa-Zevisa - 14, including "Young Man at the Spring"(Der Jungling an der Quelle, 1816 or 1817); G. F. Schmidt - "Wanderer"(Der Wanderer, op. 4 no. 1, 1816), etc.
He wrote large number a variety of works: opera, symphony, piano pieces and songs, in particular "Hagar's Complaint" (Hagars Klage, 1811).
1.2. 1810s
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Upon his return to Vienna, Schubert received an order for an operetta (singspiel) called "The Twin Brothers" (Die Zwillingsbr?der). It was completed by January 1819 and performed at the Kärtnertortheater in June of that year. Schubert spent his summer holidays with Vogl in Upper Austria, where he created the well-known piano quintet “Trout” (A major).
The small circle of friends with which Schubert surrounded himself suffered a serious blow in the early 1820s. Schubert and four other comrades were arrested by the Austrian secret police, who were suspicious of any student circles. One of Schubert's friends, the poet Johann Zenne, was put on trial, imprisoned for a year, and then forever banned from appearing in Vienna. Four others, including Schubert, were given a serious warning, accusing them, inter alia, of "against [the authorities] using offensive and indecent language." Schubert never saw Senne again, but set two of his poems to music "Selige Welt" and "Schwanengesang". It is possible that this incident led to a break with Mayrhofer, with whom Schubert was then living.
1.3. Period of musical maturity
The compositions of 1819 and 1820 marked a significant advance in musical maturity. Work on the oratorio began in February "Lazarus"(D. 689), which remained unfinished, then appeared among others, less outstanding works, twenty-third psalm (D. 706), "Gesang der Geister"(D. 705/714), "Quartettsatz" (C minor, D. 703) and the fantasy "Wanderer" (German. Wanderer-Fantasy) For piano (D. 760). In 1820, two operas by Schubert were staged: "Die Zwillingsbr?der"(D. 647) at Kernterntortheater on July 14th and "Die Zauberharfe"(D. 644) at the theater an der Wien on August 21. Until now, almost all of Schubert's major compositions, except for mes, were performed only by an amateur orchestra, which grew out of the composer's home quartet evenings. New productions introduced Schubert's music to a wider public. However, publishers were in no hurry to publish. Anton Diabelli agreed with hesitation to print some works on commission terms. This is how Schubert’s first seven opuses, all the songs, were published. When the commission ended, the composer began to receive a meager payment - and that was the extent of his relations with large publishing houses. The situation improved somewhat when, in March 1821, Vogl performed "Der Erlk?nig" at a very successful concert. In the same month, Schubert composed variations on a waltz by Anton Diabelli (D. 718), becoming one of the 50 composers who contributed to the collection Union of Musicians of the Motherland.
After staging two operas, Schubert began to create for the stage with even greater zeal than before, but for various reasons this work almost completely went down the drain. In 1822 he was refused permission to stage the opera. "Alfonso and Estrela" partly due to a weak libretto. The opera "Fierrabras" (D. 796) was also returned to the author in the autumn of 1823, largely due to the popularity of Rossini and the Italian operatic style and the failure of Carl Weber's opera "Euryanthe" . "The Conspirator" (Die Verschworenen, D. 787) was banned by the censor, apparently because of the title, and "Rosamund"(D. 797) was withdrawn after two evenings due to the poor quality of the play. The first two of these works were written on a very large scale and were extremely difficult to stage. ("Fierrabras" for example, had more than a thousand pages of music), but "conspirators" were a bright, attractive comedy, and in "Rosamund" There are magical musical moments that belong to the best examples of the composer's work. In 1822, Schubert met Weber and Ludwig van Beethoven, but these acquaintances gave the young composer almost nothing. They say that Beethoven publicly recognized the young man’s talent several times, but he could not have known Schubert’s work in full, since only a handful of works were published during the composer’s lifetime.
In the autumn of 1822, Schubert began work on a work that, more than all other works of that period, demonstrated the maturity of his vision of music - "Unfinished Symphony" B flat minor. The reason that the composer abandoned the work, writing two parts and individual musical phrases of the third, remains unclear. It is also surprising that he did not tell his comrades about this work, although what he achieved could not but arouse in him a feeling of enthusiasm.
1.4. Masterpieces of the last years of life
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In 1823, in addition to Fierrabras, Schubert also wrote his first song cycle "My beautiful Mlinarka"(D. 795) to poems by Wilhelm Müller. Along with late cycle "Winter Walk" 1927, also based on poems by Müller, this collection is considered the pinnacle of the German song genre Lied. This year Schubert also wrote a song "You are peace" (Du bist die Ruh, D. 776). 1823 was also the year when the composer developed syphilis syndromes.
In the spring of 1824, Schubert wrote the Octet in F major (D. 803), "Skatch of the Great Symphony" and in the summer he went to Zhelizo again. There he fell under the spell of the Hungarian folk music and wrote "Hungarian divertissement"(D. 818) for two pianos and string quartet A minor (D. 804).
Friends claimed that Schubert had hopeless feelings for his student, Countess Caroline Esterhazy, but he dedicated only one work to her, Fantasia in F minor (D. 940) for two pianos.
Despite the fact that work on music for the stage, and later official duties, took a lot of time, Schubert wrote a significant number of works during these years. He completed the mass in the key of A-flat minor (D. 678), worked on the "Unfinished Symphony", and in 1824 wrote a variation for flute and piano on the theme "Trockne Blumen" from the cycle "My beautiful Mlinarka" and several string quartets. In addition, he wrote a sonata for the then popular arpeggione (D. 821).
The problems of previous years compensated for the successes of the happy 1825. The number of publications increased rapidly, poverty receded somewhat, and Schubert spent the summer in Upper Austria, where he was welcomed. It was during this tour that he wrote "Songs with words by Walter Scott." Belongs to this cycle "Ellens dritter Gesang"(D. 839), commonly known as "Ave Maria" The song opens with a greeting Ave Maria, which is then repeated in the chorus. German translation of Scott's poem from "Brides of Lamermoor" performed by Adam with curtains, when performed they are often replaced with the Latin text of the prayer Ave Maria. In 1825, Schubert also wrote a piano sonata in A minor (Op. 42, D. 845) and began Symphony No. 9 in C major (D. 944), completed the following year.
From 1826 to 1828, Schubert lived permanently in Vienna, except for a short visit to Graz in 1827. During these years, his life was uneventful, and his description is reduced to a list of written works. In 1826 he completed Symphony No. 9, which later became known as "Big". He dedicated this work to the Society of Friends of Music, and received a fee from them as a token of gratitude. In the spring of 1828, he gave the only public concert in his life, at which he performed his own works. The concert was a success. String Quartet in D minor (D. 810) with variations on a song theme "Death and the Maiden" was written in the winter of 1825-1826 and first performed on January 25, 1826. In the same year, String Quartet No. 15 in D major (D. 887, Op. 161) appeared, "Sparkling Rondo" for piano and Kripke (D. 895, Op. 70) and piano sonata in D major (D. 894, Op. 78), first published under the title "Fantasy in D". In addition, three songs were written to the words of Shakespeare.
In 1827 Schubert wrote a cycle of songs "Winterreise" (Winterreise, D. 911), Fantasy for piano and violin (D. 934), impromptu piano and two piano trios (D. 898 and D. 929), in 1828 "Song of Miryem" (Mirjams Siegesgesang, D. 942) to words by Franz Grillparzer, Mass in the key of E-flat (D. 950), Tantum Ergo(D. 962), a string quartet (D. 956), the last three sonatas and a collection of songs published posthumously under the title "Swan Song" (D. 957). This collection is not a true cycle, but the songs included in it retain a unique style and are united by an atmosphere of deep tragedy and dark supernaturalism, not characteristic of composers of the previous century. Six of these songs are written to words by Heinrich Heine, whose "Book of Songs" came out in the fall. Schubert's Ninth Symphony is dated 1828, but scholars of the composer's work believe that it was mainly written in 1825-1826 and only slightly revised for execution in 1828. For Schubert, this phenomenon is very unusual, since most of his significant works were not published during his lifetime, let alone performed in concert. In the last weeks of his life, the composer began working on a new symphony.
1.5. Illness and death
Schubert's grave in a cemetery in Vienna
Schubert was buried next to Beethoven, who had died a year earlier. On 22 January, Schubert's ashes were reburied in the Vienna Central Cemetery.
1.6. The discovery of Schubert's music after his death
Some smaller works were published immediately after the composer's death, but manuscripts of larger works, little known to the public, remained in the bookcases and drawers of Schubert's relatives, friends and publishers. Even the people closest to him did not know everything he wrote, and throughout many years he was recognized mainly only as the king of song. In 1838, Robert Schumann, visiting Vienna, found a dusty manuscript of Schubert's "Great" Symphony and took it with him to Leipzig, where Felix Mendelssohn performed it. The greatest contribution to the search and discovery of Schubert's works was made by George Grove and Arthur Sullivan, who visited Vienna in the fall of 1867. They managed to find seven symphonies, the accompanying music of the play "Rosamund", several songs and operas, some chamber music and a large number of various fragments and songs. These discoveries led to a significant increase in interest in the work of Schubert.
2. Creativity
2.3. Creativity of recent years
In some of Schubert's works of recent years ("Winterreise" songs based on Heine's texts) dramatic, even tragic moods deepened. However, even during these years they were confronted with works (including songs) full of energy, strength, courage, and cheerfulness. During his lifetime, Schubert gained recognition mainly as a songwriter; many of his major instrumental works were first performed decades after his death. ("Great Symphony" 3.2. For soloists of choir and orchestra
3.3. For symphony orchestra
3.4. Vocal works
Schubert wrote about 600 songs, in particular:
Vocal ensembles, in particular
- Vocal quartets for 2 tenors and 2 basses
- Vocal quintets for 2 tenors and 3 basses
3.5. Chamber ensembles
3.6. For piano
Trusting, frank, incapable of betrayal, sociable, talkative in a joyful mood - who knew him differently?
From the memories of friends
F. Schubert is the first great romantic composer. Poetic love and pure joy of life, despair and coldness of loneliness, longing for an ideal, thirst for wandering and the hopelessness of wandering - all this found an echo in the composer’s work, in his naturally and effortlessly flowing melodies. The emotional openness of the romantic worldview and the spontaneity of expression raised the song genre to unprecedented heights: this previously minor genre became the basis for Schubert art world. In a song melody, the composer could express a whole range of feelings. His inexhaustible melodic gift allowed him to compose several songs a day (more than 600 in total). Song melodies also penetrate into instrumental music, for example, the song “Wanderer” served as material for the piano fantasy of the same name, and “Trout” - for a quintet, etc.
Schubert was born into the family of a school teacher. The boy showed outstanding musical abilities very early and was sent to study in the convict (1808-13). There he sang in the choir, studied music theory under the direction of A. Salieri, played in the student orchestra and conducted it.
In Schubert's family (as in the German burghers in general) music was loved, but tolerated only as a hobby; the profession of a musician was considered insufficiently honorable. The aspiring composer had to follow in his father's footsteps. For several years (1814-18) school work distracted Schubert from creativity, and yet he composes extremely a lot. If in instrumental music The dependence on style is still visible Viennese classics(mainly W.A. Mozart), then in the song genre the composer, already at the age of 17, creates works that fully reveal his individuality. The poetry of J. V. Goethe inspired Schubert to create such masterpieces as “Gretchen at the Spinning Wheel”, “The Forest King”, songs from “Wilhelm Meister”, etc. Schubert also wrote many songs based on the words of another classic German literature- F. Schiller.
Wanting to devote himself entirely to music, Schubert left his job at school (this led to a break in relations with his father) and moved to Vienna (1818). Such intermittent sources of livelihood remain as private lessons and the publication of essays. Not being a virtuoso pianist, Schubert could not easily (like F. Chopin or F. Liszt) gain a name for himself in musical world and thus promote the popularity of their music. This was not helped by the composer’s character, his complete immersion in composing music, his modesty and at the same time the highest creative integrity, which did not allow him to make any compromises. But he found understanding and support among his friends. A circle of creative youth is grouped around Schubert, each of whose members must necessarily have some kind of artistic talent (What can he do? - this was the question that greeted every newcomer). Participants in the “Schubertiads” became the first listeners, and often co-authors (I. Mayrhofer, I. Zenn, F. Grillparzer) of the brilliant songs of the head of their circle. Conversations and heated debates about art, philosophy, and politics alternated with dances, for which Schubert wrote a lot of music, and often simply improvised it. Minuets, ecausses, polonaises, landlers, polkas, gallops - this is the range of dance genres, but waltzes rise above everything - no longer just dances, but rather lyrical miniatures. Psychologizing dance, turning it into a poetic picture of mood, Schubert anticipates the waltzes of F. Chopin, M. Glinka, P. Tchaikovsky, S. Prokofiev. Circle member, famous singer M. Vogl promoted Schubert's songs on concert stage and together with the author toured the cities of Austria.
Schubert's genius grew out of the long-standing musical traditions of Vienna. The classical school (Haydn, Mozart, Beethoven), multinational folklore, in which the influences of the Hungarians, Slavs, Italians were superimposed on the Austro-German basis, and finally, the special passion of the Viennese for dance and home music-making - all this determined the appearance of Schubert’s work.
The heyday of Schubert's work - the 20s. At this time the best are created instrumental works: lyrical-dramatic “Unfinished” symphony (1822) and epic, life-affirming C major (last, Ninth). Both symphonies were unknown for a long time: the C major one was discovered by R. Schumann in 1838, and the “Unfinished” was found only in 1865. Both symphonies influenced composers of the second half of the 19th century, defining different paths of romantic symphonism. Schubert never heard any of his symphonies performed professionally.
There were many difficulties and failures with opera productions. Despite this, Schubert constantly wrote for the theater (about 20 works in total) - operas, singspiels, music for the play “Rosamund” by V. Cesi. He also creates spiritual works (including 2 masses). Schubert wrote music remarkable in depth and power of impact in chamber genres(22 piano sonatas, 22 quartets, about 40 other ensembles). His impromptu songs (8) and musical moments (6) marked the beginning of the Romantic piano miniature. New things arise in song creativity. 2 vocal cycles based on the poems of W. Müller - 2 stages of a person’s life path.
The first of them is “The Beautiful Miller's Wife” (1823) - a kind of “novel in songs”, covered by a single plot. A young man, full of strength and hope, sets off to find happiness. Spring nature, a cheerfully babbling brook - everything creates a cheerful mood. Confidence soon gives way to a romantic question, the languor of the unknown: Where? But then the stream leads the young man to the mill. Love for the miller's daughter, her happy moments are replaced by anxiety, torment of jealousy and the bitterness of betrayal. In the gently murmuring, soothing streams of the stream, the hero finds peace and consolation.
The second cycle is “Winter Retreat” (1827) - a series of mournful memories of a lonely wanderer about unrequited love, tragic thoughts, only occasionally interspersed with bright dreams. The last song, “The Organ Grinder,” creates the image of a wandering musician, forever and monotonously turning his organ grinder and finding no response or outcome anywhere. This is the personification of the path of Schubert himself, already seriously ill, exhausted by constant poverty, backbreaking work and indifference to his creativity. The composer himself called the songs of “Winter Retreat” “terrible.”
The crowning achievement of vocal creativity is “Swan Song” - a collection of songs based on the words of various poets, including G. Heine, who turned out to be close to the “late” Schubert, who felt the “split of the world” more acutely and painfully. At the same time, Schubert never, even in the last years of his life, isolated himself in mournful tragic moods (“pain sharpens thought and tempers feelings,” he wrote in his diary). The figurative and emotional range of Schubert's lyrics is truly limitless - it responds to everything that worries any person, while the sharpness of the contrasts in it is constantly increasing (the tragic monologue “Double” and next to it is the famous “Serenade”). Schubert finds more and more creative impulses in the music of Beethoven, who, in turn, became acquainted with some of the works of his younger contemporary and appreciated them very highly. But modesty and shyness did not allow Schubert to personally meet his idol (one day he turned back at the very door of Beethoven’s house).
The success of the author's first (and only) concert, organized a few months before his death, finally attracted the attention of the musical community. His music, especially songs, begins to quickly spread throughout Europe, finding the shortest path to the hearts of listeners. She has a huge influence on the romantic composers of subsequent generations. Without the discoveries made by Schubert, it is impossible to imagine Schumann, Brahms, Tchaikovsky, Rachmaninov, Mahler. He filled the music with the warmth and spontaneity of song lyrics, revealing the inexhaustible spiritual world of man.
K. Zenkin
Schubert's creative life is estimated at only seventeen years. Nevertheless, it is even more difficult to list everything he wrote than to list the works of Mozart, whose creative career was longer. Just like Mozart, Schubert did not bypass any area musical art. Some of his legacy (mainly operatic and spiritual works) was pushed aside by time itself. But in a song or a symphony, in a piano miniature or a chamber ensemble, they found expression best sides Schubert's genius, the wonderful spontaneity and ardor of the romantic imagination, lyrical warmth and the quest of the thinker person XIX century.
In these areas musical creativity Schubert's innovation manifested itself with the greatest boldness and scope. He is the founder of the lyrical instrumental miniature, the romantic symphony - lyrical-dramatic and epic. Schubert radically changes the figurative content in large forms of chamber music: piano sonatas, string quartets. Finally, the true brainchild of Schubert is the song, the creation of which is simply inseparable from his very name.
Schubert's music was formed on Viennese soil, fertilized by the genius of Haydn, Mozart, Gluck, and Beethoven. But Vienna is not only a classic, represented by its luminaries, but also rich life everyday music. Musical culture the capital of a multinational empire has long been significantly affected by its diverse and multilingual population. The crossing and interpenetration of Austrian, Hungarian, German, Slavic folklore Over the centuries, the undiminished influx of Italian melodies led to the formation of a specifically Viennese musical flavor. Lyrical simplicity and lightness, clarity and grace, cheerful temperament and the dynamics of busy street life, good-natured humor and ease dance movement left a characteristic imprint on the everyday music of Vienna.
The democratism of Austrian folk music, the music of Vienna, permeates the work of Haydn and Mozart; Beethoven also experienced its influence; according to Schubert, he is a child of this culture. For his commitment to her, he even had to listen to reproaches from friends. Schubert's melodies “sometimes sound too domestic, too in Austrian, writes Bauernfeld, “remind folk songs, the somewhat base tone and ugly rhythm of which do not have sufficient grounds to penetrate into poetic song.” To this kind of criticism, Schubert replied: “What do you understand? This is how it is and how it should be!” And indeed, Schubert speaks in the language of genre-everyday music, thinks in its images; from them grow works of high forms of art of the most varied nature. In a broad generalization of the song lyrical intonations that matured in the musical everyday life of the burghers, in the democratic environment of the city and its suburbs - the nationality of Schubert's creativity. The lyrical and dramatic “Unfinished” symphony unfolds on a song and dance basis. The implementation of genre material can be felt both in the epic canvas of the “Big” symphony in C major and in the intimate lyrical miniature or instrumental ensemble.
The element of songfulness permeated all areas of his work. The song melody forms the thematic basis of Schubert's instrumental works. For example, in the piano fantasy on the theme of the song “Wanderer”, in the piano quintet “Trout”, where the melody of the song of the same name serves as the theme for the variations of the finale, in the d-minor quartet, where the song “Death and the Maiden” is introduced. But also in other works not related to the themes of certain songs - in sonatas, in symphonies - the song thematic structure determines the features of the structure, methods of developing the material.
It is natural, therefore, that although the beginning of Schubert’s career as a composer was marked by an extraordinary scope of creative ideas that encouraged him to try in all areas of musical art, first of all he found himself in song. It was in it, ahead of everything else, that the edges of his lyrical talent shone with a wonderful play.
“Among the music not for the theater, not for church, not for concerts, there is a particularly wonderful department - romances and songs for one voice with piano. From the simple, verse form of the song, this genre has developed to whole small single scenes-monologues, allowing for all the passion and depth of spiritual drama.
This type of music was magnificently manifested in Germany, in the genius of Franz Schubert,” wrote A. N. Serov.
Schubert - “the nightingale and the swan of song” (B.V. Asafiev). The song contains his entire creative essence. It is Schubert's song that is a kind of boundary separating the music of romanticism from the music of classicism. The era of song and romance that began at the beginning of the 19th century is a pan-European phenomenon that “can be called by name greatest master urban democratic song-romance of Schubert - Schubertianism" (B.V. Asafiev). The place of the song in Schubert's work is equivalent to the position of the fugue in Bach or the sonata in Beethoven. According to B.V. Asafiev, Schubert accomplished in the field of song what Beethoven did in the field of symphony. Beethoven summarized the heroic ideas of his era; Schubert was a singer of “simple natural thoughts and deep humanity.” Through the world lyrical feelings reflected in the song, he expresses his attitude towards life, people, and the surrounding reality.
Lyricism is the very essence of Schubert's creative nature. The range of lyrical themes in his work is exceptionally wide. The theme of love with all the richness of its poetic shades, sometimes joyful, sometimes sorrowful, is intertwined with the theme of wandering, pilgrimage, loneliness, and the theme of nature that permeates all romantic art. Nature in Schubert’s work is not just a background against which a certain narrative unfolds or some events take place: it is “humanized”, and the radiation of human emotions, depending on their nature, colors the images of nature, gives them a particular mood and corresponding flavor.
Which is known to all figures of musical art, was born on January 31, 1797 in the suburbs of the Austrian capital Vienna. He was the fourth son of a schoolteacher and cellist. All the teachers of the future musician noted his talent and diligence, with which he easily mastered knowledge in the field of music.
Education
Success and excellent mastery of his voice helped Schubert enter the Imperial Chapel, and then one of best schools Vienna - Konvikt. At the age of thirteen, he began to write his first compositions: songs, piano pieces, symphonies and operas. In 1812, Franz met the famous Salieri, who became interested in the talented young man. For five years they collaborated on creating compositions.
The composer Franz Schubert was formed precisely during his studies with Salieri - from 1812 to 1817. In 1813, he became a student at the teachers' seminary, and a year later he became a teacher at the school where his father once worked. It was then that he composed one of his first masses and set Goethe's poems to music.
Creation
In 1815-1816, Franz Schubert, whose biography is today studied in schools during music lessons, was quite productive. During this period he composed more than 250 songs, four symphonies, three masses and several operettas and string quartets. It was then that songs were created that spread throughout the world - “Forest King” and “Wanderer”.
But despite all this, Franz Schubert, whose works are today considered classics of world music, was as poor as a church rat. With the help of his friend J. von Spaun, the composer met the poet F. von Schober, who, in turn, was able to organize a meeting between Schubert and the then popular baritone M. Vogl.
Franz continued to work at the school, but in the summer of 1818 he decided to leave his service and went to the estate of Count Esterhazy, where he worked as a music teacher for several months. In 1819, Schubert completed the famous Sixth Symphony, and then composed several variations on a French song, which he dedicated to Beethoven.
Returning to Vienna, Franz Schubert, whose biography turned out to be too short, created the opera “The Twin Brothers” upon request. It was first staged in the summer of 1820 at the Kärtnertortheater. Schubert spent the summer of 1819 together with the baritone Vogl, and it was then that he managed to compose “Trout” (A major) - a popular quintet for piano.
The following years turned out to be quite difficult for the composer, since he was not equipped to seek patronage influential officials and figures from the art world. In 1823, he was quite seriously ill and was in a state of despondency. Nobody wanted to stage his operas, but Franz pulled himself together and wrote vocal cycle called "The Beautiful Miller's Wife".
In 1825, Franz Schubert, whose biography is familiar to many classical music lovers, managed to restore his health. His new opuses for piano were born. Until 1828, the composer worked hard to create his
At the beginning of 1828, Schubert's health began to fail. Apparently, the composer had a presentiment of his imminent death, so he tried to write at a feverish pace. It was in 1828 that he created a huge number of masterpieces, which gained popularity after the death of the author. Franz Schubert died on November 19, 1828 from typhus.
Franz Peter Schubert (1797-1828) – Austrian composer. For such short life he managed to compose 9 symphonies, a lot of chamber and solo music for piano, and about 600 vocal compositions. He is rightfully considered one of the founders of romanticism in music. His compositions still, two centuries later, remain among the main ones in classical music.
Childhood
His father, Franz Theodor Schubert, was an amateur musician, worked as a teacher at the Lichtenthal parish school, and had peasant origins. He was a very hardworking and respectable person, his ideas about the path of life were associated only with work, and Theodore raised his children in this spirit.
The musician's mother is Elisabeth Schubert ( maiden name Fitz). Her father was a mechanic from Silesia.
In total, fourteen children were born into the family, but the spouses buried nine of them at an early age. Franz's brother, Ferdinand Schubert, also connected his life with music.
The Schubert family loved music very much; they often held musical evenings at their home, and on holidays a whole circle of amateur musicians gathered. Dad played the cello, his sons were also taught to play different musical instruments.
Franz's talent for music was discovered at an early age. childhood. His father began to teach him to play the violin, and his older brother taught the baby to play the piano and clavier. And very soon little Franz became a permanent member of the family string quartet, he performed the viola part.
Education
At the age of six, the boy went to parish school. Here not only his amazing ear for music, but also an amazing voice. The child was taken to sing in church choir, where he performed rather complex solo parts. The church regent, who often attended musical parties with the Schubert family, taught Franz singing, music theory and playing the organ. Soon everyone around realized that Franz was gifted child. Dad was especially happy about his son’s achievements.
At the age of eleven, the boy was sent to a boarding school, where singers were trained for the church, which at that time was called konvikt. Even the environment at school was conducive for Franz’s musical talents to develop.
There was a student orchestra at the school, he was immediately assigned to the first violin group, and occasionally Franz was even trusted to conduct. The repertoire in the orchestra was distinguished by its diversity, the child learned different genres of musical works in it: overtures and works for vocals, quartets and symphonies. He told his friends that Mozart's Symphony in G minor made the greatest impression on him. And Beethoven’s works were for the child the highest example of musical works.
During this period, Franz began to compose himself; he did it with great passion, which even put music at the expense of other school subjects. Latin and mathematics were especially difficult for him. The father was alarmed by Franz’s excessive passion for music; he began to worry, knowing the path of world-famous musicians; he wanted to protect his child from such a fate. He even came up with a punishment - a ban on coming home for the weekend and holidays. But the development of the young composer’s talent was not affected by any prohibitions.
And then, as they say, everything happened by itself: in 1813, the teenager’s voice broke and he had to leave the church choir. Franz came home to his parents, where he began studying at a teachers' seminary.
Mature years
After graduating from the seminary in 1814, the guy got a job at the same parish school where his father worked. For three years, Franz worked as a teacher's assistant, teaching children subjects primary school and literacy. Only this did not weaken the love for music; the desire to create was ever stronger. And it was at this time, from 1814 to 1817 (as he himself called it, during the period of school hard labor), he created a huge number musical compositions.
In 1815 alone, Franz composed:
- 2 piano sonatas and string quartet;
- 2 symphonies and 2 masses;
- 144 songs and 4 operas.
He wanted to establish himself as a composer. But in 1816, when applying for the position of bandmaster in Laibach, he was rejected.
Music
Franz was 13 years old when he wrote his first piece of music. And by the age of 16, he had several written songs and piano pieces, symphony and opera. Even the court composer, the famous Salieri, noticed such outstanding abilities of Schubert; he studied with Franz for almost a year.
In 1814, Schubert created his first significant works in music:
- Mass in F major;
- Opera "Satan's Pleasure Castle"
In 1816, Franz had a significant meeting with the famous baritone Vogl Johann Michael. Vogl performed works by Franz, which quickly gained popularity in the salons of Vienna. In the same year, Franz set Goethe’s ballad “The Forest King” to music, and this work had incredible success.
Finally, at the beginning of 1818, Schubert's first composition was published.
The father’s dreams of a quiet and modest life for his son with a small but reliable teacher’s salary did not come true. Franz quit teaching at school and decided to devote his whole life only to music.
He quarreled with his father, lived in deprivation and constant need, but invariably created, composing one work after another. He had to live alternately with his comrades.
In 1818, Franz was lucky, he moved to Count Johann Esterhazy, in his summer residence, where he taught music to the count's daughters.
He did not work for the count for long and returned to Vienna again to do what he loved - create invaluable musical works.
Personal life
Need became an obstacle to marrying his beloved girl, Teresa Gorb. He fell in love with her in the church choir. She was not a beauty at all; on the contrary, the girl could be called plain: white eyelashes and hair, traces of smallpox on her face. But Franz noticed how her round face transformed with the first chords of music.
But Teresa’s mother raised her without a father and did not want her daughter to play such a role as a poor composer. And the girl, having cried into her pillow, went down the aisle with a more worthy groom. She married a pastry chef, with whom life was long and prosperous, but gray and monotonous. Teresa died at the age of 78, by which time the ashes of the man who loved her with all his heart had long since decayed in the grave.
Recent years
Unfortunately, in 1820, Franz's health began to worry. He became seriously ill at the end of 1822, but after treatment in hospital his health improved slightly.
The only thing he managed to achieve during his lifetime was a public concert in 1828. The success was resounding, but soon after he suffered from enteric fever. She shook him for two weeks, and on March 26, 1828, the composer died. He left a will to be buried in the same cemetery as Beethoven. It was fulfilled. And if in the person of Beethoven a “beautiful treasure” rested here, then in the person of Franz there were “beautiful hopes.” He was too young at the time of his death and there was so much more he could have done.
In 1888, the ashes of Franz Schubert and the ashes of Beethoven were transferred to the Central Vienna Cemetery.
After the composer's death, many unreleased works remained; all of them were published and found recognition from their listeners. His play Rosamund is especially revered; an asteroid that was discovered in 1904 is named after it.
