Life story. Schubert Franz - biography, facts from life, photographs, background information In which country was Schubert born

04.07.2020

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

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

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

Childhood and adolescence

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

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

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

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

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

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

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

Music

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

However, a man whose life was a passion for music did not like the noble work of teaching. Therefore, between lessons, which aroused nothing but contempt in Franz, he sat down at the table and composed works, and also studied the works of Gluck.

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

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

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

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

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

Franz Schubert composes music in nature

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

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

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

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

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

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

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

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

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

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

Personal life

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

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

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

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

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

Death

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

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

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

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

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

Discography

Songs (over 600 in total)

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

Symphonies

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

Quartets (22 in total)

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

Franz Schubert is a famous Austrian composer. His life was quite short, he lived only 31 years, from 1797 to 1828. But during this short period he made a huge contribution to the development of the world musical culture. You can verify this by studying the biography and work of Schubert. This outstanding composer is considered one of the most prominent founders of the romantic movement in musical art. Having familiarized yourself with the most important events in Schubert's biography, you can better understand his work.

Family

The biography of Franz Schubert begins on January 31, 1797. He was born into a poor family in Lichtenthal, a suburb of Vienna. His father, who came from a peasant family, was a school teacher. He was distinguished by his hard work and integrity. He raised his children, instilling in them that work is the basis of existence. Mother was the daughter of a mechanic. There were fourteen children in the family, but nine of them died in infancy.

Schubert's biography summary demonstrates the important role of family in the development of a young musician. She was very musical. Father played the cello, and little Franz's brothers played others musical instruments. Often musical evenings were held in their house, and sometimes all the amateur musicians they knew would gather at them.

First music lessons

From the short biography of Franz Schubert it is known that the unique musical abilities appeared in him very early. Having discovered them, his father and older brother Ignatz began classes with him. Ignatz taught him to play the piano, and his father taught him the violin. After some time, the boy became a full-fledged member of the family string quartet, in which he confidently performed the viola part. It soon became clear that Franz needed more professional music studies. That's why music lessons with the gifted boy were entrusted to the regent of the Lichtenthal Church, Michael Holzer. The teacher admired the extraordinary musical abilities of his student. In addition, Franz had in a wonderful voice. By the age of eleven, he performed difficult solo parts in the church choir, and also played the violin part, including solo, in the church orchestra. The father was very pleased with his son's success.

Konvikt

When Franz was eleven years old, he took part in a competition to select singers for the imperial royal court singing chapel. Having successfully passed all the tests, Franz Schubert becomes a singer. He is enrolled in Konvikt, a free boarding school for gifted children from low-income families. Younger Schubert now has the opportunity to receive general and music education, which becomes a blessing for his family. The boy lives in a boarding school and comes home only for the holidays.

Studying the short biography of Schubert, one can understand that the environment that developed in this educational institution contributed to the development of the musical abilities of the gifted boy. Here Franz daily practices singing, playing the violin and piano, and theoretical disciplines. The school organized a student orchestra, in which Schubert played first violin. The orchestra's conductor, Wenzel Ruzicka, noticing his student's extraordinary talent, often assigned him to perform the duties of conductor. The orchestra performed a wide variety of music. Thus, the future composer became acquainted with orchestral music of various genres. He was especially impressed by the music of the Viennese classics: Mozart’s Symphony No. 40, as well as musical masterpieces Beethoven.

First compositions

While studying in convict, Franz began to compose. Schubert's biography states that he was thirteen years old at the time. He writes music with great passion, often to the detriment of school activities. Among his first compositions are a number of songs and a fantasy for piano. Demonstrating outstanding musical abilities, the boy attracts the attention of the famous court composer Antonio Salieri. He begins classes with Schubert, during which he teaches him counterpoint and composition. Teacher and student are connected not only by musical lessons, but also by warm relationships. These classes continued after Schubert left the convict.

Observing the rapid development of his son's musical talent, his father began to worry about his future. Understanding the hardship of existence for musicians, even the most famous and recognized ones, his father tries to protect Franz from such a fate. He dreamed of seeing his son become a school teacher. As a punishment for his excessive passion for music, he forbids his son to be at home on weekends and holidays. However, the bans did not help. Schubert Jr. could not give up music.

Leaving the convict

Having not completed his training in convict, Schubert, at the age of thirteen, decides to leave it. This was facilitated by a number of circumstances, which are described in the biography of F. Schubert. First, a voice mutation that no longer allowed Franz to sing in the choir. Secondly, his excessive passion for music left his interest in other sciences far behind. He was scheduled for a re-examination, but Schubert did not take advantage of this opportunity and left his training in convict.

Franz still had to return to school. In 1813 he entered the regular school of St. Anne, graduated from it and received a certificate of education.

Start of independent life

Schubert's biography tells that for the next four years he works as an assistant school teacher at the school where his father also works. Franz teaches children literacy and other subjects. The wages were extremely low, which forced the young Schubert to constantly seek additional income in the form of private lessons. Thus, he has practically no time left to compose music. But the passion for music does not go away. It's only getting stronger. Franz received enormous help and support from his friends, who organized concerts and useful contacts for him, and supplied him with music paper, which he always lacked.

During this period (1814-1816) his famous songs“The Forest King” and “Margarita at the Spinning Wheel” to the words of Goethe, over 250 songs, singspiels, 3 symphonies and many other works.

The composer's imaginative world

Franz Schubert is a romantic in spirit. He placed the life of the soul and heart at the basis of all existence. His heroes are simple people with a rich inner world. A theme appears in his work social inequality. The composer often draws attention to how unfair society is to an ordinary modest person who does not have material wealth, but is spiritually rich.

Nature in its various states becomes a favorite theme of Schubert’s chamber vocal work.

Meet Vogl

After reading (briefly) the biography of Schubert, the most important event his acquaintance with the outstanding Viennese opera singer Johann Michael Vogl appears. It happened in 1817 through the efforts of the composer’s friends. This acquaintance was of great importance in the life of Franz. In him he acquired a devoted friend and performer of his songs. Subsequently, Vogl played a huge role in the promotion of chamber and vocal creativity young composer.

"Schubertiades"

Over time, a circle of creative youth formed around Franz, consisting of poets, playwrights, artists, and composers. Schubert's biography mentions that meetings were often dedicated to his work. In such cases they were called "Schubertiads". Meetings were held in the home of one of the circle members or in the Vienna Crown coffee shop. All members of the circle were united by an interest in art, passion for music and poetry.

Trip to Hungary

The composer lived in Vienna, rarely leaving it. All the trips he made were related to concerts or teaching. Schubert's biography briefly mentions that during the summers of 1818 and 1824, Schubert lived on the estate of Count Esterhazy Zeliz. The composer was invited there to teach music to the young countesses.

Joint concerts

In 1819, 1823 and 1825, Schubert and Vogl traveled through Upper Austria and toured at the same time. Such joint concerts are a huge success among the public. Vogl strives to introduce listeners to the work of his composer friend, to make his works known and loved outside of Vienna. Gradually, Schubert's fame is growing; people talk about him more and more often not only in professional circles, but also among ordinary listeners.

First editions

Schubert's biography contains facts about the beginning of publications of the young composer's works. In 1921, thanks to the care of F. Schubert’s friends, “The Forest King” was published. After the first edition, other Schubert works began to be published. His music becomes famous not only in Austria, but also far beyond its borders. In 1825, songs, piano works and chamber opuses began to be performed in Russia.

Success or illusion?

Schubert's songs and piano works are gaining great popularity. His works were highly appreciated by Beethoven, the composer's idol. But, along with the fame that Schubert gains thanks to Vogl’s propaganda activities, disappointments remain. The composer's symphonies were never performed, operas and singspiels are practically never staged. To this day, 5 operas and 11 singspiels by Schubert are in oblivion. A similar fate befell many other works that are rarely performed in concerts.

Creative flourishing

In the 20s, Schubert appeared in the song cycles “The Beautiful Miller’s Wife” and “Winter Reise” to the words of W. Müller, chamber ensembles, sonatas for piano, fantasy “The Wanderer” for piano, as well as symphonies - “Unfinished” No. 8 and “ Big" No. 9.

In the spring of 1828, the composer's friends organized a concert of Schubert's works, which took place in the hall of the Society of Music Lovers. The composer used the money received from the concert to purchase the first piano of his life.

Death of the composer

In the autumn of 1828, Schubert unexpectedly became seriously ill. His torment lasted three weeks. On November 19, 18128, Franz Schubert passed away.

Only a year and a half has passed since Schubert took part in the funeral of his idol - the last Viennese classic L. Beethoven. Now he too was buried in this cemetery.

Having familiarized yourself with the summary of Schubert's biography, you can understand the meaning of the inscription that was carved on his tombstone. It tells that a rich treasure is buried in the grave, but even more wonderful hopes.

Songs are the basis of Schubert's creative heritage

When talking about the creative heritage of this wonderful composer, we usually always highlight his song genre. Schubert wrote a huge number of songs - about 600. This is no coincidence, since vocal miniature is becoming one of the most popular genres of romantic composers. It was here that Schubert was able to fully reveal the main theme of the romantic movement in art - the rich inner world of the hero with his feelings and experiences. The first song masterpieces were created by the young composer at the age of seventeen. Each of Schubert's songs is an inimitable artistic image, born from the fusion of music and poetry. The content of the songs is conveyed not only by the text, but also by the music, which precisely follows it, emphasizing the originality artistic image and creating a special emotional background.

In his chamber vocal work, Schubert used both texts famous poets Schiller and Goethe, as well as the poetry of his contemporaries, the names of many of whom became known thanks to the composer’s songs. In their poetry they reflected spiritual world, inherent in representatives of the romantic movement in art, which was close and understandable to the young Schubert. During the composer's lifetime, only a few of his songs were published.

Franz Schubert is a famous Austrian composer. His life was quite short, he lived only 31 years, from 1797 to 1828. But during this short period he made a huge contribution to the development of world musical culture. You can verify this by studying the biography and work of Schubert. This outstanding composer is considered one of the most prominent founders of the romantic movement in musical art. Having familiarized yourself with the most important events in Schubert's biography, you can better understand his work.

Family

Schubert's biography, in a very brief summary, demonstrates the important role of family in the development of a little musician. She was very musical. His father played the cello, and little Franz’s brothers played other musical instruments. Often musical evenings were held in their house, and sometimes all the amateur musicians they knew would gather at them.

First music lessons

From the short biography of Franz Schubert it is known that his unique musical abilities appeared very early. Having discovered them, his father and older brother Ignatz began classes with him. Ignatz taught him to play the piano, and his father taught him the violin. After some time, the boy became a full-fledged member of the family string quartet, in which he confidently performed the viola part. It soon became clear that Franz needed more professional music studies. Therefore, musical lessons with the gifted boy were entrusted to the regent of the Lichtenthal Church, Michael Holzer. The teacher admired the extraordinary musical abilities of his student. In addition, Franz had a wonderful voice. By the age of eleven, he performed difficult solo parts in the church choir, and also played the violin part, including solo, in the church orchestra. The father was very pleased with his son's success.

Konvikt

When Franz was eleven years old, he took part in a competition to select singers for the imperial royal court singing chapel. Having successfully passed all the tests, Franz Schubert becomes a singer. He is enrolled in Konvikt, a free boarding school for gifted children from low-income families. The younger Schubert now has the opportunity to receive general and musical education for free, which becomes a benefit for his family. The boy lives in a boarding school and comes home only for the holidays.

First compositions

While studying in convict, Franz began to compose. Schubert's biography states that he was thirteen years old at the time. He writes music with great passion, often to the detriment of his schoolwork. Among his first compositions are a number of songs and a fantasy for piano. Demonstrating outstanding musical abilities, the boy attracts the attention of the famous court composer Antonio Salieri. He begins classes with Schubert, during which he teaches him counterpoint and composition. Teacher and student are connected not only by musical lessons, but also by warm relationships. These classes continued after Schubert left the convict.

Leaving the convict

Franz still had to return to school. In 1813 he entered the regular school of St. Anne, graduated from it and received a certificate of education.

Start of independent life

During this period (1814-1816), his famous songs “The Forest King” and “Margarita at the Spinning Wheel” with words by Goethe, over 250 songs, singspiels, 3 symphonies and many other works appeared.

The composer's imaginative world

Franz Schubert is a romantic in spirit. He placed the life of the soul and heart at the basis of all existence. His heroes are simple people with a rich inner world. The theme of social inequality appears in his work. The composer often draws attention to how unfair society is to an ordinary modest person who does not have material wealth, but is spiritually rich.

Nature in its various states becomes a favorite theme of Schubert’s chamber vocal work.

Meet Vogl

After getting acquainted (briefly) with Schubert’s biography, the most important event seems to be his acquaintance with the outstanding Viennese opera singer Johann Michael Vogl. It happened in 1817 through the efforts of the composer’s friends. This acquaintance was of great importance in the life of Franz. In him he acquired a devoted friend and performer of his songs. Subsequently, Vogl played a huge role in promoting the chamber and vocal creativity of the young composer.

"Schubertiades"

Trip to Hungary

Joint concerts

First editions

Success or illusion?

Creative flourishing

Death of the composer

In the autumn of 1828, Schubert unexpectedly became seriously ill. His torment lasted three weeks. On November 19, 18128, Franz Schubert passed away.

Only a year and a half has passed since Schubert took part in the funeral of his idol - the last Viennese classic L. Beethoven. Now he too was buried in this cemetery.

Songs are the basis of Schubert's creative heritage

When talking about the creative heritage of this wonderful composer, we usually always highlight his song genre. Schubert wrote a huge number of songs - about 600. This is no coincidence, since vocal miniature is becoming one of the most popular genres of romantic composers. It was here that Schubert was able to fully reveal the main theme of the romantic movement in art - the rich inner world of the hero with his feelings and experiences. The first song masterpieces were created by the young composer at the age of seventeen. Each of Schubert's songs is an inimitable artistic image, born from the fusion of music and poetry. The content of the songs is conveyed not only by the text, but also by the music, which precisely follows it, emphasizing the originality of the artistic image and creating a special emotional background.

In his chamber vocal work, Schubert used both the texts of the famous poets Schiller and Goethe, and the poetry of his contemporaries, the names of many of whom became known thanks to the composer’s songs. In their poetry they reflected the spiritual world inherent in representatives of the romantic movement in art, which was close and understandable to the young Schubert. During the composer's lifetime, only a few of his songs were published.

Schubert belongs to the first romantics (the dawn of romanticism). His music does not yet contain such condensed psychologism as more late romantics. This is a composer - lyricist. The basis of his music is inner experiences. Conveys love and many other feelings in music. In the last work main topic- loneliness. He covered all genres of the time. He brought in a lot of new things. The lyrical nature of his music predetermined his main genre of creativity - the song. He has over 600 songs. Songfulness influenced instrumental genre in two ways:

The use of song themes in instrumental music (the song “Wanderer” became the basis of a piano fantasy, the song “The Girl and Death” became the basis of the quartet).

Penetration of songfulness into other genres.

Schubert is the creator of a lyric-dramatic symphony (unfinished). Song theme, song presentation (unfinished symphony: Part I– p.p., p.p.. Part II – p.p.), the principle of development is the form, like the verse, complete. This is especially noticeable in symphonies and sonatas. In addition to the lyrical song symphony, he also created an epic symphony (C major). He is the creator of a new genre - the vocal ballad. Creator of romantic miniatures (impromptu and musical moments). Created vocal cycles (Beethoven had an approach to this).

The creativity is enormous: 16 operas, 22 piano sonatas, 22 quartets, other ensembles, 9 symphonies, 9 overtures, 8 impromptu, 6 musical moments; music related to everyday music playing - waltzes, lenglers, marches, more than 600 songs.

Life path.

Born in 1797 on the outskirts of Vienna - in the city of Lichtenthal. Father is a school teacher. Large family, they were all musicians, they played music. Franz's father taught him to play the violin, and his brother taught him the piano. A familiar regent for singing and theory.

1808-1813

Years of study in Konvikt. This is a boarding school that trained court singers. There, Schubert played the violin, played in the orchestra, sang in the choir, and participated in chamber ensembles. There he learned a lot of music - the symphonies of Haydn, Mozart, the 1st and 2nd symphonies of Beethoven. Favorite work is Mozart's 40th Symphony. In Konvikt he became interested in creativity, so he abandoned other subjects. In Konvikta he took lessons from Salieri from 1812, but their views were different. In 1816 their paths diverged. In 1813, he left Konvikt because his studies interfered with his creativity. During this period, he wrote songs, a fantasy for 4 hands, the 1st symphony, wind works, quartets, operas, and piano works.

1813-1817

He wrote his first song masterpieces (“Margarita at the Spinning Wheel,” “The Forest Tsar,” “Trout,” “Wanderer”), 4 symphonies, 5 operas, and a lot of instrumental and chamber music. After Konvikt, Schubert, at the insistence of his father, completed teaching courses and taught arithmetic and the alphabet at his father’s school.

In 1816 he left school and tried to get a position as a music teacher, but failed. The connection with my father was severed. A period of disaster began: I lived in a damp room, etc.

In 1815 he wrote 144 songs, 2 symphonies, 2 masses, 4 operas, 2 piano sonatas, string quartets and other works.

Fell in love with Teresa Grob. She sang in the Lichtental church in the choir. Her father married her to a baker. Schubert had a lot of friends - poets, writers, artists, etc. His friend Spout wrote about Schubert Goethe. Goethe did not answer. He had a very bad character. He didn't like Beethoven. In 1817, Schubert met the famous singer Johann Vogl, who became a fan of Schubert. In 1819 he made a concert tour of upper Austria. In 1818, Schubert lived with his friends. For several months he served as a home teacher for Prince Esterhazy. There he wrote a Hungarian divertimento for piano 4 hands. Among his friends were: Spaun (who wrote memoirs about Schubert), the poet Mayrhofer, the poet Schober (Schubert wrote the opera “Alphonse and Estrella” based on his text).

There were often meetings of Schubert's friends - the Schubertiades. Vogl was often present at these Schubertiades. Thanks to the Schubertiades, his songs began to spread. Sometimes his individual songs were performed at concerts, but operas were never staged and symphonies were never played. Schubert was published very little. The first edition of the songs was published in 1821, funded by admirers and friends.

Early 20s.

The dawn of creativity - 22-23. At this time he wrote the cycle “The Beautiful Miller's Wife”, a cycle of piano miniatures, musical moments, and the fantasy “The Wanderer”. Household side Schubert continued to be difficult, but he did not lose hope. In the mid-20s, his circle broke up.

1826-1828

Recent years. His hard life reflected in his music. This music has a dark, heavy character, the style changes. IN

songs appear more declamatory. Less roundness. The harmonic basis (dissonances) becomes more complex. Songs based on Heine's poems. Quartet in D minor. At this time, a symphony in C major was written. During these years, Schubert once again applied for the position of court conductor. In 1828, recognition of Schubert's talent finally began. His author's concert took place. He died in November. He was buried in the same cemetery as Beethoven.

Schubert's songwriting

600 Songs, Late Song Collection, Collection latest songs. The choice of poets is important. I started with the work of Goethe. He ended with a tragic song on Heine. Wrote for Schiller “Relshtab”.

Genre – vocal ballad: “The Forest King”, “Grave Fantasy”, “To the Father of the Murderer”, “Agaria’s Complaint”. The genre of the monologue is “Margarita at the spinning wheel.” Genre of folk song “Rose” by Goethe. Song-aria – “Ave Maria”. The genre of the serenade is “Serenade” (Relshtab serenade).

In his melodies he relied on the intonation of an Austrian folk song. The music is clear and sincere.

The connection between music and text. Schubert conveys general content verse. The melodies are broad, generalized, and flexible. Some of the music notes the details of the text, then more recitativeness appears in the performance, which later becomes the basis of Schubert's melodic style.

For the first time in music, the piano part acquired such a meaning: not an accompaniment, but a carrier of a musical image. Expresses an emotional state. Musical moments arise. “Margarita at the Spinning Wheel”, “The Forest King”, “The Beautiful Miller’s Wife”.

Goethe's ballad “The Forest King” is structured as a dramatic refrain. Purposes several purposes: dramatic action, expression of feelings, narration, author's voice (narration).

Vocal cycle “The Beautiful Miller's Wife”

1823. 20 songs based on poems by W. Müller. Cycle with sonata development. The main theme is love. The cycle has a hero (miller), an episodic hero (hunter), and a main role (stream). Depending on the state of the hero, the stream gurgles either joyfully, lively, or violently, expressing the pain of the miller. The 1st and 20th songs sound on behalf of the stream. This unifies the cycle. The last songs reflect peace, enlightenment in death. The overall mood of the cycle is still bright. The intonation structure is close to everyday Austrian songs. Wide in intonation of chants and sounds of chords. In the vocal cycle there is a lot of songfulness, chanting and little recitativeness. The melodies are broad and generalized. Mostly the song forms are verses or simple 2 and 3 parts.

1st song - “On the way.” B-dur, cheerful. This song is on behalf of the stream. He is always depicted in the piano part. Exact couplet form. The music is close to Austrian folk songs.

2nd song - "Where". The miller sings, G major. The piano has the gentle murmur of a stream. The intonations are wide, sing-song, close to Austrian melodies.

6th song - “Curiosity.” This song features quieter, more subtle lyrics. More detailed. H-dur. The form is more complex - a non-repudiated 2-part form.

Part 1 – “Neither stars nor flowers.”

The 2nd part is larger than the 1st. Simple 3-part form. Appeal to the stream - 1st section of the 2nd part. The murmur of the stream appears again. This is where major-minor comes into play. This is typical of Schubert. In the middle of the 2nd movement the melody becomes recitative. An unexpected twist in G major. In the reprise of the 2nd section, major-minor appears again.

Song form diagram

A - C

CBC

11 song - "My". There is a gradual increase in lyrical joyful feeling in it. It is close to Austrian folk songs.

12-14 songs express complete happiness. A turning point in development occurs in song No. 14 (Hunter) – c-moll. The fold is reminiscent of hunting music (6\8, parallel sixth chords). Further (in the following songs) there is an increase in sadness. This is reflected in the piano part.

15 song - “Jealousy and pride.” Reflects despair, confusion (g-moll). 3-part form. The vocal part becomes more declamatory.

16 song - “Favorite color.” h-moll. This is the mournful culmination of the entire cycle. The music has rigidity (astinate rhythm), constant repetition of F#, sharp arrests. The comparison between h-moll and H-dur is typical. Words: “Into the green coolness...”. For the first time in the cycle, the text contains a memory of death. Further it will permeate the entire cycle. Verse form.

Gradually, towards the end of the cycle, a sad enlightenment occurs.

19 song - “The Miller and the Stream.” g-moll. 3-part form. It's like a conversation between a miller and a stream. The middle is in G major. The babbling stream near the piano appears again. Reprise - the miller sings again, again in G-moll, but the murmur of the stream remains. At the end, enlightenment is G-major.

20 song - “Lullaby of the stream.” The stream calms the miller at the bottom of the stream. E-dur. This is one of Schubert’s favorite keys (“Lip’s Song” in “Winter Reise”, 2nd movement of the unfinished symphony). Verse form. The words: “Sleep, sleep” from the face of the stream.

Vocal cycle “Winter Way”

Written in 1827. 24 songs. Just like “The Beautiful Miller's Wife,” to the words of W. Müller. Despite being 4 years apart, they are strikingly different from each other. The 1st cycle is light in music, but this one is tragic, reflecting the despair that gripped Schubert.

The theme is similar to the 1st cycle (also the theme of love). The action in the 1st song is much less. The hero leaves the city where his girlfriend lives. His parents leave him and he (in winter) leaves the city. The rest of the songs are lyrical confessions. Predominance of minor key. The songs are tragic. The style is completely different. If we compare the vocal parts, the melodies of the 1st cycle are more generalized, reveal the general content of the poems, broad, close to Austrian folk songs, and in “Winter Reise” the vocal part is more declamatory, there is no songfulness, much less close to folk songs, and becomes more individualized.

The piano part is complicated by sharp dissonances, transitions to distant keys, and enharmonic modulations.

The forms are also becoming more complex. The forms are saturated with end-to-end development. For example, if it is a verse form, then the verse varies; if it is a 3-part form, then the reprises are greatly changed and dynamized (“By the Stream”).

There are few songs in major keys, and even minor keys penetrate into them. These bright islands: “Linden Tree”, “Spring Dream” (the culmination of the cycle, No. 11) - romantic content and harsh reality are concentrated here. Section 3 – laughing at yourself and your feelings.

1 song – “Sleep well” d-moll. The measured rhythm of July. “I came by someone else’s path, I will leave by someone else’s.” The song starts with high climax. Verse-variation. These couplets vary. 2nd verse – d-moll – “I can’t hesitate any longer.” Verse 3-1 – “No more waiting here.” 4th verse – D-dur – “Why disturb peace.” Major, as a memory of a beloved. Already inside the verse the minor returns. The end is in a minor key.

3rd song – “Frozen Tears” (f-moll). Depressing, heavy mood - “Tears stream from the eyes and freeze on the cheeks.” The melody has a very noticeable increase in recitativeness - “Oh, these tears.” Tonal deviations, complicated harmonic composition. 2-part form of end-to-end development. There is no reprise as such.

4th song – “Daze”, c-moll. A very broadly developed song. Dramatic, desperate character. “I am looking for her traces.” Complex 3-part form. The extreme parts consist of 2 topics. 2nd topic in g-moll. “I want to fall to the ground.” Interrupted cadences prolong development. Middle part. Enlightened As-dur. “Oh, where are the flowers of old?” Reprise – 1st and 2nd theme.

5th song - “Linden.” E-dur. E-moll creeps into the song. Verse-variation form. The piano part depicts the rustling of leaves. Verse 1 – “There is a linden tree at the entrance to the city.” Calm, peaceful melody. There are very important piano parts in this song. They are figurative and expressive in nature. The 2nd verse is already in e-moll. “And hasten on a long journey.” A new theme appears in the piano part, the theme of wanderings with triplets. In the 2nd half of the 2nd verse a major key appears. “The branches began to rustle.” The piano fragment depicts gusts of wind. Against this background, a dramatic recitative sounds between the 2nd and 3rd verses. “Wall, cold wind.” 3rd verse. “Now I am already wandering far away in a foreign country.” The features of the 1st and 2nd verses are combined. The piano part contains the theme of wanderings from the 2nd verse.

7th song - “By the stream.” An example of end-to-end dramatic development of form. It is based on a 3-part form with strong dynamization. E-moll. The music is frozen and sad. “Oh my stormy stream.” The composer strictly follows the text, modulations occur in cis-minor on the word “now”. Middle part. “On ice I’m like a sharp stone.” E-dur (talking about the beloved). There is a rhythmic revival. Acceleration of pulsation. Sixteenth note triplets appear. “I will leave the happiness of the first meeting here on the ice.” The reprise has been greatly modified. Strongly expanded - in 2 hands. The theme goes into the piano part. And in the vocal part there is the recitative “In a frozen stream I recognize myself.” Rhythmic changes appear further. 32nd durations appear. The dramatic climax towards the end of the play. Many deviations – e-moll, G-dur, dis-moll, gis-moll – fis-moll – g-moll.

11 song - “Spring Dream”. Semantic culmination. A major. Light. It seems to have 3 spheres:

memories, dream

sudden awakening

mockery of your dreams.

1st section. Waltz. Words: “I dreamed of a cheerful meadow.”

2nd section. Sharp contrast (e-moll). Words: “The rooster crowed suddenly.” The rooster and raven are a symbol of death. This song features a rooster and song #15 features a raven. A characteristic comparison of tonalities is e-moll – d-moll – g-moll – a-moll. The harmony of the second low stage sounds sharply at the tonic organ point. Sharp intonations (there are nones).

3rd section. Words: “But who decorated all my windows with flowers?” A minor dominant appears.

Verse form. 2 verses, each consisting of these 3 contrasting sections.

14 song - “Gray hairs.” Tragic character. C minor. A wave of hidden drama. Dissonant harmonies. There are similarities with the 1st song (“Sleep well”), but in a distorted, aggravated version. Words: “I decorated my forehead with frost...”.

15 song - "Crow". C minor. Tragic enlightenment due to

for figurations in triplets. Words: “The black raven set off on a long journey after me.” 3-part form. Middle part. Words: “Raven, strange black friend.” The melody is declamatory. Reprise. After it comes a piano conclusion in a low register.

20 song - “Waypost”. The rhythm of the step appears. Words: “Why did it become difficult for me to walk along the main roads?” Distant modulations – g-moll – b-moll – f-moll. Verse-variation form. Comparison of major and minor. 2nd verse – G major. 3rd verse – g minor. The code is important. The song conveys frozenness, numbness, the spirit of death. This manifests itself in the vocal line (constant repetition of one sound). Words: “I see a pillar - one of many...”. Distant modulations – g-moll – b-moll – cis-moll – g-moll.

24 song - “Organ grinder.” Very simple and deeply tragic. A minor. The hero meets the unfortunate organ grinder and invites him to endure grief together. The entire song is on the fifth tonic organ point. The quints represent a barrel organ. Words: “Here the organ grinder stands sadly outside the village.” Constant repetition of phrases. Verse form. 2 verses. There is a dramatic climax at the end. Dramatic recitative. It ends with the question: “Do you want us to endure grief together, do you want us to sing together with a barrel organ?” There are diminished seventh chords on the tonic organ point.

Symphonic creativity

Schubert wrote 9 symphonies. During his lifetime, not one of them was fulfilled. He is the founder of the lyric-romantic symphony (unfinished symphony) and the lyric-epic symphony (No. 9 - C major).

Unfinished Symphony

Written in 1822 h minor. Written at the time of creative dawn. Lyrical-dramatic. First time personal lyrical theme became the basis for the symphony. Songliness pervades it. It permeates the entire symphony. It manifests itself in the character and presentation of themes - melody and accompaniment (as in a song), in form - a complete form (like a verse), in development - it is variational, the proximity of the sound of the melody to the voice. The symphony has 2 movements – H minor and E major. Schubert started writing the 3rd part, but gave up. It is characteristic that before this he had already written 2 piano 2-movement sonatas - Fis-dur and e-moll. In the era of romanticism, as a result of free lyrical expression, the structure of the symphony changes (a different number of parts). Liszt tends to compress the symphonic cycle (Faust Symphony in 3 movements, Dont's Symphony in 2 movements). Liszt created a one-movement symphonic poem. Berlioz has an expansion of the symphonic cycle (Symphony Fantastique - 5 parts, Symphony “Romeo and Juliet” - 7 parts). This happens under the influence of programming.

Romantic features are manifested not only in song and 2 parts, but also in tonal relationships. This is not a classic ratio. Schubert cares about the colorful tonal relationship (G.P. - h-moll, P.P. - G-dur, and in P.P.'s reprise - in D-dur). The tertian ratio of tonalities is typical for romantics. In Part II of G.P. – E-dur, P.P. – cis-moll, and in the reprise P.P. – a-moll. Here, too, there is a tertiary tonal ratio. A romantic feature is also the variation of themes - not the fragmentation of themes into motives, but the variation whole topic. The symphony ends in E major, and it itself ends in B minor (this is also typical for romantics).

Part I – h-moll. The theme of the introduction is like a romantic question. It's in lowercase.

G.P. – h-moll. A typical song with melody and accompaniment. Clarinet and oboe perform as soloists, and strings accompany. The form, like that of the verse, is complete.

P.P. – not contrasting. She is also a song, but she is also a dance. The theme goes to the cello. Dotted rhythm, syncopation. Rhythm is, as it were, a connection between the parts (because it is also in P.P. in the second part). In it there is a dramatic change in the middle, it is sharp in the fall (transition to c-moll). At this turning point, the GP theme intrudes. This is a classic feature.

Z.P. – built on the theme of P.P.. G-major. Canonical implementation of the theme in different instruments.

The exposition is repeated - like the classics.

Development. On the verge of exposition and development, the theme of the introduction arises. Here it is in e-mall. The development involves the introduction theme (but dramatized) and the syncopated rhythm from P.P.’s accompaniment. The role of polyphonic techniques is enormous here. There are 2 sections in development:

1st section. Introduction topic to e-moll. The ending has been changed. The theme comes to a climax. Enharmonic modulation from h-moll to cis-moll. Next comes the syncopated rhythm from P.P.. Tonal plan: cis-moll – d-moll – e-moll.

2nd section. This is a converted intro theme. It sounds menacing and commanding. E-moll, then h-moll. The theme is first for the brass, and then runs through the canon in all voices. A dramatic climax, built on the theme of the opening canon and on the syncopated rhythm of P.P.. Next to it is a major climax - D-dur. Before the reprise, there is a roll call of woodwinds.

Reprise. G.P. – h-moll. P.P. – D-dur. In P.P. again there is a turning point in development. Z.P. – H-dur. Cross calls between different instruments. The canonical conduct of P.P.. On the verge of reprise and coda, the introduction theme sounds in the same key as at the beginning - in B minor. All code is built on it. The theme sounds canonical and very mournful.

Part II. E-dur. Sonata form without development. There is landscape poetry here. In general, she is bright, but there are flashes of drama in her.

G.P.. Song. The theme is for the violins, and the bass is pizzicato (for the double basses). Colorful harmonic combinations – E-dur – e-moll – C-dur – G-dur. The theme has lullaby intonations. 3-part form. It (the form) is finished. The middle is dramatic. Reprise of G.P. abbreviated.

P.P.. The lyrics here are more personal. The theme is also a song. In it, just like in P.P. Part II, syncopated accompaniment. It connects these themes. Solo too romantic trait. Here the solo is first for the clarinet, then for the oboe. The tonalities are chosen very colorfully - cis-moll - fis-moll - D-dur - F-dur - d-moll - Cis-dur. 3-part form. The middle is variable. There is a reprise.

Reprise. E-dur. G.P. – 3-part. P.P. – a-moll.

Code. Here, all the topics in turn seem to dissolve. Elements of G.P. are heard.