Biography and episodes of life Franz Schubert. When born and died Franz Schubert, memorable places and dates of important events in his life. Composer quotes, Imagesand video.
Years of life of Franz Schubert:
born January 31, 1797, died November 19, 1828
Epitaph
“Music buried here a precious treasure, but even more wonderful hopes.”
Inscription engraved on the grave monument of Franz Schubert
Biography
Franz Schubert's whole life was inextricably linked with music. The future composer spent his childhood in the suburbs of Vienna, in the house of a teacher who loved to play a little music in his spare time. It was his father and older brother who became the first teachers of Franz, who showed his musical abilities. The young talent was taught to play the violin and piano. This was followed by organ lessons. Possessing an excellent voice, at the age of eleven Schubert became a “singing boy” of the Viennese court chapel and at the Konvikt school. Here he became acquainted with the works of Mozart and Haydn, and Antonio Salieri himself acted as his teacher of composition and counterpoint.
Franz Schubert's talent as a composer emerged around the age of thirteen, and three years later he had already written an opera, several piano pieces and a symphony. Around this time, his voice began to “break”, and the boy was expelled from the choir. This was followed by studying at a teacher's seminary and teaching at the same school where Schubert's father worked. Franz devotes all his free time to composing music, while simultaneously studying the works of such masters as Beethoven, Mozart and Haydn.
Realizing that he has no vocation for teaching, Schubert does everything possible to become a successful composer. But the greatest interest in his musical works began to appear only after the death of Franz Schubert. However, the public concert of 1828 still managed to make a splash in the world of music. It is considered the only successful concert in the composer's history. In any case, for the first time the composer managed to earn at least a decent fee from a concert.
On November 19, 1828, the public is shocked by the news of the death of Schubert, who died at the age of less than 32 years. The composer spent the last few years in illness, but his health seemed to be improving. The cause of Schubert's death was typhoid fever, which led to a fever that severely tormented him for two weeks. Franz Schubert's funeral took place at the Wehring cemetery. Almost 60 years later, Schubert's ashes were reburied in Vienna's Central Cemetery.
Life line
January 31, 1797 Date of birth of Franz Peter Schubert.
1810 The beginning of composing activity.
1813 Admission to teachers' seminary.
1816 First creative success with the ballad “Forest King”.
1823 Election to honorary members Styrian and Linz Musical Unions.
March 26, 1828 Date of the only successful public concert.
November 19, 1828 Date of death of Schubert.
January 22, 1888 Date of reburial of Schubert's ashes at the Vienna Central Cemetery.
Memorable places
1. The city of Vienna, where Franz Schubert was born and lived.
2. The city of Lichtental, where Schubert studied music.
3. The Court Chapel in Vienna, where Schubert performed as a “singing boy”.
4. The city of Zelezovce in Slovakia, where Schubert lived.
5. Vienna Central Cemetery, where the ashes of Franz Schubert are now buried.
6. Schubert House in Vienna (now Schubert Museum-Apartment).
7. Vienna City Park, where the monument to Schubert is erected.
Episodes of life
During his lifetime, Franz Schubert still had short-term success. For example, his songs performed by Vogl, a popular Austrian singer at that time, began to enjoy extraordinary popularity in the music salons of Vienna. The ballad “Forest King” brought its author his first success.
To this day, musicologists argue why the composer never completed the famous “Unfinished Symphony.” Some believe that in fact the composition is not unfinished at all, and a similar structure of the work was characteristic of many romantic composers of that period.
Covenant
“My writings arose from my understanding of music and my pain; those of them that pain alone gave rise to seem to have pleased the world least of all.”
A story about Franz Schubert from the series of programs “Project Encyclopedia”
Condolences
"Schubert had a rare ability<...>to feel and convey the joys and sorrows of life, as most people feel and would like to convey them if they had Schubert’s talent.”
Boris Asafiev, composer
“I see in Schubert one of the greatest melodists of all time.”
Gerard Griset, composer
“I exclusively love Schubert. He is different from other composers of his era. Poor fellow, he considered himself inferior to Beethoven, while he contributed something very innovative to music.”
Yanis Xenakis, composer
The content of the article
SCHUBERT, FRANCE(Schubert, Franz) (1797–1828), Austrian composer. Franz Peter Schubert, the fourth son of schoolteacher and amateur cellist Franz Theodor Schubert, was born on January 31, 1797 in Lichtenthal (a suburb of Vienna). The teachers paid tribute to the amazing ease with which the boy mastered musical knowledge. Thanks to his success in learning and good command of his voice, Schubert in 1808 was admitted to the Imperial Chapel and to Konvikt, the best boarding school in Vienna. During 1810–1813 he wrote many works: an opera, a symphony, piano pieces and songs (including Hagar's complaint, Hagars Klage, 1811). A. Salieri became interested in the young musician, and from 1812 to 1817 Schubert studied composition with him.
In 1813 he entered the teachers' seminary and a year later began teaching at the school where his father served. In his spare time, he composed his first mass and set a Goethe poem to music Gretchen at the spinning wheel (Gretchen am Spinnrade, October 19, 1813) was Schubert's first masterpiece and the first great German song.
The years 1815–1816 are notable for their phenomenal productivity 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 - Tragic and the frequently played Fifth in B flat major, as well as another mass and over 100 songs. Among the songs of these years - Wanderer (Der Wanderer) and famous Forest king (Erlkönig); both songs soon received universal acclaim.
Through his devoted friend J. von Spaun, Schubert met the artist M. von Schwind and the wealthy amateur poet F. von Schober, who arranged a meeting between Schubert and the famous baritone M. Vogl. Thanks to Vogl's inspired performances of Schubert's songs, they gained popularity in Viennese salons. The composer himself continued to work at the school, but eventually left the service in July 1818 and went to Zeliz, the summer residence of Count Johann Esterhazy, where he served as a music teacher. In the spring the Sixth Symphony was completed, and in Želize Schubert composed Variations on a French song, op. 10 for two pianos, dedicated to Beethoven.
Upon his return to Vienna, Schubert received an order for an operetta (singspiel) entitled Twin brothers (Die Zwillingsbrüder). It was completed by January 1819 and performed at the Kärtnertortheater in June 1820. Summer holidays in 1819, Schubert spent time with Vogl in Upper Austria, where he composed the well-known piano quintet Trout(A major).
The following years turned out to be difficult for Schubert, since his character did not know how to achieve the favor of influential Viennese musical figures. Romance Forest king, published as op. 1 (apparently in 1821), marked the beginning of the regular publication of Schubert's works. In February 1822 he finished the opera Alfonso and Estrella (Alfonso and Estrella); was released in October Unfinished Symphony(B minor).
The following year was marked in Schubert's biography by the composer's illness and despondency. His opera was not staged; he composed two more - Conspirators (Die Verschworenen) And Fierrabras (Fierrabras), but they suffered the same fate. Wonderful vocal cycle Beautiful miller's wife (Die schöne Müllerin) and the music for dramatic play Rosamund (Rosamunde) indicate that Schubert did not give up. At the beginning of 1824 he worked on string quartets in A minor and D minor ( The Girl and Death) and over the octet in F major, but need forced him to once again become a teacher in the Esterhazy family. The summer stay in Zheliz had a beneficial effect on Schubert's health. There he composed two opuses for piano for four hands - a sonata Big duet (Grand Duo) in C major and Variations on an original theme A flat major. In 1825, he again went with Vogl to Upper Austria, where his friends received the warmest welcome. Songs based on the words of W. Scott (including the famous Ave Maria) and the piano sonata in D major reflect the spiritual renewal of their author.
In 1826, Schubert petitioned for the position of conductor in the court chapel, but the petition was not granted. His last string quartet (G major) and songs based on Shakespeare's words (among them Morning serenade) appeared during a summer trip to Wehring, a village near Vienna. In Vienna itself, Schubert's songs were widely known and loved at that time; were regularly held in private homes musical evenings, dedicated exclusively to his music - the so-called. Schubertiades. In 1827, among other things, a vocal cycle was written winter journey (Winterreise) and cycles of piano pieces ( Musical moments And Impromptu).
In 1828, alarming signs of an impending illness appeared; the feverish pace of Schubert's compositional activity can be interpreted both as a symptom of the illness and as a cause that accelerated the death. Masterpiece followed masterpiece: the majestic Symphony in C major, a vocal cycle published posthumously under the title Swan Song, String Quintet in C major and the last three piano sonatas. As before, publishers refused to take Schubert's major works or paid negligibly little; ill health prevented him from going by invitation to give a concert in Pest. Schubert died of typhus on November 19, 1828.
Schubert was buried next to Beethoven, who had died a year earlier. On January 22, 1888, Schubert's ashes were reburied in the Central Cemetery of Vienna.
CREATION
Vocal and choral genres.
The song-romance genre in Schubert’s interpretation represents such an original contribution to the music of the 19th century that we can talk about the emergence of a special form, which is usually designated German word Lied. Schubert's songs - and there are more than 650 of them - give many variations of this form, so that classification is hardly possible here. In principle, Lied is of two types: strophic, in which all or almost all verses are sung to the same melody; “through” (durchkomponiert), in which each verse can have its own musical solution. Field rose (Haidenröslein) is an example of the first type; Young nun (Die junge Nonne) – second.
Two factors contributed to the rise of the Lied: the ubiquity of the piano and the rise of German lyric poetry. Schubert managed to do what his predecessors could not: by composing on a specific poetic text, he created a context with his music that gave the word a new meaning. This could be a sound-depicting context - for example, the murmur of water in songs from The beautiful miller's wife or the whir of the spinning wheel in Gretchen at the spinning wheel, or an emotional context - for example, chords conveying the reverent mood of the evening, in Sunset (I'm Abendroth) or midnight terror in Double (Der Doppelgänger). Sometimes, thanks to Schubert’s special gift, a mysterious connection is established between the landscape and the mood of the poem: for example, an imitation of the monotonous hum of a barrel organ in Organ Grinder (Der Leiermann) wonderfully conveys both the severity of the winter landscape and the despair of a homeless wanderer.
German poetry, which was flourishing at that time, became an invaluable source of inspiration for Schubert. Those who question the composer’s literary taste on the grounds that among the more than six hundred poetic texts he has voiced there are very weak poems are wrong - for example, who would remember the poetic lines of romances? Trout or To the music (An die Music), if not for the genius of Schubert? But still, the greatest masterpieces were created by the composer based on the texts of his favorite poets, luminaries German literature- Goethe, Schiller, Heine. Schubert's songs - no matter who the author of the words are - are characterized by a direct impact on the listener: thanks to the genius of the composer, the listener immediately becomes not an observer, but an accomplice.
Schubert's polyphonic vocal works are somewhat less expressive than the romances. The vocal ensembles contain wonderful pages, but none of them, except perhaps the five-voice No, only the one who knew (Nur wer die Sehnsucht kennt, 1819), does not capture the listener as much as romances. Unfinished spiritual opera Raising Lazarus (Lazarus) is more of an oratorio; the music here is beautiful, and the score contains anticipations of some of Wagner's techniques. (Nowadays opera Raising Lazarus was completed by the Russian composer E. Denisov and successfully performed in several countries.)
Schubert composed six masses. They also have very bright parts, but still in Schubert this genre does not rise to the heights of perfection that were achieved in the masses of Bach, Beethoven, and later Bruckner. Only in the last mass (in E-flat major) does Schubert's musical genius overcome his detached attitude towards Latin texts.
Orchestral music.
In his youth, Schubert led and conducted a student orchestra. At the same time, he mastered the skill of instrumentation, but life rarely gave him reasons to write for the orchestra; after six youth symphonies, only a symphony in B minor was created ( Unfinished) and Symphony in C major (1828). In the series of early symphonies, the most interesting is the fifth (in B minor), but only Schubert’s Unfinished introduces us to new world, far from classic styles the composer's predecessors. Like them, the development of themes and textures in Unfinished full of intellectual brilliance, but lacking in emotional impact Unfinished close to Schubert's songs. In the majestic C major symphony, such qualities appear even more clearly.
Music to Rosamunda contains two intermissions (B minor and B major) and lovely ballet scenes. Only the first intermission is serious in tone, but all the music Rosamunda– purely Schubertian in the freshness of its harmonic and melodic language.
Among other orchestral works, the overtures stand out. In two of them (C major and D major), written in 1817, the influence of G. Rossini is felt, and their subtitles (not given by Schubert) indicate: “in the Italian style.” Three opera overtures are also of interest: Alfonso and Estrella, Rosamund(originally intended for early composition Magic harp – Die Zauberharfe) And Fierrabras– Schubert’s most perfect example of this form.
Chamber instrumental genres.
Chamber works reveal the composer's inner world to the greatest extent; in addition, they clearly reflect the spirit of his beloved Vienna. The tenderness and poetry of Schubert’s nature are captured in the masterpieces that are commonly called the “seven stars” of his chamber heritage.
Quintet Trout– is a harbinger of a new, romantic worldview in the chamber-instrumental genre; charming melodies and cheerful rhythms brought the composition great popularity. Five years later, two string quartets appeared: the Quartet in A minor (Op. 29), perceived by many as the composer’s confession, and the Quartet The Girl and Death, where melody and poetry are combined with deep tragedy. Schubert's last quartet in G major represents the quintessence of the composer's mastery; The scale of the cycle and the complexity of the forms pose some obstacle to the popularity of this work, but the last quartet, like the Symphony in C major, are the absolute pinnacles of Schubert's work. The lyrical-dramatic character of the early quartets is also characteristic of the Quintet in C major (1828), but it cannot compare in perfection with the Quartet in G major.
The octet is a romantic interpretation of the classical suite genre. The use of additional woodwinds gives the composer a reason to compose touching melodies and create colorful modulations that embody Gemütlichkeit - the good-natured, cozy charm of old Vienna. Both Schubert trios – op. 99, B-flat major and op. 100, E-flat major - have both strengths and weaknesses: the structural organization and beauty of the music of the first two movements captivate the listener, while the finales of both cycles seem too lightweight.
Piano works.
Schubert composed many pieces for piano 4 hands. Many of them (marches, polonaises, overtures) are charming music for home use. But among this part of the composer’s heritage there are also more serious works. These are the sonata Grand Duo with its symphonic scope (moreover, as already mentioned, there is no indication that the cycle was originally conceived in the form of a symphony), Variations in A-flat major with their sharp characteristics and Fantasy in F minor Op. 103 is a first-class and widely recognized essay.
About two dozen Schubert piano sonatas are second only to Beethoven's in their significance. Half a dozen youthful sonatas are of interest mainly to admirers of Schubert's art; the rest are known all over the world. The sonatas in A minor, D major and G major (1825–1826) clearly demonstrate the composer’s understanding of the sonata principle: dance and song forms are combined here with classical techniques for developing themes. In the three sonatas, which appeared shortly before the composer's death, the song and dance elements appear in a purified, sublime form; the emotional world of these works is richer than in earlier opuses. The last sonata in B-flat major is the result of Schubert’s work on the thematism and form of the sonata cycle.
Schubert belongs to the first romantics (the dawn of romanticism). His music does not yet contain such condensed psychologism as that of the later romantics. This is a composer - lyricist. The basis of his music is inner experiences. Conveys love and many other feelings in music. IN 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 him main genre creativity - a song. He has over 600 songs. Songfulness influenced instrumental genre in two ways:
Using song themes in instrumental music(the song “Wanderer” became the basis of the 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 - school teacher. The 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 piece– 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 choir at the Lichtenthal Church. 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 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
Last 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, collection of late songs, collection of late 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 the 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. Pursues several goals: 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. In the cycle there is a hero (miller), episodic hero(hunter), 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 - "Let's hit the road". 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 Retreat” the vocal part is more declamatory, there is no songfulness, much less close folk songs, 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 structure. 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 takes care of the colorful tonal relationship (G.P. - h-moll, P.P. - G-dur, and in the reprise of P.P. - 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). There is a dramatic change in the middle; it is sharp (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. Canonical performance 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.
Franz Peter Schubert.
There were and are many talented people in the world who succeeded in some area and became famous. There are many such talented people among composers; in fact, each of them is talented in their own way. One of the most famous composers of all ages - Schubert.
Franz was born in 1797 in a suburb of Vienna. His family was large, so his parents paid attention mainly to the younger children. But already from childhood, Schubert showed a talent for music. At the age of 11, the composer thoroughly took up music and entered the court. music school, where he began to study this art in more detail, learned to play other musical instruments.
Their initial melodies Schubert presented to the people already in 1814, when he was only 17 years old. His style reminded critics of previous authors, so Franz’s early works did not bring much recognition.
Fame came to the future composer suddenly, in 1816, when the ballad “The Forest King” was published, which is still popular in theater and dance performances. Then his career took off, the young musician gained experience, and modern critics often highlight his cycles “The Beautiful Miller's Wife” and “Winter Reise”.
Many of Schubert’s melodies created during this period gained worldwide fame, for example: “Serenade” (collection “Swan Song”), “Shelter”, “By the Sea”.
The composer left behind 600 musical works 400 of which are universally used for dancing. His waltzes are written to be played by 4 hands, which allows performers to work in duets. But despite such an exhaustive number of songs and melodies, not all of them long life experienced financial problems. Who knows, maybe if he had enough money, he would have become more successful and famous during his lifetime, could have overcome the illness that broke him and would have left behind more works.
Interesting facts about Schubert's life:
All his life the composer loved one girl from a count's family, her name was Caroline Exterhazy. She was his student and was offended by her teacher because he never dedicated a melody to her, to which he said that all his works were about her.
Schubert's Quartet in D minor was initially rejected by the Paris Philharmonic, but 13 years after its composition they finally agreed to perform it. Right at the premiere, the conductor told Franz: “This is bad, don’t get confused with such things.” It happened right in public. The composer collected the sheets of music and left; they never heard from him again for the quartet.
There is a legend that one day he met a well-dressed lady on the street, she called him by name and introduced herself as Destiny. She asked him to choose a path: be a poor teacher and live a long life, or be famous and leave a little after his thirtieth birthday. After that, he left school and devoted himself to music.
Schubert’s biography cannot be told briefly, because like all creative people in his life there were ups and downs, secrets and unsolved mysteries. Franz Peter Schubert died on November 19, 1828, when he was only 32 years old. Typhus, spreading throughout Europe by leaps and bounds, took the life of this talented composer.
Schubert
The work of Franz Schubert is the dawn of the romantic movement in music.
In his magnificent works, he contrasted everyday reality with wealth inner world little man. The most important area in his music is song.
In his work, darkness and light always come into contact, I would like to show this using the example of two of his song cycles: “The Beautiful Miller's Wife” and “Winter Retreat”.
"Etc. chalk." 1823 - the cycle was written based on poems by Müller, which attracted the composer with its naivety and purity. Much of them coincided with the experiences and fate of Schubert himself. A simple story about the life, love and suffering of a young apprentice miller.
The cycle is framed by 2 songs - “On the Way” and “Lullaby of the Stream”, which represent the introduction and conclusion.
Between the extreme points of the cycle is the story of the young man himself about his wanderings, about his love for the daughter of the miller.
The cycle seems to break down into 2 phases:
1) out of 10 songs (up to “Pause” No. 12) – these are days of bright hopes
2) already other motives: doubt, jealousy, sadness
Development of the dramaturgy of the cycle:
1 exposition of images No. 1-3
2 premise No. 4 “gratitude to the stream”
3 development of feelings No. 5-10
4 climax #11
5 dramatic turning point, appearance of opponent No. 14
6 junction No. 20
"Let's hit the road"- reveals the structure of thoughts and feelings of a young miller who has just set foot on the path of life. However, the hero in “The Beautiful Miller's Wife” is not alone. Next to him there is another, no less important hero - a stream. He lives a turbulent, intensely changing life. The hero’s feelings change, and the stream also changes, for his soul is merged with the soul of the miller, and the song expresses everything that he experiences.
Musical means 1 songs are extremely simple and are closest to the techniques of folk songwriting.
Climax number "My"- the concentration of all joyful feelings. This song closes the 1st section of the cycle. The richness of the texture and cheerful mobility, the elasticity of the rhythm and the sweeping pattern of the melody, it is similar to the initial song “On the Road.”
In the songs of section 2, Schubert shows how pain and bitterness grows in the soul of the young miller, how it breaks out in violent outbursts of jealousy and grief. The miller sees a rival - a hunter.
No. 14 "Hunter", in depicting this character, the composer uses techniques familiar to the so-called. “hunting music”: size 6/8, “empty” 4 and 5 - “golden horn move”, depicting a hunting horn, also characteristic moves 63//63.
3 songs “Jealousy and Pride”, “Favorite Color”, “Miller and Stream” - form the dramatic core of section 2. Growing anxiety results in confusion of all feelings and thoughts.
"Lullaby of the Brook"- conveying the very moods with which he ends his life’s journey. Filled with a feeling of quiet sadness and melancholy. Monatonic rhythmic swaying and tonic harmony, major scale, the calm pattern of the song melody creates the impression of peace and orderliness.
At the conclusion of the cycle, Schubert returns us to the major key, giving it a light coloring - this is a story about eternal peace, humility, but not death.
"Winter Path" 1827 - also based on Müller’s poems, the cycle is contrasting in that now the main hero from a joyful and cheerful young man has turned into a suffering, disappointed lonely person (now he is a wanderer abandoned by everyone)
He is forced to leave his beloved because... poor Unnecessarily, he sets off on his journey.
The theme of loneliness in the cycle is presented in many shades: from lyrical changes to philosophical reflections.
The difference from “Pr Mel” is also that there is no plot here. The songs are united by a tragic theme.
The complexity of the images - the emphasis on the internal psychological side of life, caused the muses to become more complex. Language :
1) The 3-part form is dramatized (i.e., variation changes in each part appear in it, the expanded middle part and the reprise change compared to the 1 part.
2) The melody is enriched with declamatory and speech patterns (text for chant)
3) Harmony (sudden modulations, non-tertian chord structure, complex chord combinations)
There are 24 songs in the cycle: 2 parts of 12 songs each.
In section 2 (13-24) the tragic theme is presented more clearly, and the theme of loneliness is replaced by the theme of death.
First song of the cycle "Sleep well", just like “On the Road” serves as an introduction - this is a sad story about past hopes and love. Her tune is simple and sad. The melody is inactive. And only the rhythm and piano accompaniment convey the measured, monotonous movement of a lonely man wandering. His non-stop pace. The melody represents movement from the top of the source (katabasis - downward movement) - sorrow, suffering. 4 verses are separated from each other by passages with arresting intonations - exacerbation of drama.
In the subsequent songs of section 1, Schubert increasingly leans towards the minor key, towards the use of dissonant and altered chords. The conclusion of all this: Beautiful is just an illusion of dreams - a typical mood of the composer in the last years of his life.
In section 2, the theme of loneliness is replaced by the theme of death. The tragic mood is growing more and more.
Schubert even introduces the image of a harbinger of death No. 15 "Raven", with a prevailing gloomy mood. The sad introduction, full of aching melancholy, depicts non-stop movement and measured flapping of wings. A black raven in the snowy heights pursues its future victim - a traveler. Raven is patient and unhurried. He is waiting for prey. And he will wait for her.
Last song #24 "Organ grinder." She completes the cycle. And it’s completely different from the other twenty-three. They painted the world as it seemed to the hero. This one depicts life as it is. In "The Organ Grinder" there is neither the excited tragedy, nor the romantic excitement, nor the bitter irony inherent in the other songs. This is a realistic picture of life, sad and touching, instantly captured and aptly captured. Everything about it is simple and unpretentious.
The composer here personifies himself with the disadvantaged poor musician presented in the song, the cat is built on the alternation of vocal phrases and instrumental passages. The tonic organ point depicts the sound of a barrel organ or bagpipes; monotonous repetitions create a mood of melancholy and loneliness.
Great importance in vocal literature there are collections of Schubert’s songs based on the poems of Wilhelm Müller - “The Beautiful Miller’s Wife” and “Winter Reise”, which are, as it were, a continuation of Beethoven’s idea expressed in the collection of songs “Beloved. In all these works one can see remarkable melodic talent and a wide variety of moods; higher value accompaniment, high artistic meaning. Having discovered Müller's lyrics, which tell of the wanderings, sufferings, hopes and disappointments of a lonely romantic soul, Schubert created vocal cycles - essentially the first large series of monologue songs in history, connected by a single plot.