The biography of Schubert is very interesting to study. He was born on January 31, 1797 in a suburb of Vienna. His father worked as a school teacher, was a very hardworking and decent person. The eldest sons chose their father's path, the same path was prepared for Franz. However, music was also loved in their house. So, a brief biography of Schubert ...
Franz's father taught him to play the violin, his brother taught him the clavier, the church regent taught him theory and taught him to play the organ. It soon became clear to the household that Franz was unusually gifted, so at the age of 11 he began to study at a church singing school. There was an orchestra in which the students played. Soon, Franz was already playing the first violin part and even conducting.
In 1810, the guy writes his first composition, and it becomes clear that Schubert is a composer. His biography says that the passion for music in him intensified so much that over time it supplanted other interests. The young man dropped out of school after five years, angering his father. Schubert's biography tells that, yielding to his father, he enters the teacher's seminary, and then works as a teacher's assistant. However, all the father's hopes to make Franz a man with a good and reliable income were in vain.
Biography of Schubert in the period from 1814 to 1817 is one of the most active phases of his work. At the end of this time, he is already the author of 7 sonatas, 5 symphonies and about 300 songs that are on everyone's lips. It would seem that a little more - and success is guaranteed. Franz leaves the service. The father becomes furious, leaves him penniless and breaks off all relations.
Schubert's biography tells that he had to live with friends. Among them were poets and artists. It was during this period that the famous "Schubertiads" are held, that is, evenings dedicated to the music of Franz. Among friends, he played the piano, composing music on the go. However, these were difficult years. Schubert lived in unheated rooms and gave hateful lessons so as not to starve to death. Due to poverty, Franz could not get married - his girlfriend preferred a wealthy confectioner to him.
Schubert's biography testifies that in 1822 he wrote one of his best creations - "The Unfinished Symphony", and then the cycle of works "The Beautiful Miller's Woman". For some time, Franz returned to the family, but two years later he left again. Naive and trusting, he was not adapted to an independent life. Schubert was often deceived by his publishers, who frankly profited from him. The author of a huge and wonderful collection of songs that were very popular among the burghers during his lifetime, barely
Schubert was not a virtuoso musician, like Beethoven or Mozart, and could only act as an accompanist to his melodies. The symphonies were never performed during the composer's lifetime. The Schubertiada circle broke up, friends started families. He did not know how to ask, and did not want to humiliate himself in front of influential personalities.
Franz was completely desperate and believed that, perhaps, in old age he would have to beg, but he was wrong. The composer did not know that he would not have old age. But, despite all this, his creative activity does not weaken, and even vice versa: Schubert's biography claims that his music becomes deeper, more expressive and large-scale. In 1828, friends organized a concert at which the orchestra played only his songs. He was a very big success. After that, Schubert was again filled with grandiose plans and began to work on new compositions with redoubled energy. However, a few months later he fell ill with typhus and died in November 1828.
At the age of eleven, Franz was admitted to the Konvikt, a court chapel, where, in addition to singing, he studied playing many instruments and music theory (under the guidance of Antonio Salieri). Leaving the chapel in the city, Schubert got a job as a teacher at a school. He studied mainly Gluck, Mozart and Beethoven. The first independent works - the opera "Satan's Pleasure Castle" and the Mass in F major - he wrote in St.
Why didn't Schubert complete the symphony?
Sometimes it is difficult for an ordinary person to understand the way of life that creative people lead: writers, composers, artists. Their work is of a different kind than the work of artisans or accountants.
Franz Schubert, an Austrian composer, lived only 31 years old, but wrote over 600 songs, many beautiful symphonies and sonatas, a large number of choirs and chamber music. He worked very hard.
But the publishers of his music paid him little. Lack of money always haunted him.
The exact date when Schubert composed the Eighth Symphony in B minor (Unfinished) is unknown. It was dedicated to the Musical Society of Austria and Schubert presented two parts of it in 1824.
The manuscript lay for over 40 years until a Viennese conductor discovered it and performed it in concert.
Forever remained a secret of Schubert himself, why he did not complete the Eighth Symphony. It seems that he intended to bring it to its logical conclusion, the first scherzos were completely finished, and the rest were discovered in sketches. From this point of view, the "Unfinished" symphony is a completely finished work, since the range of images and their development exhausts itself within two parts.
Compositions
Octet. Schubert's autograph.
- operas- Alfonso and Estrella (1822; production 1854, Weimar), Fierabras (1823; production 1897, Karlsruhe), 3 unfinished, including Count von Gleichen, and others;
- Singspili(7), including Claudine von Villa Bell (based on a text by Goethe, 1815, the first of 3 acts has been preserved; production 1978, Vienna), The Twin Brothers (1820, Vienna), Conspirators, or Domestic War (1823; production 1861, Frankfurt am Main);
- Music for plays- Magic harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.);
- For soloists, choir and orchestra- 7 Masses (1814-28), German Requiem (1818), Magnificat (1815), offertorias and other wind compositions, oratorios, cantatas, including Miriam's Song of Victory (1828);
- for orchestra- symphonies (1813; 1815; 1815; Tragic, 1816; 1816; Small in C major, 1818; 1821, unfinished; Unfinished, 1822; Large in C major, 1828), 8 overtures;
- Chamber instrumental ensembles- 4 sonatas (1816-17), fantasy (1827) for violin and piano; sonata for arpegione and piano (1824), 2 piano trios (1827, 1828?), 2 string trios (1816, 1817), 14 or 16 string quartets (1811-26), Forel piano quintet (1819?), string quintet ( 1828), an octet for strings and winds (1824), etc.;
- For piano 2 hands- 23 sonatas (including 6 unfinished; 1815-28), fantasy (Wanderer, 1822, etc.), 11 impromptu (1827-28), 6 musical moments (1823-28), rondo, variations and others plays, over 400 dances (waltzes, landlers, German dances, minuets, ecossaises, gallops, etc.; 1812-27);
- For piano four hands- sonatas, overtures, fantasies, Hungarian divertissement (1824), rondos, variations, polonaises, marches, etc.;
- Vocal Ensembles for male, female voices and mixed compositions with and without accompaniment;
- Songs for voice and piano, (more than 600) including the cycles The Beautiful Miller's Woman (1823) and The Winter Road (1827), the collection Swan Song (1828).
see also
Bibliography
- Konen W. Schubert. - ed. 2nd, add. - M.: Muzgiz, 1959. - 304 p. (Most suitable for an initial introduction to the life and work of Schubert)
- Wulfius P. Franz Schubert: Essays on life and work. - M.: Music, 1983. - 447 p., ill., notes. (Seven essays on the life and work of Sh. Contains the most detailed index of Schubert's works in Russian)
- Khokhlov Yu. N. Songs of Schubert: Features of style. - M.: Music, 1987. - 302 p., notes. (The creative method of Sh. is studied on the material of his songs, a description of his song work is given. Contains a list of more than 130 titles of works about Schubert and his song work)
- Alfred Einstein Schubert. Ein musikalisches Portrit, Pan-Verlag, Zrich 1952 (als E-Book frei verfügbar bei http://www.musikwissenschaft.tu-berlin.de/wi)
- Peter Gülke: Franz Schubert und seine Zeit, Laaber-Verlag, Laaber 2002, ISBN 3-89007-537-1
- Peter Hartling: Schubert. 12 moments musicaux und ein Roman, Dtv, München 2003, ISBN 3-423-13137-3
- Ernst Hilmar: Franz Schubert, Rowohlt, Reinbek 2004, ISBN 3-499-50608-4
- Kreissle, "Franz Schubert" (Vienna, 1861);
- Von Helborn, "Franz Schubert";
- Rissé, "Franz Schubert und seine Lieder" (Hannover, 1871);
- Aug. Reissmann, "Franz Schubert, sein Leben und seine Werke" (B., 1873);
- H. Barbedette, "F. Schubert, sa vie, ses oeuvres, son temps” (P., 1866);
- M-me A. Audley, "Franz Schubert, sa vie et ses oeuvres" (P., 1871).
Links
- Catalog of Schubert's works, unfinished eighth symphony (English)
- NOTES (!)118.126Mb, PDF-format Complete collection of Schubert's vocal works in 7 parts in the Musical Archive of Boris Tarakanov
- Franz Schubert: Sheet Music at the International Music Score Library Project
Wikimedia Foundation. 2010 .
- Franz von Sickingen
- Franz von Hipper
See what "Franz Schubert" is in other dictionaries:
Franz Schubert (disambiguation)- Franz Schubert: Franz Schubert is a great Austrian composer, one of the founders of romanticism in music. (3917) Franz Schubert is a typical main belt asteroid named after the Austrian composer Franz Schubert ... Wikipedia
(3917) Franz Schubert- This term has other meanings, see Franz Schubert (meanings). (3917) Franz Schubert Discovery Discoverer Freimut Borngen (English) Discovery date February 15, 1961 Eponym Franz Schubert ... Wikipedia
Franz Peter Schubert- Franz Peter Schubert Lithograph by Josef Kriehuber Date of birth January 31, 1797 Place of birth Vienna Date of death ... Wikipedia
Franz Schubert was born in 1797, on the outskirts of Vienna, in the family of a school teacher.
The boy's musical abilities turned out to be too early, and already at an early age, with the help of his father and older brother, he learned to play the piano and violin.
Thanks to the kind voice of eleven-year-old Franz, they managed to get a job in a closed musical educational institution that served the court church. A five-year stay there gave Schubert the foundations of his general and musical education. Already at school, Schubert created a lot, and his abilities were noticed by outstanding musicians.
But life in this school was a burden for Schubert due to a half-starved existence and the inability to fully devote himself to writing music. In 1813, he left school and returned home, but it was impossible to live on his father's means, and soon Schubert took the position of teacher, father's assistant at school.
With difficulties, having worked at the school for three years, he left it, and this led Schubert to break with his father. The father was opposed to his son leaving the service and taking up music, because the profession of a musician at that time did not provide either a proper position in society or material well-being. But Schubert's talent until that time turned out to be so bright that he could not do anything other than musical creativity.
When he was 16-17 years old, he wrote the first symphony, and then such wonderful songs as "Gretchen at the Spinning Wheel" and "Forest King" to the text of Goethe. During the years of teaching (1814-1817) he wrote many chamber and instrumental music and about three hundred songs.
After breaking up with his father, Schubert moved to Vienna. He lived there in great need, did not have his own corner, but was in turn with his friends - Viennese poets, artists, musicians, often as poor as he was. His need sometimes reached the point that he could not afford to buy music paper, and he was forced to write down his works on scraps of newspapers, on table menus, etc. But such an existence had little effect on his mood, usually cheerful and cheerful.
In the work of Schubert, "romance" combines fun, cheerfulness with melancholy-sad moods that sometimes reach. to gloomy tragic hopelessness.
It was a time of political reaction, the people of Vienna tried to forget themselves and turn away from the gloomy mood caused by heavy political oppression, they had a lot of fun, had fun and danced.
A group of young artists, writers, and musicians gathered around Schubert. During parties and out-of-town walks, he wrote a lot of waltzes, landlers and ecossaises. But these "schubertiadi" were not limited to entertainment. In this circle, questions of social and political life were passionately discussed, disappointment with the surrounding reality was expressed, protests and dissatisfaction against the then reactionary regime were voiced, feelings of anxiety and disappointment were brewing. Along with this, there were also strong optimistic views, a cheerful mood, faith in the future. The whole life and creative path of Schubert was filled with contradictions, which are so characteristic of romantic artists of that era.
With the exception of an insignificant period, when Schubert reconciled with his father and lived in a family, the composer's life was very difficult. In addition to material need, Schubert was suppressed by his position in society as a musician. His music was not known, it was not understood, creativity was not encouraged.
Schubert worked very quickly and a lot, but during his life almost nothing was printed or executed.
Most of his writings remained in manuscript form and were discovered many years after his death. For example, one of the most popular and beloved now symphonic works - "unfinished symphony" - was never performed in his life and was first identified 37 years after Schubert's death, as well as many other works. However, his need to hear his own works was so great that he specially wrote male quartets for spiritual texts that his brother could perform with his singers in the church where he served as regent.
Franz Peter Schubert
(January 31, 1797, Himmelpfortgrund, Austria - November 19, 1828, Vienna) - Austrian composer, one of the founders of romanticism in music, author of about 600 songs, nine symphonies, as well as a large number of chamber and solo piano music. Interest in Schubert's music during his lifetime was moderate, but grew significantly posthumously. Schubert's works are still popular and are among the most famous examples of classical music.
Biography
Franz Schubert(1797-1828), Austrian composer. Franz Peter Schubert, the fourth son of the schoolteacher and amateur cellist Franz Theodor Schubert, was born on January 31, 1797 in Lichtental (a suburb of Vienna). Teachers paid tribute to the amazing ease with which the boy mastered musical knowledge. Thanks to his success in learning and good command of the 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 compositions: an opera, a symphony, piano pieces and songs. A. Salieri became interested in the young musician, and from 1812 to 1817 Schubert studied composition with him. In 1813 he entered the teacher's 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 to music a poem by Goethe Gretchen at the spinning wheel - this was Schubert's first masterpiece and the first great German song.
The years 1815-1816 are notable for the phenomenal productivity of the young genius. In 1815 he composed two symphonies, two masses, four operettas, several string quartets, and about 150 songs. In 1816, two more symphonies appeared - the Tragic and often sounding Fifth in B flat major, as well as another mass and over 100 songs. Among the songs of these years are the Wanderer and the famous Forest King. 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 inspirational performance of Schubert's songs, they gained popularity in the Viennese salons. The composer himself continued to work at the school, but in the end, in July 1818, he left the service and left for Geliz, the summer residence of Count Johann Esterhazy, where he served as a music teacher. In the spring, the Sixth Symphony was completed, and in Gelize, 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 called The Twin Brothers. It was completed by January 1819 and performed at the Kärtnertorteater in June 1820. In 1819, Schubert spent his summer holidays with Vogl in Upper Austria, where he composed the well-known Forel piano quintet.
The following years proved to be difficult for Schubert, since he, by nature, did not know how to achieve the favor of influential Viennese musical figures. The romance of the Forest Tsar, published as op. 1, marked the beginning of the regular publication of Schubert's writings. In February 1822 he completed the opera Alfonso et Estrella; in October the Unfinished Symphony saw the light of day. The next year is marked in Schubert's biography by illness and despondency of the composer. His opera was not staged; he composed two more, The Conspirators and Fierrabras, but they suffered the same fate. A wonderful vocal cycle The beautiful miller's wife and the music for Rosamund's dramatic play, well received by the audience, testify that Schubert did not give up. At the beginning of 1824 he worked on the string quartets in A minor and D minor and on the octet in F major, but the need forced him to become a teacher again in 
the Esterhazy family. A summer stay in Zeliz had a beneficial effect on Schubert's health. There he composed two opuses for piano four hands - the Grand Duet sonata in C major and Variations on an original theme in A flat major. In 1825 he again went with Vogl to Upper Austria, where his friends were given the warmest welcome.
In 1826, Schubert petitioned for a place as bandmaster in the court chapel, but the request was not granted. His last string quartet and songs based on Shakespeare's words appeared during a summer trip to Währing, a village near Vienna. In Vienna itself, Schubert's songs were widely known and loved at that time; musical evenings devoted exclusively to his music were regularly held in private homes. In 1827, among other things, the vocal cycle The Winter Road and cycles of piano pieces were written.
In 1828 there were alarming signs of an impending illness; the hectic pace of Schubert's composing activity can be interpreted both as a symptom of an illness and as a cause that hastened the death. Masterpiece followed masterpiece: a majestic Symphony in C, a vocal cycle posthumously published under the title of Swan Song, a string quintet in C, 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 on an invitation with 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 at the Vienna Central Cemetery. 
Song-romance genre in the interpretation of Schubert is 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 denoted by the German word Lied. Schubert's songs - and there are more than 650 of them - give many variants of this form, so that classification here is hardly possible. In principle, Lied is of two types: strophic, in which all or almost all of the verses are sung to one melody; "through", in which each verse can have its own musical solution. The field rosette is an example of the first kind; The young nun is the second. Two factors contributed to the rise of Lied: the ubiquity of the pianoforte and the rise of German lyric poetry. Schubert managed to do what his predecessors could not: by composing on a certain poetic text, he created a context with his music that gives the word a new meaning. It could be a sound-pictorial context - for example, the murmur of water in the songs from the Beautiful Miller's Girl or the whirring of a spinning wheel in Gretchen at the spinning wheel, or an emotional context - for example, the chords that convey the reverent mood of the evening in Sunset or the midnight horror in The Double. sometimes between 
Thanks to the special gift of Schubert, a mysterious connection is established by the landscape and the mood of the poem: for example, the imitation of the monotonous hum of a hurdy-gurdy in the Organ Grinder 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. Wrong are those who question the literary taste of the composer on the grounds that among the more than six hundred poetic texts he voiced there are very weak verses - for example, who would remember the poetic lines of the romances Forel or To music, if not for the genius of Schubert? But still, the greatest masterpieces were created by the composer on the texts of his favorite poets, luminaries of German literature - Goethe, Schiller, Heine. Schubert's songs - whoever the author of the words may be - are characterized by the immediacy of the 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 compositions are somewhat less expressive than romances. Vocal ensembles contain excellent pages, but none of them, except perhaps the five-part No, only the one who knew, captures the listener like romances. The unfinished spiritual opera The Resurrection of Lazarus is more of an oratorio; the music here is beautiful, and the score contains anticipations of some of Wagner's techniques.
Schubert composed six masses. They also have very bright parts, but still, in Schubert, this genre does not rise to those heights of perfection that were achieved in the masses of Bach, Beethoven, and later Bruckner. It is only in the last Mass that Schubert's musical genius overcomes his detached attitude towards Latin texts. 
Orchestral music. In his youth, Schubert led and conducted a student orchestra. Then he mastered the skill of instrumentation, but life rarely gave him reasons to write for the orchestra; after six youthful symphonies, only a symphony in B minor and a symphony in C major were created. In the series of early symphonies, the most interesting is the fifth (in B minor), but only Schubert's Unfinished introduces us to a new world, far from the classical styles of the composer's predecessors. Like theirs, the development of themes and textures in Unfinished is full of intellectual brilliance, but in terms of the strength of the emotional impact, Unfinished is close to Schubert's songs. In the majestic C-major symphony, such qualities are even brighter.
Among other orchestral works, overtures stand out. In two of them, written in 1817, the influence of G. Rossini is felt, and their subtitles indicate: "in the Italian style." Of interest are also three opera overtures: Alfonso and Estrella, Rosamund and Fierrabras - the most perfect example of this form in Schubert. 
Chamber instrumental genres. Chamber works to the greatest extent reveal the inner world of the composer; in addition, they clearly reflect the spirit of his beloved Vienna. The tenderness and poetry of Schubert's nature are captured in the masterpieces, which are usually called the "seven stars" of his chamber heritage. The Trout Quintet is a herald of a new, romantic worldview in the chamber-instrumental genre; charming melodies and cheerful rhythms brought great popularity to the composition. Five years later, two string quartets appeared: the quartet in A minor, perceived by many as the composer's confession, and the quartet Girl and Death, where melody and poetry are combined with deep tragedy. The last Schubert quartet in G major is the quintessence of the composer's skill; the scale of the cycle and the complexity of the forms present some obstacle to the popularity of this work, but the last quartet, like the symphony in C major, is the absolute pinnacle of Schubert's work. The lyrical-dramatic character of the early quartets is also characteristic of the quintet in C major, but it cannot be compared in perfection with the quartet in G major. 
Piano compositions. Schubert composed many pieces for pianoforte 4 hands. Many of them are charming music for home use. But among this part of the composer's heritage there are more serious works. Such are the Grand Duo sonata with its symphonic scope, the variations in A-flat major with their sharp characteristic, and the fantasy in F minor op. 103 is a first-class and widely recognized composition. About two dozen of Schubert's 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. Sonatas in A minor, D major and G major demonstrate the composer's understanding of the sonata principle: dance and song forms are combined here with classical techniques for developing themes. In three sonatas that appeared shortly before the death of the composer, song and dance elements appear in a purified, sublime form; the emotional world of these works is richer than in the early opuses. The last sonata in B-flat major is the result of Schubert's work on the thematic and form of the sonata cycle.
Creation
Schubert's creative heritage covers a variety of genres. He created 9 symphonies, over 25 chamber-instrumental works, 15 piano sonatas, many pieces for piano in two and four hands, 10 operas, 6 masses, a number of works for the choir, for a vocal ensemble, and finally, about 600 songs. During his lifetime, and indeed for quite a long time after the death of the composer, he was valued mainly as a songwriter. Only from the 19th century did researchers begin to gradually comprehend his achievements in other areas of creativity. Thanks to Schubert 
the song for the first time became equal in importance to other genres. Her poetic images reflect almost the entire history of Austrian and German poetry, including some foreign authors. In the field of song, Schubert became Beethoven's successor. Thanks to Schubert, this genre took on an artistic form, enriching the realm of concert vocal music. Schubert's musical gift was also reflected in piano music. His Fantasies in C major and F minor, impromptu, musical moments, sonatas are proof of the richest imagination and great harmonic erudition. In chamber and symphonic music—the string quartet in D minor, the quintet in C major, the piano quintet Forellenquintett, the Grand Symphony in C major, and the Symphony Incomplete in B minor—Schubert is Beethoven's successor. Of the operas performed at that time, Schubert most liked Josef Weigl's The Swiss Family, Luigi Cherubini's Medea, François Adrien Boildieu's John of Paris, Izuard's Sandrillon, and especially Gluck's Iphigenia en Tauris. Schubert had little interest in Italian opera, which was in great fashion in his time; only The Barber of Seville and some excerpts from Otello by Gioachino Rossini seduced him.
Unfinished symphony
The exact date of creation of the symphony in B minor (Unfinished) is unknown. It was dedicated to the amateur musical society in Graz, and Schubert presented two parts of it in 1824. The manuscript was kept for more than 40 years by Schubert's friend Anselm Hüttenbrenner, until the Viennese conductor Johann Herbeck discovered it and performed it in concert in 1865. The symphony was published in 1866. It remained a secret of Schubert himself, why he did not complete the "Unfinished" symphony. It seems that he intended to bring it to its logical conclusion, the first scherzos were completely finished, and the rest were found in sketches. From another point of view, the “Unfinished” symphony is a completely completed work, since the range of images and their development exhausts itself within two parts. So, in his time, Beethoven created sonatas in two parts, and later, among romantic composers, works of this kind became commonplace.
Franz Schubert (January 31, 1797 - November 19, 1828) was a famous Austrian composer and pianist. Founder of musical romanticism. In the song cycles, Schubert embodied the spiritual world of a contemporary - "a young man of the 19th century." Wrote ok. 600 songs (to the words of F. Schiller, I.V. Goethe, G. Heine and others), including from the cycles “The Beautiful Miller’s Woman” (1823), “The Winter Road” (1827, both to the words of W. Müller) ; 9 symphonies (including "Unfinished", 1822), quartets, trios, piano quintet "Trout" (1819); piano sonatas (St. 20), impromptu, fantasies, waltzes, landlers, etc. He also wrote works for the guitar.
There are many arrangements of Schubert's works for guitar (A. Diabelli, I.K. Mertz and others).
About Franz Schubert and his work
Valery Agababov
Musicians and music lovers will be interested to know that Franz Schubert, without having a piano at home for a number of years, used mainly the guitar in composing his works. His famous "Serenade" was marked "for guitar" in the manuscript. And if we listen more closely to the melodious and simple in its sincerity music of F. Schubert, we will be surprised to note that much of what he wrote in the song and dance genre has a pronounced "guitar" character.
Franz Schubert (1797-1828) is a great Austrian composer. Born in the family of a school teacher. He was brought up in the Viennese convent, where he studied bass general with V. Ruzicka, counterpoint and composition with A. Salieri.
From 1814 to 1818 he worked as an assistant teacher at his father's school. Around Schubert there was a circle of friends-admirers of his work (including the poets F. Schober and I. Mayrhofer, the artists M. Schwind and L. Kupilviser, the singer I. M. Fogl, who became a propagandist of his songs). These friendly meetings with Schubert went down in history under the name "Schubertiad". As a music teacher for the daughters of Count I. Esterhazy, Schubert traveled to Hungary, together with Vogl traveled to Upper Austria and Salzburg. In 1828, a few months before Schubert's death, his author's concert took place, which was a great success.
The most important place in the legacy of F. Schubert is occupied by songs for voice and piano (about 600 songs). One of the greatest melodists, Schubert reformed the song genre, endowing it with deep content. Schubert created a new type of song of through development, as well as the first highly artistic samples of the vocal cycle ("The Beautiful Miller's Woman", "Winter Way"). Peru belongs to Schubert operas, singspiel, masses, cantatas, oratorios, quartets for male and female voices (he used the guitar as an accompanying instrument in male choirs and op. 11 and 16).
In Schubert's instrumental music, based on the traditions of the composers of the Viennese classical school, song-type thematics acquired great importance. He created 9 symphonies, 8 overtures. The apex examples of romantic symphonism are the lyrical-dramatic "Unfinished" symphony and the majestic heroic-epic "Big" symphony.
Piano music is an important area of Schubert's work. Influenced by Beethoven, Schubert established a tradition of free romantic interpretation of the piano sonata genre (23). The fantasy "Wanderer" anticipates the "poetic" forms of the Romantics (F. Liszt). Impromptu (11) and musical moments (6) by Schubert are the first romantic miniatures close to the works of F. Chopin and R. Schumann. Piano minuets, waltzes, "German dances", landlers, ecossesses, etc. reflected the composer's desire to poeticize dance genres. Schubert wrote more than 400 dances.
The work of F. Schubert is closely connected with Austrian folk art, with the everyday music of Vienna, although he rarely used genuine folk themes in his compositions.
F. Schubert is the first major representative of musical romanticism, who, according to academician B.V. Asafiev, expressed "the joys and sorrows of life" in the way "as most people feel and would like to convey."
Magazine "Guitarist", №1, 2004