Biography of Schubert: the difficult life of the great composer. Obituary of French Schubert Schubert full biography

Trusting, frank, incapable of betrayal, sociable, talkative in a joyful mood - who knew him differently?
From the memories of friends

F. Schubert is the first great romantic composer. Poetic love and pure joy of life, despair and coldness of loneliness, longing for an ideal, thirst for wandering and the hopelessness of wandering - all this found an echo in the composer’s work, in his naturally and effortlessly flowing melodies. The emotional openness of the romantic worldview and the spontaneity of expression raised the song genre to unprecedented heights: this previously minor genre for Schubert became the basis of the artistic world. In a song melody, the composer could express a whole range of feelings. His inexhaustible melodic gift allowed him to compose several songs a day (more than 600 in total). Song melodies also penetrate into instrumental music, for example, the song “Wanderer” served as material for the piano fantasy of the same name, and “Trout” - for a quintet, etc.

Schubert was born into the family of a school teacher. The boy showed extraordinary musical abilities and he was sent to study in the convict (1808-13). There he sang in the choir, studied music theory under the direction of A. Salieri, played in the student orchestra and conducted it.

In Schubert's family (as in the German burghers in general) music was loved, but tolerated only as a hobby; the profession of a musician was considered insufficiently honorable. The aspiring composer had to follow in his father's footsteps. For several years (1814-18), school work distracted Schubert from his creativity, and yet he composed extremely a lot. If in instrumental music one can still see the dependence on the style of the Viennese classics (mainly W.A. Mozart), then in the song genre the composer already at the age of 17 creates works that fully reveal his individuality. The poetry of J. V. Goethe inspired Schubert to create such masterpieces as “Gretchen at the Spinning Wheel”, “The Forest King”, songs from “Wilhelm Meister”, etc. Schubert also wrote many songs based on the words of another classic German literature- F. Schiller.

Wanting to devote himself entirely to music, Schubert left his job at school (this led to a break in relations with his father) and moved to Vienna (1818). Such intermittent sources of livelihood remain as private lessons and the publication of essays. Not being a virtuoso pianist, Schubert could not easily (like F. Chopin or F. Liszt) gain a name for himself in musical world and thus promote the popularity of their music. This was not helped by the composer’s character, his complete immersion in composing music, his modesty and at the same time the highest creative integrity, which did not allow him to make any compromises. But he found understanding and support among his friends. A circle of creative youth is grouped around Schubert, each of whose members must certainly have some kind of artistic talent (What can he do? - this was the question that greeted every newcomer). Participants in the “Schubertiads” became the first listeners, and often co-authors (I. Mayrhofer, I. Zenn, F. Grillparzer) of the brilliant songs of the head of their circle. Conversations and heated debates about art, philosophy, and politics alternated with dances, for which Schubert wrote a lot of music, and often simply improvised it. Minuets, ecausses, polonaises, landlers, polkas, gallops - this is the range of dance genres, but waltzes rise above everything - no longer just dances, but rather lyrical miniatures. Psychologizing dance, turning it into a poetic picture of mood, Schubert anticipates the waltzes of F. Chopin, M. Glinka, P. Tchaikovsky, S. Prokofiev. Circle member, famous singer M. Vogl promoted Schubert's songs on the concert stage and, together with the author, toured the cities of Austria.

Schubert's genius grew out of the long-standing musical traditions of Vienna. The classical school (Haydn, Mozart, Beethoven), multinational folklore, in which the influences of Hungarians, Slavs, Italians were superimposed on the Austro-German basis, and finally, the special passion of the Viennese for dance, home music playing- all this determined the shape of Schubert’s work.

The heyday of Schubert's work - the 20s. At this time, the best instrumental works were created: the lyrical-dramatic “Unfinished” symphony (1822) and the epic, life-affirming C major (the last, Ninth). Both symphonies for a long time were unknown: the C major was discovered by R. Schumann in 1838, and the “Unfinished” was found only in 1865. Both symphonies influenced the composers of the second half of the 19th century c., defining different paths of romantic symphonism. Schubert never heard any of his symphonies performed professionally.

There were many difficulties and failures with opera productions. Despite this, Schubert constantly wrote for the theater (about 20 works in total) - operas, singspiels, music for the play “Rosamund” by V. Cesi. He also creates spiritual works (including 2 masses). Schubert wrote music of remarkable depth and power of influence in chamber genres (22 piano sonatas, 22 quartets, about 40 other ensembles). His impromptu songs (8) and musical moments (6) marked the beginning of the Romantic piano miniature. New things are also emerging in songwriting. 2 vocal cycles based on poems by W. Müller - 2 stages life path person.

The first of them is “The Beautiful Miller's Wife” (1823) - a kind of “novel in songs”, covered by a single plot. A young man, full of strength and hope, sets off to find happiness. Spring nature, a cheerfully babbling brook - everything creates a cheerful mood. Confidence soon gives way to a romantic question, the languor of the unknown: Where? But then the stream leads the young man to the mill. Love for the miller's daughter, her happy moments are replaced by anxiety, torment of jealousy and the bitterness of betrayal. In the gently murmuring, soothing streams of the stream, the hero finds peace and consolation.

The second cycle is “Winter Retreat” (1827) - a series of mournful memories of a lonely wanderer about unrequited love, tragic thoughts, only occasionally interspersed with bright dreams. The last song, “The Organ Grinder,” creates the image of a wandering musician, forever and monotonously turning his organ grinder and finding no response or outcome anywhere. This is the personification of the path of Schubert himself, already seriously ill, exhausted by constant poverty, backbreaking work and indifference to his creativity. The composer himself called the songs of “Winter Retreat” “terrible.”

The crowning achievement of vocal creativity is “Swan Song” - a collection of songs based on the words of various poets, including G. Heine, who turned out to be close to the “late” Schubert, who felt the “split of the world” more acutely and painfully. At the same time, Schubert never, even in the last years of his life, isolated himself in mournful tragic moods (“pain sharpens thought and tempers feelings,” he wrote in his diary). The figurative and emotional range of Schubert's lyrics is truly limitless - it responds to everything that worries any person, while the sharpness of the contrasts in it is constantly increasing (the tragic monologue “Double” and next to it is the famous “Serenade”). Schubert finds more and more creative impulses in the music of Beethoven, who, in turn, became acquainted with some of the works of his younger contemporary and appreciated them very highly. But modesty and shyness did not allow Schubert to personally meet his idol (one day he turned back at the very door of Beethoven’s house).

The success of the author's first (and only) concert, organized a few months before his death, finally attracted the attention of the musical community. His music, especially songs, begins to quickly spread throughout Europe, finding the shortest path to the hearts of listeners. She has a huge influence on the romantic composers of subsequent generations. Without the discoveries made by Schubert, it is impossible to imagine Schumann, Brahms, Tchaikovsky, Rachmaninov, Mahler. He filled the music with the warmth and spontaneity of song lyrics, revealing the inexhaustible spiritual world of man.

K. Zenkin

Schubert's creative life is estimated at only seventeen years. Nevertheless, it is even more difficult to list everything he wrote than to list the works of Mozart. creative path which was longer. Just like Mozart, Schubert did not bypass any area of ​​musical art. Some of his legacy (mainly operatic and spiritual works) was pushed aside by time itself. But in a song or a symphony, in a piano miniature or a chamber ensemble, they found expression best sides Schubert's genius, the wonderful spontaneity and ardor of the romantic imagination, lyrical warmth and the quest of the thinker person XIX century.

In these areas musical creativity Schubert's innovation manifested itself with the greatest courage and scope. He is the founder of the lyrical instrumental miniature, the romantic symphony - lyrical-dramatic and epic. Schubert radically changes the figurative content in large forms chamber music: in piano sonatas, string quartets. Finally, the true brainchild of Schubert is the song, the creation of which is simply inseparable from his very name.

Schubert's music was formed on Viennese soil, fertilized by the genius of Haydn, Mozart, Gluck, and Beethoven. But Vienna is not only a classic, represented by its luminaries, but also rich life everyday music. Musical culture the capital of a multinational empire has long been significantly affected by its diverse and multilingual population. The crossing and interpenetration of Austrian, Hungarian, German, and Slavic folklore with the constant influx of Italian melodies over the centuries led to the formation of a specifically Viennese musical flavor. Lyrical simplicity and lightness, clarity and grace, cheerful temperament and lively dynamics street life, good-natured humor and ease dance movement left a characteristic imprint on the everyday music of Vienna.

The democratism of Austrian folk music, the music of Vienna, permeates the work of Haydn and Mozart; Beethoven also experienced its influence; according to Schubert, he is a child of this culture. For his commitment to her, he even had to listen to reproaches from friends. Schubert's melodies “sometimes sound too domestic, too in Austrian“,” writes Bauernfeld, “reminiscent of folk songs, the somewhat base tone and ugly rhythm of which do not have sufficient grounds to penetrate into poetic song.” To this kind of criticism, Schubert replied: “What do you understand? This is how it is and how it should be!” And indeed, Schubert speaks in the language of genre-everyday music, thinks in its images; from them grow works of high forms of art of the most varied nature. In a broad generalization of the song lyrical intonations that matured in the musical everyday life of the burghers, in the democratic environment of the city and its suburbs - the nationality of Schubert's creativity. The lyrical and dramatic “Unfinished” symphony unfolds on a song and dance basis. Translation genre material can be felt both in the epic canvas of the “Big” symphony in C major and in the intimate lyrical miniature or instrumental ensemble.

The element of songfulness permeated all areas of his work. The song melody forms the thematic basis of Schubert's instrumental works. For example, in the piano fantasy on the theme of the song “Wanderer”, in the piano quintet “Trout”, where the melody of the song of the same name serves as the theme for variations of the finale, in the d-minor quartet, where the song “Death and the Maiden” is introduced. But also in other works not related to the themes of certain songs - in sonatas, in symphonies - the song thematic structure determines the features of the structure, methods of developing the material.

It is natural, therefore, that although the beginning of Schubert’s career as a composer was marked by an extraordinary scope of creative ideas that encouraged him to try in all areas of musical art, first of all he found himself in song. It was in it, ahead of everything else, that the edges of his lyrical talent shone with a wonderful play.

“Among the music not for the theater, not for church, not for concerts, there is a particularly wonderful department - romances and songs for one voice with piano. From the simple, verse form of the song, this genre has developed to whole small single scenes-monologues, allowing for all the passion and depth of spiritual drama.

This type of music was magnificently manifested in Germany, in the genius of Franz Schubert,” wrote A. N. Serov.

Schubert is “the nightingale and the swan of song” (B.V. Asafiev). The song contains his entire creative essence. It is Schubert's song that is a kind of boundary separating the music of romanticism from the music of classicism. Coming from early XIX century, the era of song, romance is a pan-European phenomenon that “can be called by name greatest master urban democratic song-romance of Schubert - Schubertianism" (B.V. Asafiev). The place of the song in Schubert's work is equivalent to the position of the fugue in Bach or the sonata in Beethoven. According to B.V. Asafiev, Schubert accomplished in the field of song what Beethoven did in the field of symphony. Beethoven summarized the heroic ideas of his era; Schubert was a singer of “simple natural thoughts and deep humanity.” Through the world of lyrical feelings reflected in the song, he expresses his attitude towards life, people, and the surrounding reality.

Lyricism is the very essence of Schubert's creative nature. The range of lyrical themes in his work is exceptionally wide. The theme of love with all the richness of its poetic shades, sometimes joyful, sometimes sorrowful, is intertwined with the theme of wandering, pilgrimage, loneliness, and the theme of nature that permeates all romantic art. Nature in Schubert’s work is not just a background against which a certain narrative unfolds or some events take place: it is “humanized”, and the radiation of human emotions, depending on their nature, colors the images of nature, gives them a particular mood and corresponding flavor.

Franz Schubert short biography outlined in this article.

Franz Schubert short biography

Franz Peter Schubert- Austrian composer, one of the founders of romanticism in music, author of about 600 vocal compositions, nine symphonies, as well as a large number of chamber and solo music piano music.

Schubert is born January 31, 1797 in the suburbs of Vienna in a large family. Since childhood he was fond of music: he played the violin and piano. From the age of six he studied at the parish school of Lichtenthal. From the age of seven he took organ lessons from the bandmaster of the Lichtental church.

In 1808-1812, Franz sang in the Imperial Court Chapel under the guidance of the outstanding Viennese composer and teacher Antonio Salieri, who, drawing attention to the boy’s talent, began to teach him the basics of composition. By the age of seventeen, Schubert was already the author of piano pieces, vocal miniatures, string quartets, a symphony and the opera The Devil's Castle.

While working as a teacher's assistant at his father's school (1814-18), Schubert continued to compose intensively.

The composer Schubert experienced his first popularity in 1816 after writing the ballad “The Forest King”. Further creativity Schubert further revealed his melodic talent. Songs and symphonies by Schubert from the collections “The Beautiful Miller's Wife” and “Winter Reise” were especially noted.

Schubert’s “Serenade” from the collection “Swan Song”, as well as the songs “Shelter” and “By the Sea” gained worldwide fame. Some works, for example, Schubert's unfinished symphony (in B minor), the great symphony and others, are a continuation of Beethoven's music.

The great composer wrote about 600 compositions. Schubert's waltzes are a large share among 400 dances written for playing piano 4 hands. Despite this, Franz Schubert experienced a lack of funds almost all his life.

In 1823 he was elected an honorary member of the Styrian and Linz Musical Unions.

In the 1820s, Schubert began to have health problems. In December 1822 he fell ill, but after a stay in hospital in the autumn of 1823 his health improved.

Amazing fate wonderful people! They have two lives: one ends with their death; the other continues after the death of the author in his creations and, perhaps, will never fade away, preserved by subsequent generations, grateful to the creator for the joy that the fruits of his labor bring to people. Sometimes the life of these creatures (whether they are works of art, inventions, discoveries) begins only after the death of the creator, no matter how bitter it is.
This is exactly how the fate of Schubert and his works unfolded. Most of it best essays, especially large genres, were not heard by the author. Much of his music might have disappeared without a trace if not for the vigorous search and enormous work of some ardent connoisseurs of Schubert (including such musicians as Schumann and Brahms).
And so, when the great musician’s warm heart stopped beating, his best works began to be “born again”, they started talking about the composer, captivating listeners with their beauty, deep content and skill.

His music gradually began to sound everywhere where true art was appreciated.
Speaking about the peculiarities of Schubert’s work, academician B.V. Asafiev notes in him “the rare ability to be a lyricist, but not to withdraw into one’s personal world, but to feel and convey the joys and sorrows of life in the way that most people feel and would like to convey them.” Perhaps it is impossible to more accurately and deeply express the main thing in Schubert’s music, what its historical role is. Schubert created a huge number of works of all genres that existed in his time without exception - from vocal and piano miniatures to symphonies.
In every field, except theatrical music, he said a unique and new word, leaving wonderful works that are still alive today. Given their abundance, one is struck by the extraordinary variety of melody, rhythm, and harmony.
“What an inexhaustible wealth of melodic invention there was in this untimely ended
his career as a composer,” Tchaikovsky wrote with admiration. “What a luxury of fantasy and sharply defined originality!”
Schubert's song wealth is especially great. His songs are valuable and dear to us not only as independent works of art. They helped the composer find his musical language in other genres. The connection with the songs was not only in the general intonations and rhythms, but also in the peculiarities of presentation, development of themes, expressiveness and colorfulness of harmonic means. Schubert opened the way for many new musical genres- impromptu, musical moments, song cycles, lyric-dramatic symphony. But no matter what genre Schubert wrote - traditional or created by him - everywhere he acts as a composer new era, romantic era, although his work is firmly based on classical musical art.
Many features of the new romantic style were then developed in the works of Schumann, Chopin, Liszt, and Russian composers of the second half of the 19th century.

Schubert's music is dear to us not only as a magnificent artistic monument. It deeply moves listeners. Whether it splashes with fun, plunges you into deep thoughts, or causes suffering - it is close and understandable to everyone, so vividly and truthfully does it reveal human feelings and thoughts expressed by the great Schubert in his boundless simplicity.

MAIN WORKS OF SCHUBERT

For symphony orchestra
Eight symphonies, including:
Symphony No. 4, C minor (Tragic), 1816
Symphony No. 5, B flat major, 1816
Symphony No. 7, B minor (Unfinished), 1822
Symphony No. 8, C major, 1828
Seven overtures.

Vocal works(notes)
Over 600 songs, including:
Cycle “The Beautiful Miller's Wife”, 1823
Cycle "Winter Retreat", 1827
Collection “Swan Song” (posthumous), 1828
More than 70 songs based on Goethe's texts, among them:
"Margarita at the Spinning Wheel", 1814
"The Forest King", 1815
More than 30 spiritual works, including:
Mass in A flat major, 1822
Mass in E flat major, 1828
More than 70 secular works for choir and various ensembles.

Chamber ensembles
Fifteen quartets, including:
Quartet in A minor, 1824
Quartet in D minor, 1826
Quintet "Trout", 1819
String Quintet, 1828
Two piano trios, 1826 and 1827.
Octet, 1824

Piano works
Eight impromptu songs, 1827-1828.
Six musical moments, 1827
Fantasy "The Wanderer", 1822
Fifteen sonatas, including:
Sonata in A minor, 1823
Sonata in A major, 1825
Sonata in B flat major, 1828
56 piano duets.
Hungarian divertissement, 1824
Fantasia in F minor, 1828
24 collections of dances.

Musical and dramatic works
Eight Singspiels, including:
"Friends from Salamanca", 1815
"Twins", 1819
Operas:
"Alfonso and Estrella", 1822
"Fierabras", 1823
"Home War" ("Conspirators"), 1823
The rest are not finished.
Melodrama “The Magic Harp”, 1820

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 amount of chamber and solo piano music. Interest in Schubert's music was moderate during his lifetime, but grew significantly posthumously. Schubert's works have still not lost their popularity and are among the most famous examples of classical music.
Biography
Franz Schubert(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. 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 Goethe's poem Gretchen at the Spinning Wheel to music - 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 heard 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 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 French song, op. 10 for two pianos, dedicated to Beethoven. Upon his return to Vienna, Schubert received a commission for an operetta called The Twin Brothers. 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 Forel piano quintet.
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 The Forest King, published as op. 1, marked the beginning of the regular publication of Schubert's works. In February 1822 he completed the opera Alfonso and Estrella; In October the Unfinished Symphony was released. 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 - The Conspirators and Fierrabras, but they suffered the same fate. A wonderful vocal cycle. A wonderful miller’s wife and the music for dramatic play Rosamund testifies that Schubert did not give up. At the beginning of 1824 he worked on string quartets in A minor and D minor and on an octet in F major, but need forced him to 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 - the Grand Duo 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 received the warmest welcome.
In 1826, Schubert petitioned for the position of conductor in the court chapel, but the petition was not granted. His latest string quartet and songs based on Shakespeare's words 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. In 1827, among other things, the vocal cycle Winter Road and cycles of piano pieces were written.
In 1828, alarming signs of an impending illness appeared; the feverish pace of Schubert's composing activity can be interpreted both as a symptom of an illness and as a reason that accelerated fatal outcome. Masterpiece followed masterpiece: the majestic Symphony in C major, a vocal cycle posthumously published as Swan Song, a 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 died a year earlier. On January 22, 1888, Schubert's ashes were reburied in the Central Cemetery of Vienna.
Song-romance genre in Schubert's interpretation, it 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 denoted by the 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”, in which each verse can have its own musical solution. The field rose is an example of the first type; The young nun is the 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-visual context - for example, the gurgle of water in the songs of the Beautiful Millwoman 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 or the midnight horror in The Double. Sometimes between Thanks to Schubert’s special gift, a mysterious connection is established between the landscape and the mood of the poem: thus, the imitation of the monotonous hum of an organ grinder 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. Those who question the composer’s literary taste on the grounds that among the more than six hundred he scored poetic texts there are very weak poems - 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 based on the texts of his favorite poets, luminaries of 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 polyphonies vocal compositions somewhat less expressive than romances. The vocal ensembles contain wonderful pages, but none of them, except perhaps the five-voice No, only the one who knew, captures the listener as much as the romances. The unfinished spiritual opera Raising 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 the heights of perfection that were achieved in the masses of Bach, Beethoven, and later Bruckner. Only at the last mass musical genius Schubert overcomes 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 and a symphony in C major were created. In the series of early symphonies, the most interesting is the fifth (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 texture in Unfinished is full of intellectual brilliance, but in terms of the strength of its emotional impact, Unfinished is close to Schubert’s songs. In the majestic C major symphony, such qualities appear even more clearly.
Among other orchestral works, the overtures stand out. Two of them, written in 1817, show the influence of G. Rossini, and their subtitles indicate: “in the Italian style.” Three opera overtures are also of interest: Alfonso and Estrella, Rosamond and Fierrabras - the most perfect example of this form by Schubert.
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. The Trout Quintet 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 A minor quartet, perceived by many as the composer’s confession, and the Girl and Death quartet, 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 C major quintet, but it cannot compare in perfection with the G major quartet.
Piano works. Schubert composed many pieces for piano 4 hands. Many of them are charming music for home use. But among this part of the composer’s heritage there are also more serious works. Such are the Grand Duo Sonata with its symphonic scope, the Variations in A-flat major with their sharp characteristics and the 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 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; emotional world These works are 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.
Creation
Schubert's creative heritage covers the most different genres. He created 9 symphonies, over 25 chamber instrumental works, 15 piano sonatas, many pieces for piano for two and four hands, 10 operas, 6 masses, a number of works for choir, for vocal ensemble finally, about 600 songs. During life, and that's enough long time After the composer's death, 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 became equal in importance to other genres for the first time. 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 gained art form, enriching the field of concert vocal music. Schubert's musical gift was also reflected in piano music. His Fantasies in C major and F minor, impromptu songs, musical moments, and sonatas are proof of his rich imagination and great harmonic erudition. In the chamber and symphonic music- string quartet in D minor, quintet in C major, piano quintet "Forellenquintett", "Great Symphony" in C major and "Unfinished Symphony" in B minor - Schubert is the successor of Beethoven. Of the operas performed at that time, Schubert most liked “The Swiss Family” by Joseph Weigl, “Medea” by Luigi Cherubini, “John of Paris” by François Adrien Boieldier, “Cendrillon” by Izouard and especially “Iphigenia in Tauris” by Gluck. Schubert had little interest in Italian opera, which was in great fashion in his time; only " Barber of Seville"and some passages from Gioachino Rossini's Othello fascinated him.
Unfinished Symphony
The exact date of creation of the symphony in B minor (Unfinished) is unknown. It was dedicated to 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 at a concert in 1865. The symphony was published in 1866. It remains a mystery to 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 completed, and the rest were found in sketches. From another point of view, the “Unfinished” symphony is a completely completed work, since the circle of images and their development exhausts itself within two parts. Thus, at one time Beethoven created sonatas in two parts, and later works of this kind became common among romantic composers.

­ Brief biography of Franz Schubert

Schubert Franz Peter - an outstanding Austrian composer; founder of early romanticism; creator of nine famous symphonies. Born on January 31, 1797 in Vienna in the family of an ordinary teacher. At first there were fourteen children in the family, but nine of them died at an early age. During his short life, Schubert wrote about 600 song compositions, many of which are relevant to this day. In building own style he drew primarily on the works of Mozart, Gluck, Haydn and Beethoven.

Since childhood, the boy received homemade musical education. In church he learned to play the organ and vocals. Frederick was one of best singers choir court chapel. Salieri himself took him as his student, admiring him in a beautiful voice and musical gift. At about 13 years old he began to write his first symphony. His first independent works were written in 1814.

By that time he had already been expelled from the choir, as the boy’s voice was breaking. Therefore, young Frederick entered the teachers' seminary, following in his father's footsteps. All yours free time he devoted himself to composing music. The composer's song music was a kind of continuation of Beethoven's style. The year 1815 is considered the most fruitful in his career. During this period he wrote more than a hundred songs, six operas, many symphonies and music for the church.

One of his best songs based on Goethe's poems was written at the end of the same year - “King Earl”. For the cantata “Prometheus” (1816), the composer received his first fee, as it was written to order. Didn't work out well personal life Schubert. Having met the daughter of a manufacturer, Teresa Grom, who did not stand out in anything remarkable, but loved music very much, young Frederick decided to marry her. However, his income did not allow him to start a family, and Teresa’s mother opposed this marriage.

In 1816, the composer presented to the public a work that brought him long-awaited popularity - “The Forest King”. Subsequently, his famous symphonies appeared one after another. Gradually the composer gained worldwide fame. In the 1820s. he started having health problems. For some time he worked on the estate of Count I. Esterhazy, teaching music to his daughters. The composer spent the last years of his life in Vienna.

He died on November 19, 1828, after a long battle with typhoid fever. The composer has two graves. Initially, in accordance with last will was buried next to his idolized Beethoven at the Wehring Cemetery (now Schubert Park), and in 1888 the ashes of both composers were reburied at the Vienna Central Cemetery.