Franz Schubert
Franz Peter Schubert (German: .
Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis.
Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death.
Life and career
Early life and education
Franz Peter Schubert was born in
At the age of five, Schubert began to receive regular lessons from his father, and a year later he was enrolled at his father's school.[6] Although it is not known exactly when he received his first musical instruction, he was given piano lessons by his brother Ignaz, but they lasted for a very short time as Schubert excelled him within a few months.[7] Ignaz later recalled:
I was amazed when Franz told me, a few months after we began, that he had no need of any further instruction from me, and that for the future he would make his own way. And in truth his progress in a short period was so great that I was forced to acknowledge in him a master who had completely distanced and outstripped me, and whom I despaired of overtaking.[8]
His father gave him his first
Young Schubert first came to the attention of
In the meantime, Schubert's talent began to show in his compositions; Salieri decided to start training him privately in
Teacher at his father's school
At the end of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule. In 1814, he entered his father's school as the teacher of the youngest pupils. For over two years, young Schubert endured severe drudgery.[21] There were, however, compensatory interests even then: for example, Schubert continued to take private lessons in composition from Salieri, who gave him more actual technical training than any of his other teachers, before they parted ways in 1817.[18]
In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a "Salve Regina" and a "Tantum Ergo") for her; she was also a soloist in the premiere of his Mass No. 1 (D. 105) in September[22] 1814.[21] Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815[23] requiring an aspiring bridegroom to show he had the means to support a family.[24] In November 1816, after failing to gain a musical post in Laibach (now Ljubljana, Slovenia), Schubert sent Ms. Grob's brother Heinrich a collection of songs, which was retained by the family into the twentieth century.[25]
One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works (although he was an
Throughout 1815, Schubert lived at home with his father. He continued to teach at the school and give private musical instruction, earning enough money for his basic needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries.[30] Spaun was well aware that Schubert was discontented with his life at the schoolhouse, and was concerned for Schubert's development intellectually and musically. In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in the Landstraße suburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him. This was probably Schubert's first visit away from home or school.[31] Schubert's unhappiness during his years as a schoolteacher possibly showed early signs of depression, and it is virtually certain that Schubert suffered from cyclothymia throughout his life.[32]
In 1989 the musicologist Maynard Solomon suggested that Schubert was erotically attracted to men,[33] a thesis that has been heatedly debated.[34][35] The musicologist and Schubert expert Rita Steblin has said that he was "chasing women".[36] The theory of Schubert's sexuality or "Schubert as Other" has continued to influence current scholarship.[37] Biographer Lorraine Byrne Bodley is sceptical "...of Solomon’s "outing" of Schubert, saying this misunderstands the passionate "homosocial" friendships of 19th-century Europe."[38]
Support from friends
There were significant changes in 1816. Schober, a student, of good family and some means, invited Schubert to lodge with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings.[39] For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition.[40] "I compose every morning, and when one piece is done, I begin another."[41] During this year, he focused on orchestral and choral works, although he also continued to write Lieder.[42] Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.[43]
In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music.[44] These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work.[45] Heinrich Anschütz wrote in his memoirs that Schubert was an active member of the 1817–1818 Unsinnsgesellschaft (Nonsenses Society), and various scholars agree with this.[46][47][48]
In late 1817, Schubert's father gained a new position at a school in Rossau, not far from Lichtental. Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he applied for membership in the prestigious Gesellschaft der Musikfreunde, intending to gain admission as an accompanist, but also so that his music, especially the songs, could be performed in the evening concerts. He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and there were professional musicians already among the society's membership.[51][52] However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.[53]
Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl
During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as
Schubert, who was only a little more than five feet tall,[57] was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom".[58] "Schwamm" is "mushroom" in the Austrian and Bavarian dialects of German; the ending "-erl" makes it a diminutive. Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert's heavy drinking "... come not only in later accounts, but also in documents dating from his lifetime."[59]
Musical maturity
The compositions of 1819 and 1820 show a marked advance in development and maturity of style.
The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he embarked on twenty stage projects, each of them failures that were quickly forgotten. In 1822,
Despite his operatic failures, Schubert's reputation was growing steadily on other fronts. In 1821, the Gesellschaft der Musikfreunde finally accepted him as a performing member, and the number of performances of his music grew remarkably.[67] These performances helped Schubert's reputation grow rapidly among the members of the Gesellschaft[67] and established his name.[64] Some of the members of the Gesellschaft, most notably Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a sizeable influence on the affairs of the society, and as a result of that and of Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821. In April, one of his male-voice quartets was performed, and in November, his Overture in E minor (D. 648) received its first public performance;[67] at a different concert on the same day as the premiere of the Overture, his song Der Wanderer (D. 489) was performed.[64]
In 1822, Schubert made the acquaintance of both Weber and
Last years and masterworks
Despite his preoccupation with the stage, and later with his official duties, Schubert wrote much music during these years.[62] He completed the Mass in A-flat major, (D. 678) in 1822, and later that year embarked suddenly on a work which, more decisively than almost any other in those years, showed his maturing personal vision, the Symphony in B minor, known as the Unfinished Symphony (D. 759).[69] The reason he left it unfinished – after writing two movements and sketches some way into a third – continues to be discussed and written about, and it is also remarkable that he did not mention it to any of his friends, even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving.[70] In 1823, Schubert wrote his first large-scale song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller.[71] This series, together with the later cycle Winterreise (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of lieder.[72] He also composed the song Du bist die Ruh' (You are rest and peace,[73] D. 776) during this year. Also in that year, symptoms of syphilis first appeared.[74]
In 1824, he wrote the Variations in E minor for flute and piano; Trockne Blumen, a song from the cycle Die schöne Müllerin; and several string quartets. He also wrote the
In love with a Countess of youthful grace,
—A pupil of Galt's; in desperate case
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother[80]
The setbacks of previous years were compensated by the prosperity and happiness of 1825. Publication had been moving more rapidly, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday in
From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to
The works of his last two years reveal a composer entering a new professional and compositional stage.
On 26 March 1828, the anniversary of Beethoven's death, Schubert gave, for the only time in his career, a public concert of his own works.[95] The concert was a success popularly and financially,[95] although it was overshadowed by Niccolò Paganini's first appearances in Vienna shortly after.[96]
Final illness and death
In the midst of this creative activity, his health deteriorated. By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was near death. In the late summer of 1828, he saw the physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon.[97] Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it).[98] At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting. He was generally unable to retain solid food and his condition worsened. Five days before Schubert's death, his friend the violinist Karl Holz and his string quartet visited to play for him. The last musical work he had wished to hear was Beethoven's String Quartet No. 14 in C-sharp minor, Op. 131; Holz commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing".[99]
Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand. The cause of his death was officially diagnosed as
Schubert was buried, at his own request, near the grave of Beethoven, whom he had admired all his life, in the village cemetery of Währing on the edge of the Vienna Woods.[102] A year earlier he had served as a torchbearer at Beethoven's funeral. In 1872,
Music
Schubert was remarkably prolific, writing over 1,500 works in his short career. His compositional style progressed rapidly throughout his life.[105] The largest number of his compositions are songs for solo voice and piano (roughly 630).[106] Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write three concertante works for violin and orchestra. Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least eleven more in varying states of completion,[a] numerous miscellaneous works and many short dances, in addition to producing a large set of works for piano four hands. He also wrote over fifty chamber works, including some fragmentary works. Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions.[107] He completed only eleven of his twenty-stage works.[108]
Style
In July 1947 the Austrian composer
Instrumental music, stage works and church music
That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera,
Although Schubert was clearly influenced by the Classical
Lieder and art songs
It was in the genre of the lied that Schubert made his most indelible mark. Leon Plantinga remarks that "in his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him."[113] Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism.[114]
Among Schubert's treatments of the poetry of
Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated.... Schubert created a new epoch with the Lied.... All other songwriters have followed in his footsteps."[117]
Publication – catalogue
When Schubert died he had around 100
Complete editions
From 1884 to 1897,
Deutsch catalogue
Since relatively few of Schubert's works were published in his lifetime, only a small number of them have
Numbering issues
Confusion arose quite early over the
The order usually followed for these late symphonies by English-language sources is:
- No. 7: E major, D 729
- No. 8: B minor, D 759 Unfinished
- No. 9: C major, D 944 Great C major
- No. 10: D major, D 936A
An even broader confusion arose over the numbering of the piano sonatas, with numbering systems ranging from 15 to 23 sonatas.
Instruments
Among pianos Schubert had access to were a Benignus Seidner piano (now displayed at the Schubert Geburtshaus in Vienna) and an Anton Walter & Sohn piano (today in the collection of the Vienna Kunsthistorisches Museum). Schubert was also familiar with instruments by Viennese piano builder Conrad Graf.[127]
Recognition
A feeling of regret for the loss of potential masterpieces caused by Schubert's early death at age 31 was expressed in the epitaph on his large tombstone written by Grillparzer: "Here music has buried a treasure, but even fairer hopes."[128] Some prominent musicians share a similar view, including the pianist Radu Lupu, who said: "[Schubert] is the composer for whom I am really most sorry that he died so young. ... Just before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to learn a little more about counterpoint, and he was perfectly right. We'll never know in what direction he was going or would have gone."[129] However, others have expressed disagreement with this early view. For instance, Robert Schumann said: "It is pointless to guess at what more [Schubert] might have achieved. He did enough; and let them be honoured who have striven and accomplished as he did",[130] and the pianist András Schiff said that: "Schubert lived a very short life, but it was a very concentrated life. In 31 years, he lived more than other people would live in 100 years, and it is needless to speculate what could he have written had he lived another 50 years. It's irrelevant, just like with Mozart; these are the two natural geniuses of music."[131]
The Wiener Schubertbund, one of Vienna's leading choral societies, was founded in 1863, whilst the Gründerzeit was taking place. The Schubertbund quickly became a rallying point for schoolteachers and other members of the Viennese middle class who felt increasingly embattled during the Gründerzeit and the aftermath of the Panic of 1873. In 1872, the dedication of the Schubert Denkmal, a gift to the city from Vienna's leading male chorus, the Wiener Männergesang-Verein, took place; the chorus performed at the event.[132] The Denkmal was designed by Austrian sculptor Carl Kundmann and is located in Vienna's Stadtpark.
Schubert's chamber music continues to be popular. In a
The New York Times' chief music critic Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him:
You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone – including the haunting cycle Winterreise, which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life... Schubert's first few symphonies may be works in progress. But the Unfinished and especially the Great C major Symphony are astonishing. The latter one paves the way for Bruckner and prefigures Mahler.[134]
Tributes by other musicians
From the 1830s through the 1870s, Franz Liszt transcribed and arranged several of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived."[135] Schubert's symphonies were of particular interest to Antonín Dvořák. Hector Berlioz and Anton Bruckner acknowledged the influence of the Great C Major Symphony.[136] It was Robert Schumann who, having seen the manuscript of the Great C Major Symphony in Vienna in 1838, drew it to the attention of Mendelssohn, who led the first performance of the symphony, in a heavily abridged version, in Leipzig in 1839.[137]
In the 20th century, composers including Richard Strauss, Anton Webern, Benjamin Britten, George Crumb, and Hans Zender championed or paid homage to Schubert in some of their works. Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.[136] German electronic music group Kraftwerk has a track titled "Franz Schubert" on their 1977 album Trans-Europe Express.[138]
Commemorations
In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and Emperor Franz Joseph gave a speech recognising Schubert as the creator of the art song, and one of Austria's favourite sons.[139][140] Karlsruhe saw the first production of his opera Fierrabras.[141]
In 1928, Schubert Week was held in Europe and the United States to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money of
In film and television
Schubert has featured as a character in several films including
Schubert's
Schubert's life was covered in the documentary Franz Peter Schubert: The Greatest Love and the Greatest Sorrow by Christopher Nupen (1994),[146] and in the documentary Schubert – The Wanderer by András Schiff and Mischa Scorer (1997), both produced for the BBC.[131][147] "Great Performances," "Now Hear This: The Schubert Generation Series," hosted by Scott Yoo, explored commentary and performances by contemporary musician admirers.[148]
References
Notes
- ^ D 537, 568, 575, 664, 784, 845, 850, 894, 958, 959, 960 incontrovertibly complete; D 157, 279, 459, 557, 566 as further sonatas whose completeness has been debated; D 571, 613, 625, 655, 769A, 840 as further unfinished sonatas; and many other possible sonata fragments and isolated movements possibly associated with some of the above-listed sonatas.
Citations
- ^ Duncan (1905), p. 2
- ^ McKay (1996), p. 2
- ^ a b Kreissle (1869), p. 1
- ^ Wilberforce (1866), p. 2: "the school was much frequented"
- ^ Steblin, Rita (2001). "Franz Schubert – das dreizehnte Kind", Wiener Geschichtsblätter , 245–265
- ^ Hadow 1911, p. 383.
- ^ McKay (1996), p. 11
- ^ a b c Kreissle (1869), p. 5
- ^ a b Duncan (1905), p. 3
- ^ Brown (1983), pp. 2–3
- ^ Wilberforce (1866), p. 3
- ^ a b Gibbs (2000), p. 26
- ^ McKay (1996), p. 22
- ^ Duncan (1905), pp. 5–7
- ^ a b Duncan (1905), p. 7
- ^ Gibbs (2000), p. 29
- ^ Kreissle (1869), p. 6
- ^ a b Duncan (1905), p. 9
- ^ Frost (1915), p. 9
- ^ Duncan (1905), p. 10
- ^ a b Duncan (1905), pp. 13–14
- ^ Benedikt, Erich. "Notizen zu Schuberts Messen. Mit neuem Uraufführungsdatum der Messe in F-Dur", Österreichische Musikzeitschrift 52, 1–2/1997, p. 64
- ^ Steblin (1998)
- ^ Gibbs (2000), p. 39
- ^ Newbould (1999), p. 64
- ^ McKay (1996), p. 308
- ^ Hutchings (1967), p. 166: "The unctuous style we hear every Christmas is found in church music by Schubert and the Chevalier Neukomm, both known in private letters to be agnostic."
- ^ Newbould (1999), p. 40
- ^ Gramit (1997), p. 108
- ^ McKay (1996), p. 55
- ^ McKay (1996), p. 59
- ^ McKay (1996), p. 138
- ^ Solomon, M. (Spring 1989): "Franz Schubert and the Peacocks of Benvenuto Cellini. 19th-Century Music, vol. 12, pp. 193–206.
- ^ "Schubert: Music, Sexuality, Culture." 19th-Century Music, 1993, 17:3–101.
- ^ "Schubert à la Mode", The New York Review of Books, 20 October 1994
- ISBN 978-3-205-98820-5; Steblin, Rita (2001): "Schubert's Problematic Relationship with Johann Mayrhofer: New Documentary Evidence". Barbara Haggh (ed.): Essays on Music and Culture in Honor of Herbert Kellman. Paris-Tours: Minerve, pp. 465–495; Steblin, Rita (2008), "Schubert's Pepi: His Love Affair with the Chambermaid Josepha Pöcklhofer and Her Surprising Fate". The Musical Times, pp. 47–69.
- ^ Horton, Julian (2015). Schubert. Routledge, pages xi–xvii
- ^ Hewett, Ivan. "Forget the angelic Schubert myth – this biography tells the real story", The Telegraph, 2 July 2023
- ^ McKay (1996), p. 68
- ^ a b Hadow 1911, p. 384.
- ^ Duncan (1905), p. 26
- ^ McKay (1996), p. 56
- ^ Gibbs (2000), p. 44
- ^ Newbould (1999), p. 66
- ^ Duncan (1905), pp. 90–93
- ^ "'Erinnerungen aus dessen Leben und Wirken : Nach eigenhändigen Aufzeichnungen und mündlichen Mittheilungen' - Digitalisat | MDZ".
- ^ OCLC 40519173.
- ^ OCLC 49416312.
- ^ "Vienna Library" (PDF). wienbibliothek.at.
- JSTOR 41818778.
- ^ McKay (1996), 75
- ^ a b Newbould (1999) pp. 69–72
- ^ Gibbs (2000), p. 59
- ^ Newbould (1999), p. 235
- ^ Gibbs (2000), p. 67
- ^ Gibbs (2000), p. 68
- ^ McKay (1996), p. 70
- ^ Gibbs (2000), p. 7
- ^ Gibbs (2000), p. 97
- ^ a b Austin (1873), pp. 46–47
- ^ Wilberforce (1866), pp. 90–92
- ^ a b c d e f g Hadow 1911, p. 385.
- ^ Wilberforce (1866), p. 25
- ^ a b c Newbould (1999), p. 173
- ^ Denny (1997), pp. 245–246
- ^ Gibbs (2000), p. 111
- ^ a b c McKay (1996), p. 101
- ^ Thayer (1921), pp. 299–300
- ^ Newbould (1999), p. 182
- ^ Newbould (1999), pp. 182–183
- ^ Newbould (1999), p. 215
- ^ Dirda, Michael (4 February 2015). "Ian Bostridge's 'Schubert's Winter Journey examines the composer's melancholy work". The Washington Post. Retrieved 8 February 2015.
Franz Schubert's Winterreise is the greatest, and the most bleakly melancholy, of all song cycles.
- ^ Reed (1997), pp. 208–209
- ^ Newbould (1999), p. 210
- ^ Newbould (1999), pp. 221–225
- ^ Newbould (1999), p. 260
- ^ Newbould (1999), p. 218
- ^ Schubert, Franz. "Fantasie f-Moll". schubert-online.at. Retrieved 27 February 2023.
- ISMN979-0-2018-0180-3.
- ^ Duncan (1905), p. 99
- ^ Emmons (2006), p. 38
- ^ Newbould (1999), p. 228
- ^ Newbould (1999), p. 254
- ^ Smith & Carlson (1995), p. 78
- ^ Gibbs (1999), p. 62
- ^ McKay (1996), p. 268
- ^ McKay (1996), p. 276
- ^ Newbould (1999) pp. 261–263
- ^ Newbould (1999) pp. 270–274
- ^ McKay (1996), p. 313: "That Schubert in no way considered the songs as a cycle is confirmed by his letter to Probst of 2 October mentioning that he had recently written 'several songs by Heine'."
- ^ Griffel (1997), p. 203
- ^ Newbould (1999), p. 385
- ^ (1999), p. 385, and comments in the liner notes to the CD recording issued on Hyperion Records
- ^ Schonberg (1997), p. 130
- ^ a b Newbould (1999), pp. 265–266
- ^ Gibbs (1997), p. 44
- ^ a b Newbould (1999), p. 275.
- ^ Gibbs (2000), pp. 168–169
- ^ Deutsche (1998), p. 300
- PMID 11616366.
- S2CID 151254154.
- ^ a b Duncan (1905), pp. 79–80
- ^ Gibbs (2000), p. 197
- ^ Tom Service, "Sex, death and dissonance: the strange, obsessive world of Anton Bruckner", The Guardian, 1 April 2014. Retrieved 11 August 2020
- ^ Gammond (1982), p. 143, discussing in particular his chamber music
- ^ Gibbs (1997), p. 21
- ^ Ewen (2007), p. 384
- ^ McKay, Elizabeth (1997). Franz Schubert. In: The New Grove Dictionary of Opera. London and New York: Macmillan
- ^ Lev.
- ^ Gammond (1982), p. 117
- ^ Gammond (1982), pp. 76–81
- ^ Brown (2002), p. 630
- ^ Plantinga (1984), p. 117
- ^ (1984), pp. 107–117
- ^ Swafford (1992), p. 211
- ^ Gammond (1982), pp. 153–156
- ^ Dvořák (1894), pp. 344–345
- incomplete short citation]
- incomplete short citation]
- ^ a b Kreissle (1869), pp. 297–332, in which Grove recounts his visit to Vienna.
- ^ Gibbs (2000), pp. 61–62
- ^ See e.g. Kreissle (1869), p. 324, where Grove describes current (1860s) interest in Schubert's work, and Gibbs (1997), pp. 250–251, describing the size and scope of the 1897 Schubert centennial commemorations.
- ^ Deutsch (1995), p. xiii
- Bärenreiter Verlag. Archived from the originalon 20 July 2018. Retrieved 20 July 2018.
- ^ See Deutsch (1995)
- ^ See #Numbering of symphonies
- ^ "Jeffrey Dane – The Composers' Pianos". www.collectionscanada.gc.ca. Retrieved 5 February 2021.
- ^ Duncan (1905), p. 80
- ^ Montparker, Carol (May–June 1981). "Radu Lupu: Acclaim in Spite of Himself". Clavier. p. 13.
- ^ Gibbs (1997), p. 18
- ^ a b "Schubert - The Wanderer". Retrieved 22 May 2023 – via vimeo.com.
- ^ Botstein (1997), p. 35
- ^ "The Classical Music Chamber Music 100". Australian Broadcasting Co. Retrieved 24 August 2010.
- ^ Tommasini, Anthony (21 January 2011). "The Greatest Composers – A Top 10 List". The New York Times. Retrieved 20 August 2017.
- ^ Liszt (1989), p. 144
- ^ a b Newbould (1999), pp. 403–404
- ^ Brown (1983), p. 73
- ^ Simpson, Dave (7 May 2020). "Kraftwerk: their 30 greatest songs, ranked!". The Guardian. Retrieved 5 September 2022.
- ^ Rodenberg (1900), p. 118
- ^ The Musical Times, February 1897, p. 113
- ^ Gibbs (1997), p. 318
- ^ a b "Schubert Ecstasy". Time. 3 December 1928. Archived from the original on 5 May 2009. Retrieved 8 April 2009.
- ISBN 978-0-7864-0681-4.
- ^ Gabler, Jay. "From 'Bald Mountain' to 'Ave Maria': The hell-to-heaven 'Fantasia' climax". Retrieved 5 August 2018.
- ^ Schroeder (2009), pp. 272–274.
- ^ "Franz Peter Schubert: The Greatest Love and the Greatest Sorrow". BBC Four. Retrieved 16 June 2018.
- YouTube
- ^ Now Hear This "The Schubert Generation", PBS, 25 September 2020. Retrieved 16 January 2022.
Sources
Works by Otto Erich Deutsch
- ISBN 978-0-486-28685-3.
- Deutsch, Otto Erich (1998) [1958]. Schubert: Memoirs by His Friends. Oxford University Press. ISBN 978-0-19-816436-4.
19th- and early 20th-century scholarship
- Austin, George Lowell (1873). The Life of Franz Schubert. Shepard and Gill. OCLC 4450950.
- Duncan, Edmondstoune (1905). Schubert. J.M. Dent. OCLC 2058050.
- OCLC 4279873.
- Frost, Henry Frederic (1915). Schubert. Scribner. OCLC 45465176.
- OCLC 407077.
- public domain: Hadow, William Henry (1911). "Schubert, Franz Peter". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 24 (11th ed.). Cambridge University Press. pp. 383–386. This article incorporates text from a publication now in the
- Kreissle von Hellborn, Heinrich (1869) [1865]. The Life of Franz Schubert. Vol. 1. Translated by Coleridge, Arthur Duke. Longmans, Green, and Company. The first full-length biography of Schubert (volume 1).
- Kreissle von Hellborn, Heinrich (1869) [1865]. The Life of Franz Schubert. Vol. 2. Translated by Coleridge, Arthur Duke. Longmans, Green, and Co. The first full-length biography of Schubert (volume 2).
- Rodenberg, Julius; Pechel, Rudolf (1900). Deutsche Rundschau, volume 102 (Jan–Mar 1900) (in German). Gebrüder Paetel. OCLC 1566444.
- OCLC 422583.
- Wilberforce, Edward (1866). Franz Schubert: A Musical Biography. London: W. H. Allen & Co. [ISBN unspecified]
- "Volume 38". OCLC 1608351.
Modern scholarship
- ISBN 978-0-521-48424-4.
- Brown, A. Peter (2002). The Symphonic Repertoire. Indiana University Press. ISBN 978-0-253-33487-9.
- Brown, Maurice John Edwin (1983). The New Grove Schubert. New York: W. W. Norton & Company. OCLC 9398015.
- Denny, Thomas A. (1997). "Schubert's operas". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. ISBN 978-0-521-48424-4.
- ISBN 978-3-7618-0571-8.
- ISBN 978-0-19-515202-9.
- Ewen, David (2007). Composers of Yesterday. Vancouver: Read Books. ISBN 978-1-4067-5987-7.
- ISBN 978-0-413-46990-8.
- Gibbs, Christopher H. (1997). "Introduction: the elusive Schubert". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. ISBN 978-0-521-48424-4.
- Gibbs, Christopher H. (2000). The Life of Schubert. Cambridge University Press. ISBN 978-0-521-59512-4.
- Gibbs, Christopher H., ed. (1997). The Cambridge Companion to Schubert. ISBN 978-0-521-48424-4.
- Gramit, David (1997). "Music, cultivation, and identity in Schubert's circle". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. ISBN 978-0-521-48424-4.
- Griffel, L. Michael (1997). "Schubert's orchestral music". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. ISBN 978-0-521-48424-4.
- ISBN 978-0-8371-9695-4.
- Lev, Ray (1947). Franz Schubert – Piano Sonata no. 15 in C major (Unfinished); Allegretto in C minor – Ray Lev, Pianist (78 RPM). United States: Concert Hall Society. Release B3.
- Liszt, Franz (1989). An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835–1841. Translated by Suttoni, Charles. University of Chicago Press. ISBN 978-0-226-48510-2.
- McKay, Elizabeth Norman (1996). Franz Schubert: A Biography. Oxford University Press. ISBN 978-0-19-816681-8.
- ISBN 978-0-520-21957-1.
- Plantinga, Leon (1984). Romantic Music: A History of Musical Style in Nineteenth-Century Europe. Norton. ISBN 978-0-393-95196-7.
- Reed, John (15 August 1997). The Schubert Song Companion. Manchester University Press. ISBN 978-1-901341-00-3.
- ISBN 978-0-393-03857-6.
- Schroeder, David (2009). Our Schubert: His Enduring Legacy. Scarecrow Press. ISBN 978-0-8108-6927-1.
- Smith, Jane Stuart; Carlson, Betty; Schaeffer, Francis A. (1995). The Gift of Music: Great Composers and Their Influence. Good News Publishers. ISBN 978-0-89107-869-2.
- Steblin, Rita (1998). "In Defense of Scholarship and Archival Research: Why Schubert's Brothers Were Allowed to Marry". Current Musicology. 62: 7–17.
Numbering of symphonies
The following sources illustrate the confusion around the numbering of Schubert's late symphonies. The B minor Unfinished Symphony is variously published as No. 7 and No. 8, in both German and English.
- Schubert, Franz (1996). Symphony, No 7, D 759, B minor, Unfinished (in German). Bärenreiter. OCLC 39794412. German-language publication of the Unfinished Symphony score as No. 7.
- Schubert, Franz (2008). Symphony No. 7 in B minor D 759 Unfinished Symphony. Eulenburg Audio+Score Series. Eulenburg. ISBN 978-3-7957-6529-3. English-language publication of the Unfinished Symphony score as No. 7.
- Schubert, Franz; Reichenberger, Teresa (1986). Symphony No. 8 in B minor, D. 759 Unfinished (Paperback). ISBN 978-3-7957-6278-0. English-language publication of the Unfinished Symphony score as No. 8.
Further reading
- Deutsch, Otto Erich (1977). Schubert: A Documentary Biography. Translated by ISBN 978-0-306-77420-1.
- Schubert, Franz; Deutsch, Otto Erich (1928). Franz Schubert's Letters and Other Writings. Translated by Savile, Venetia. A. A. Knopf. OCLC 891887.
- ISBN 978-1-85928-253-3.
- ISBN 9783761823330.
External links
- Franz Schubert at the Musopen project
- Texts and translations of vocal music by Schubert at The LiederNet Archive
- Franz Schubert Museum in Hohenems/Austria
- "Discovering Schubert". BBC Radio 3.
- Franz Schubert at the Internet Broadway Database
- Digital reproductions of score manuscripts and letters by Franz Schubert
Recordings
- Schubertlied.de Archived 2 December 2019 at the Wayback Machine – Free recordings of many Lieder by Schubert (mp3)
- Schubert cylinder recordings, from the UCSB Cylinder Audio Archive at the University of California, Santa BarbaraLibrary.
Sheet music
- Schubertline.co.uk about 250 of Schubert's Songs (Schubertline edition)
- Free scores by Franz Schubert at the International Music Score Library Project (IMSLP)
- Free scores by Franz Schubert in the Choral Public Domain Library (ChoralWiki)
- Free digital scores by Franz Schubert in the OpenScore Lieder Corpus