![]() New insights are offered about the connections between Schubert’s music and the popular theater of the day, his strategies for circumventing censorship, the musical and narrative relationships linking his song settings of poems by Gotthard Ludwig Kosegarten, and musical tributes he composed to commemorate the death of Beethoven just twenty months before his own. The essays and translated documents in Franz Schubert and His World examine his compositions and ties to the Viennese cultural context, revealing surprising and overlooked aspects of his music.Ĭontributors explore Schubert’s youthful participation in the Nonsense Society, his circle of friends, and changing views about the composer during his life and in the century after his death. 20 No.During his short lifetime, Franz Schubert (1797–1828) contributed to a wide variety of musical genres, from intimate songs and dances to ambitious chamber pieces, symphonies, and operas. 3įrühlingsglaube - solo piano version Op. Wanderers Nachtlied - solo piano version Op. 4Īuf dem Wasser zu singen - solo piano version Op. 4ĭu bist die Ruh - solo piano version Op. 1ĭie junge Nonne - solo piano version Op. Sei mir gegrüsst - solo piano version Op. 1ĭer Tod und das Mädchen - solo piano version Op. Jägers Abendlied - solo piano version Op. Schäfers Klagelied - solo piano version Op. Gretchen am spinnrade - solo piano version Op. 145ġ3 Variations on a Theme by Hüttenbrenner D. "Such is the spell of your emotional world that it very nearly blinds us to the greatness of your craftsmanship." (Liszt)ġ2 Waltzes, 17 Ländler and 9 Ecossaises D. "Where other people keep diaries in which they record their momentary feelings, etc, Schubert simply kept sheets of music by him and confided his changing moods to them and his soul being steeped in music, he put down notes when another man would resort to words." (Schumann) ![]() And when I wished to sing of sorrow, it was transformed for me into love." Quotes about Schubert ![]() Quotes by Schubert "When I wished to sing of love, it turned to sorrow. In 1827 Schubert wrote among other works the song cycle Winterreise, the Fantasia for piano and violin in C, the Impromptus for piano, and the two piano trios in 1828 the String Quintet in C, the last three piano sonatas, and the collection of songs published posthumously as Schwanengesang. Unfortunately, over the next three years his fortune, his finances and his health would wane steadily, yet during this time he would produce an astonishing string of masterworks. 1825 was something of a high point when the setbacks of previous years were compensated by relative prosperity and happiness. ![]() The rejection of most of these works, financial strain and the beginning of serious health problems made this a dark period, which nevertheless yielded some of Schubert’s best works, such as the epic "Wanderer" Fantasy for piano, the two movement Eighth Symphony ("Unfinished"), and the exquisite Schöne Müllerin song cycle.Īlthough appreciation remained limited, his reputation in Vienna was steadily growing (above all, his concerts with Vogl were renowned), and Schubert little by little entered a more assured phase. Schubert, an enthusiastic opera-goer since childhood, in the early 1820s worked on several stage projects such as the opera Alfonso und Estrella and incidental music to the play Rosamunde. In 1821 Schubert’s music appeared in print for the first time, as his admirers issued issued 20 of his songs by private subscription. Schubert also met at this time the barytone Michael Vogl, one of the outstanding opera singers of the day, who became the foremost interpreter of his songs, often accompanied by the composer. He lived with one or other of his friends, the closest of whom were the poet Johann Mayrhofer and the law student Franz von Schober. From this time he began to attract a large circle of friends, frequently gathering in homes or coffee-houses for evenings of Schubert´s music called Schubertiads: this gave Schubert an appreciative audience and influential contacts as well as the confidence to stop teaching, which he had been pressured to do by his father who was a schoolmaster. At seventeen years of age, having already written several songs, piano pieces, string quartets, his first symphony and a three-act opera, he increased his creative pace even further: the huge output of 1814-15 includes 144 songs, among them Gretchen am Spinnrade and Erlkönig, two more symphonies, three masses and four stage works. From the start, Franz Schubert (1797-1828) was an exceptionally prolific composer. ![]()
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