Methodological message on the topic: “Franz Schubert. Epoch and style. Franz Schubert: biography, interesting facts, videos, creativity The musical world of Schubert

The first romantic composer, Schubert is one of the most tragic figures in the history of world musical culture. His life, short and uneventful, was cut short when he was in the prime of his strength and talent. He did not hear most of his compositions. The fate of his music was also tragic in many ways. Priceless manuscripts, partly kept by friends, partly donated to someone, and sometimes simply lost in endless travels, could not be put together for a long time. It is known that the “Unfinished” Symphony waited for its performance for more than 40 years, and the C Major Symphony - 11 years. The paths that Schubert discovered in them remained unknown for a long time.

Schubert was a younger contemporary of Beethoven. Both of them lived in Vienna, their work coincides in time: “Margarita at the Spinning Wheel” and “The Forest King” are the same age as Beethoven’s 7th and 8th symphonies, and his 9th symphony appeared simultaneously with Schubert’s “Unfinished”. Only a year and a half separates the death of Schubert from the day of Beethoven's death. Nevertheless, Schubert is a representative of a completely new generation of artists. If Beethoven's work was formed under the influence of the ideas of the Great French Revolution and embodied its heroism, then Schubert's art was born in an atmosphere of disappointment and fatigue, in an atmosphere of the harshest political reaction. It began with the “Congress of Vienna” of 1814-15. Representatives of the states that won the war with Napoleon then united in the so-called. "Holy Alliance", the main goal of which was the suppression of revolutionary and national liberation movements. The leading role in the “Holy Alliance” belonged to Austria, or more precisely to the head of the Austrian government, Chancellor Metternich. It was he, and not the passive, weak-willed Emperor Franz, who actually ruled the country. It was Metternich who was the true creator of the Austrian autocratic system, the essence of which was to suppress any manifestations of free thought in their infancy.

The fact that Schubert spent the entire period of his creative maturity in Metternich's Vienna greatly determined the nature of his art. In his work there are no works related to the struggle for a happy future for humanity. His music has little heroic mood. In Schubert's time there was no longer any talk about universal human problems, about the reorganization of the world. The fight for it all seemed pointless. The most important thing seemed to be to preserve honesty, spiritual purity, and the values ​​of one’s spiritual world. Thus was born an artistic movement called « romanticism". This is an art in which for the first time the central place was occupied by an individual with his uniqueness, with his quests, doubts, and suffering. Schubert's work is the dawn of musical romanticism. His hero is a hero of modern times: not a public figure, not an orator, not an active transformer of reality. This is an unhappy, lonely person whose hopes for happiness are not allowed to come true.

The fundamental difference between Schubert and Beethoven was content his music, both vocal and instrumental. The ideological core of most of Schubert's works is the clash of the ideal and the real. Every time the collision of dreams and reality receives an individual interpretation, but, as a rule, the conflict does not find a final resolution. It is not the struggle in the name of establishing a positive ideal that is the focus of the composer’s attention, but the more or less clear exposure of contradictions. This is the main evidence of Schubert's belonging to romanticism. Its main topic was theme of deprivation, tragic hopelessness. This topic is not made up, it is taken from life, reflecting the fate of an entire generation, incl. and the fate of the composer himself. As already mentioned, Schubert passed his short career in tragic obscurity. He did not enjoy the success that was natural for a musician of this caliber.

Meanwhile, Schubert's creative legacy is enormous. In terms of the intensity of creativity and the artistic significance of the music, this composer can be compared with Mozart. His compositions include operas (10) and symphonies, chamber instrumental music and cantata-oratorio works. But no matter how outstanding Schubert’s contribution to the development of various musical genres was, in the history of music his name is associated primarily with the genre songs- romance(German) Lied). The song was Schubert's element, in it he achieved something unprecedented. As Asafiev noted, “What Beethoven accomplished in the field of symphony, Schubert accomplished in the field of song-romance...” In the complete collection of Schubert's works, the song series is represented by a huge number - more than 600 works. But it’s not just a matter of quantity: a qualitative leap took place in Schubert’s work, allowing the song to take a completely new place among musical genres. The genre, which clearly played a secondary role in the art of the Viennese classics, became equal in importance to the opera, symphony, and sonata.

Schubert's instrumental work

Schubert's instrumental work includes 9 symphonies, over 25 chamber instrumental works, 15 piano sonatas, and many pieces for piano for 2 and 4 hands. Growing up in an atmosphere of living exposure to the music of Haydn, Mozart, Beethoven, which for him was not the past, but the present, Schubert surprisingly quickly - by the age of 17-18 - perfectly mastered the traditions of the Viennese classical school. In his first symphonic, quartet and sonata experiments, the echoes of Mozart, in particular the 40th symphony (the favorite composition of the young Schubert), are especially noticeable. Schubert is closely related to Mozart clearly expressed lyrical way of thinking. At the same time, in many ways he acted as an heir to Haydn’s traditions, as evidenced by his closeness to Austro-German folk music. He adopted from the classics the composition of the cycle, its parts, and the basic principles of organizing the material. However, Schubert subordinated the experience of the Viennese classics to new tasks.

Romantic and classical traditions form a single fusion in his art. Schubert's dramaturgy is a consequence of a special plan in which lyrical orientation and songfulness as the main principle of development. Schubert's sonata-symphonic themes are related to songs - both in their intonation structure and in their methods of presentation and development. Viennese classics, especially Haydn, often also created themes based on song melody. However, the impact of songfulness on instrumental dramaturgy as a whole was limited - developmental development among the classics is purely instrumental in nature. Schubert emphasizes in every possible way the song nature of the themes:

• often presents them in a closed reprise form, likening them to a finished song (MP of the first movement of the sonata in A major);
• develops with the help of varied repetitions, variant transformations, in contrast to the symphonic development traditional for Viennese classics (motivic isolation, sequencing, dissolution in general forms of movement);
• The relationship between the parts of the sonata-symphonic cycle also becomes different - the first parts are often presented at a leisurely pace, as a result of which the traditional classical contrast between the fast and energetic first part and the slow lyrical second is significantly smoothed out.

The combination of what seemed incompatible - miniature with large-scale, song with symphonic - gave a completely new type of sonata-symphonic cycle - lyrical-romantic.

Franz Schubert was born in 1797, on the outskirts of Vienna, in the family of a school teacher.

The boy's musical abilities proved too early, and already in early childhood, 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, he was able to get accepted into a closed music school that served the court church. A five-year stay there gave Schubert the basics of 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 devote himself entirely 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, his father’s assistant at the school.

With difficulties, after working at the school for three years, he left it, and this led Schubert to break with his father. The father was against 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 until then, Schubert’s talent 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 his first symphony, and then such wonderful songs as “Gretchen at the Spinning Wheel” and “The Forest King” based on Goethe’s text. During his years as a teacher (1814-1817), he wrote a lot of 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 took turns staying with his friends - Viennese poets, artists, musicians, often poor people like himself. 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, which was usually cheerful and cheerful.

In Schubert's work, “romance” combines fun, cheerfulness with melancholic-sad moods that sometimes occur. to darkly tragic hopelessness.

It was a time of political reaction, the inhabitants 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 circle of young artists, writers, and musicians grouped around Schubert. During parties and out-of-town walks, he wrote a lot of waltzes, landlers and eco-sesuses. But these “schubertiadies” were not limited to just entertainment. In this circle, issues of socio-political life were passionately discussed, disappointment with the surrounding reality was expressed, protests and discontent against the then reactionary regime were heard, and feelings of anxiety and disappointment were brewing. Along with this, there were also strong optimistic views, a cheerful mood, and faith in the future. Schubert's entire life and creative path was filled with contradictions, which were so characteristic of romantic artists of that era.

With the exception of a minor period when Schubert reconciled with his father and lived with his family, the composer's life was very difficult. In addition to material needs, Schubert was suppressed by his position in society as a musician. His music was not known, it was not understood, and creativity was not encouraged.

Schubert created very quickly and a lot, but during his life almost nothing was published or performed.

Most of his works remained in manuscript and were discovered many years after his death. For example, one of the most popular and beloved symphonic works now - the "unfinished symphony" - was never performed during his lifetime and was first revealed 37 years after Schubert's death, as were many other works. However, his need to hear his own works was so great that he specially wrote male quartets based on spiritual texts, which his brother could perform with his singers in the church where he served as regent.

Boarding school for students of the Russian Defense Ministry.

Musical living room

"The Life and Work of Franz Peter Schubert"

Responsible:

Kirtaeva L.A.

Olkhova A.V.

Yulikova N.K.

Moscow 11/18/2010.

Franz Peter Schubert.

This name is one of the most famous in the world and,at the same time, one of the most mysterious.

He did not live long, and was not happy, did not receive even a fraction of the recognition that fell to his great predecessors - Antony Salieri, Wolfgang Amadeus Mozart, Joseph Haydn, Ludwig van Beethoven.

And yet he managed to say a new word in music, becoming one of the founders of a new direction - romanticism.

We can say: Schubert's creative genius heralded the birth of a new era in music - the era of romanticism.

This is clear from the way the list of his works looks!

Schubert was the first to perfect this genre, where poetry and music exist in inextricable unity.

The theorists of romanticism dreamed about this from the time when little Franz was still in the cradle.

Here are collections of pieces for piano: impromptu, musical moments, countless dance miniatures, fantasies, dances.

Here, finally, are sonatas, symphonies, quartets, instrumental ensembles.

Everywhere, musical forms are borrowed from the classics whom Schubert idolized, but his music develops in a completely different way - the composer works on the principle of enhancing beauty in order to create a colossal contrast of music, when the melody rises from the depths of the score, rises to its full height and, having exhausted its energy, gives way to other topics.

The philosophy of his music remains unchanged everywhere - a stopped beautiful moment, finding itself in our suffering and disturbing world, would become even more dazzling in comparison.

All of Schubert's works were written with great love, tenderness and inspiration...

Looking at the enormous legacy and comparing it with the composer’s lifespan, one involuntarily asks the question: what intensity of spiritual burning filled the entire being and soul of this young man!

The lifetime publishing catalog of Schubert's works ends with the round number “100.” All other numbers were assigned posthumously.

And where was the source of this flame, given that the short life of Franz Peter Schubert was not at all rich in external events, and the fame and fame that so often spur creative inspiration came to him only at the end of his life?

The biography of Franz Peter Schubert followed the path of music!

He was the 12th child in the family of a parish teacher and a cook who lived outside the then city limits. Today this is Vienna's eighth district, and crowds of tourists flock to Schubert's house.

Vienna has always been one of the cities that can be called the “musical capital” of the civilized world.

His father gave him his first violin lessons. The boy's musical abilities were so obvious that the family sent him to the Vienna Boys' Choir school and to a closed educational institution attached to it - the Imperial Lyceum, which was called Konvict.

There, within the walls of Konvikt, Schubert began composing music. He was only 12 years old. The first performances of children's compositions took place in the family circle.

In Konvikt, Franz not only sang in the world-famous choir. But he also played the violin in the orchestra of this chapel.

Schubert mastered the piano later and considered himself not a very good pianist, even embarrassed to accompany his songs in public.

In Convict, Schubert devoted all his time to writing, neglecting Latin and mathematics; and, in general, he was not interested in anything except music.

His father, sighing, took him from Konvikt and placed him as his assistant in the parochial school.

The father raised Franz in accordance with his ideas about the path of life, he wanted to make his son a teacher with a reliable income, but the son did not hear his father’s warnings and a cooling of feelings occurs between them.

The rapid development of his son's talent alarmed his father. He knew well how difficult the path is even for famous musicians and wanted to protect his child from such a fate.

Schubert was an indifferent teacher; this work did not interest him at all.

During these 3 years of working as a teacher, he wrote: 4 symphonies, 2 operas, many sonatas, quartets and, of course, songs.

With this busyness, Schubert also found time for musical education - he took lessons from the famous Antonio Salieri; who was the teacher of Beethoven and Mozart.

Despite all his desire to study, Franz never received a systematic education.

He needed money for his studies, and Schubert’s family was in need.

Franz spent his entire life educating himself; a music theory textbook was found under his pillow on his deathbed.

Although such a wonderful melodist, who is born once in a century, does he really need textbooks?

Several times Schubert managed to get the position of conductor, but he did not stay anywhere for long.

Completely immersed in his art, subject to the same frequent changes of mood as those that are so wonderfully shown in his music, Schubert grew up as a man unadapted to life, withdrawn and unsociable.

He was very burdened by the company of people.

On top of everything else, external recognition of his talent worried him very little.

All his independent attempts to submit his works to print or organize public concerts were rather sluggish.

But by the age of 19, Schubert had created most of his song masterpieces and other music that could decorate any concert or publishing catalogue!

He worked daily, hourly, without fatigue or stopping. Music did not leave him even in his dreams - and he jumped up in the middle of the night to write it down on paper. And so as not to look for glasses every time, he did not part with them.

I never changed anything in my works because I didn’t have time for it.

Schubert decides that he is old enough and decides to leave his parents' home. Relations with his father are tense; his father was not happy with him.

“Accept people as they are, not as they should be,” Franz said in a disagreement with his family.

Only a few years later Franz will make peace with his father and return to his family.

The first foreign shelter was the apartment of his Viennese friend, where he settled for several months just to compose music.

From then on, Schubert did not have his own home and could no longer exist without the help of the friends with whom he lived.

His friends took care of him in every possible way, arranged his life and took advantage of his talent.

Schubert was extremely absent-minded and indifferent to everything that did not relate to music.

The word “bohemian” did not yet exist in those years, but Schubert’s circle most closely resembled an attic society where poets, artists, composers and various creative people gathered.

When Schubert did not have money for music paper, the staves were drawn for him by an artist, the brother of the poet who wrote opera librettos.

Schubert was the life of the party here.

Here is his verbal portrait: short, stocky, short-sighted, shy, gullible, naive and impractical in everyday life - but he was unusually charming.

More “decent” acquaintances - with noble citizens of Vienna - made it possible to organize home concerts, the so-called “Schubertiads”. These concerts were dedicated exclusively to the music of Schubert. He did not leave the piano, composing music right there on the go.

Now these are official, solemn, musical holidays, supported by the Austrian state, which are held to this day.

Such circumstances in Schubert's life continued until his death.

Lack of money did not allow him to be persistent in marriage - his beloved preferred a rich pastry chef to him.

He composes a song cycle with the “cold” title “Winter Retreat” - it contains the pain of unfulfilled hopes and lost illusions.

Many questions arise: how did a person, by his entire nature, focused exclusively on himself, spend so much time in front of a noisy and close circle of friends and at the same time find time for an endless stream of masterpieces?

Time flies quickly, maturity sets in - prolific writing gives way to seriousness and concentration.

With age, friends moved aside and became family people with a position in society.

They had no idea that their friend’s music would conquer the whole world.

And Franz Peter was worried: “What will happen to me? “In old age you’ll have to go from door to door and beg for bread.”

From such thoughts, wormwood bitterness settles in the heart, melancholy and confusion are born.

He did not imagine that he would not grow old.

But one day he finally learned real success! – his friends and admirers organized a concert of his works in Vienna, which exceeded all expectations!

Finally, for the first time, his first author’s concert took place! - but... 8 months before his death..., which brought him the largest fee of his entire life.

It seemed that a new, happy stage in the composer’s life had begun, but illness soon put him to bed.

The infection hunted Franz during the last 6 years of his life.

Weak immunity could not resist diseases.

On stuffy and dusty summer evenings in his brother's apartment, he wrote his latest works.

He was seriously ill, he told his brother: “A person does not even suspect what reserve of endurance is contained in him.”

But then the morning comes when he can no longer pick up a pen or pencil.

Schubert was admitted to the hospital, where he died on November 19 - he was less than 32 years old.

What is 32 years of human life? - still live and live, and create, and work.

Schubert's soul has gone into eternity,

and took away hopes that were not destined to come true,

and dreams that never came true,

and joys that could not be tamed.

His soul went into eternity disappointed.

He died exhausted, spiritually and physically, exhausted by failures in life.

They say it was typhoid fever, due to diabetes mellitus.

They buried him in the cemetery where the year before, Ludwig van Beethoven, whom he idolized, was buried.

They lived at the same time, but they are composers of different generations. And they didn’t know each other. Beethoven was deaf and, because of his deafness, led a secluded life, it was difficult to communicate with him.

But Schubert was shy, he knew Beethoven by sight, knew the routes of his walks, knew the cafes and taverns where Beethoven dined, visited the music store, a kind of Viennese music club, where new musical items were performed, debates and conversations were held about literature, music, theater .

But in the presence of Beethoven, Franz Schubert did not dare to enter into conversation.

Shortly before Beethoven's death, his faithful friend and secretary showed Schubert's works. The talent of the young composer amazed Beethoven, and he exclaimed: “Truly, the spark of God lives in this Franz Schubert, he will make the whole world talk about himself.”

At Beethoven's funeral, Schubert carried the torch.

Friends erected a monument to their friend Franz and wanted to carve an epitaph on white marble that would speak of a life as short as a breath and as bright as lightning.

There were several options.

For example: “Traveler! Have you heard Schubert's songs?

Here lies the one who sang them.”

Or here’s another: “He made poetry sound,

And talk music

Not a mistress and not a maid -

They hugged their sisters

At Schubert's grave."

But they settled on another epitaph - poignant and touching - “Music buried its rich treasure here,

But even more wonderful hopes.”

And only after his death he fully revealed all his musical works - but also left us many mysteries and possible solutions to them.

As befits a true genius.

Franz Peter Schubert's archive turned out to be huge, scattered among different hands, and the final number of works he wrote approaches more than 1,250 works.

During the composer's lifetime, only one tenth of his works saw the light of day, and much of what was published was typical commercial music of the time: waltzes and marches for piano for two or four hands.

Some works were found and performed only 40 years later. And then the whole world started talking about them as masterpieces.

You see, both notes and music have their own destiny.

Now think -

What is 32 years in the life of a young man? – this is very little.

32 years is a wild flowering of strength, human and creative.

Beethoven at this age had not yet created his great symphonies.

Shakespeare wrote the tragedy Hamlet only at the age of 37.

Cervantes, had he only lived to the age of 32, would not have written his famous novel, and you and I would have been deprived of Don Quixote.

And Franz Peter Schubert created in his short life so many inspired and beautiful works that would be enough for several long human lives.

The world still remembers him and regrets such a short fate.

Many decades later, modern admirers of talent will name a crater on Mercury in honor of Franz Peter Schubert.

And now, after my story, we will listen to several works by Franz Peter Schubert performed by the pupils of our Boarding House.

But first I want to introduce you to our young singers with all their honorary titles:

Mironova Kristina is a laureate of the All-Russian Katyusha competition, a laureate of the biennale “To the Fatherland - with Love”.

Barsukova Tatyana is a diploma winner of the international competition “Silver Star”.

Kazakova Ekaterina is a diploma winner of the international competition “Silver Star”.

Egorova Daria - she is still preparing to become a laureate, and we are present, perhaps, at the birth of a new star.

And I also want to introduce the young pianist -

Kuzmina Alexandra is a laureate of the biennale “To the Fatherland - with Love.”

We wish our students and all the teachers who teach these girls further success and new victories!

Now they will perform works by Franz Peter Schubert, but first I will tell you a little about these works.

The song is one of the most amazing miracles created by Franz Schubert.

Isn't it a miracle that a little song can bring joy or sadness?

All of F. Schubert's songs are imbued with simple and strong feelings that unite people in the pursuit of goodness, justice and beauty.

Franz Schubert used poetry from more than 100 authors for his music: first of all, Johann Goethe, Heinrich Heine, Friedrich Schiller, William Shakespeare and other poets.

The songs are different in character and mood, they are imbued with sincere trust and extraordinary purity of feelings.

Imagine – 600 songs! – and in each there is a piece of the composer’s pure and in some ways absolutely naive soul.

“A Rose on the Field” is written in the genre of a folk song, simple and artless, almost like a children’s story.

Performed by Daria Egorova.

“Serenade” - first of all, it should be noted that a serenade is a laudatory welcoming music, which, everyone thinks, is performed in the open air, at night, closer to dawn.

But " sereno" means "clear, cheerful", and has nothing to do with the night.

Serenade simply means that it is easy-to-understand music that can be performed in calm, clear weather.

(However, playing a string instrument and singing in the rain will not bring joy to anyone.)

All over the world they believe that this is an exquisite declaration of love.

The English playwright Bernard Shaw wrote a story dedicated to the serenade, I recommend reading it.

Performed by Kristina Mironova.

"Trout" is a real masterpiece.

For each poet, Franz Schubert found musical stylistic devices appropriate to poetry.

He loved images of nature - a stream, a forest, flowers, a field.

Performed by Tatyana Barsukova.

“Barcarolle” is written in the style of a folk song.

In Italian "barca" means boat.

This is the song of the Venetian gondoliers.

Performed by Daria Egorova.

“Ave Maria” is a song-aria, a song-prayer.

Franz Schubert wrote for the church all his life.

When you listen to it, you experience spiritual cleansing - even to the point of tears.

This music contains the subtle and fragile romantic soul of the composer.

Performed by Ekaterina Kazakova.

“Ländler” is an Austrian and German folk dance, paired, circular. Translation from German – rural dance.

In Upper Austria there is a place called Landl - the name of the dance comes from this village.

Performed by teachers Kirtaeva L.A., Perelman I.V.

“Scherzo” - translation from Italian - is a joke.

The play is at a fast pace, there is usually a change in musical themes, light laughter and loud laughter can be heard. You can draw a picture of a joke and fun.

Performed by Kuzmina Alexandra.

Our meeting with the work of Franz Peter Schubert has ended.

But if you are interested in my story, and you would like to know more and in more detail about Franz Peter Schubert, then I can recommend reading Boris Kremnev’s book “Franz Schubert” - from the series of books “The Life of Remarkable People” - year of publication - 1964.

Franz Peter Schubert (1797-1828) – Austrian composer. During such a short life, he managed to compose 9 symphonies, a lot of chamber and solo music for piano, and about 600 vocal compositions. He is rightfully considered one of the founders of romanticism in music. His compositions still, two centuries later, remain among the main ones in classical music.

Childhood

His father, Franz Theodor Schubert, was an amateur musician, worked as a teacher at the Lichtenthal parish school, and had peasant origins. He was a very hardworking and respectable person, his ideas about the path in life were associated only with work, and Theodore raised his children in this spirit.

The musician’s mother is Elisabeth Schubert (maiden name Fitz). Her father was a mechanic from Silesia.

In total, fourteen children were born into the family, but the spouses buried nine of them at an early age. Franz's brother, Ferdinand Schubert, also connected his life with music.

The Schubert family loved music very much; they often held musical evenings at their home, and on holidays a whole circle of amateur musicians gathered. Dad played the cello, and his sons were also taught to play various musical instruments.

Franz's talent for music was discovered in early childhood. His father began to teach him to play the violin, and his older brother taught the baby to play the piano and clavier. And very soon little Franz became a permanent member of the family string quartet, he performed the viola part.

Education

At the age of six, the boy went to parish school. Here not only his amazing ear for music was revealed, but also his amazing voice. The child was taken to sing in a church choir, where he performed rather complex solo parts. The church regent, who often visited the Schubert family at musical parties, taught Franz singing, music theory and playing the organ. Soon everyone around him realized that Franz was a gifted child. Dad was especially happy about his son’s achievements.

At the age of eleven, the boy was sent to a boarding school, where singers were trained for the church, which at that time was called konvikt. Even the environment at school was conducive for Franz’s musical talents to develop.

There was a student orchestra at the school, he was immediately assigned to the first violin group, and occasionally Franz was even trusted to conduct. The repertoire in the orchestra was distinguished by its diversity, the child learned different genres of musical works in it: overtures and works for vocals, quartets and symphonies. He told his friends that Mozart's Symphony in G minor made the greatest impression on him. And Beethoven’s works were for the child the highest example of musical works.

During this period, Franz began to compose himself, he did it with great passion, which even put music at the expense of other school subjects. Latin and mathematics were especially difficult for him. The father was alarmed by Franz’s excessive passion for music; he began to worry, knowing the path of world-famous musicians; he wanted to protect his child from such a fate. He even came up with a punishment - a ban on coming home on weekends and holidays. But the development of the young composer’s talent was not affected by any prohibitions.

And then, as they say, everything happened by itself: in 1813, the teenager’s voice broke and he had to leave the church choir. Franz came home to his parents, where he began studying at a teachers' seminary.

Mature years

After graduating from the seminary in 1814, the guy got a job at the same parish school where his father worked. For three years, Franz worked as a teacher's assistant, teaching children primary school subjects and literacy. Only this did not weaken the love for music; the desire to create was ever stronger. And it was during this time, from 1814 to 1817 (as he himself called it, during the period of school hard labor), that he created a huge number of musical works.

In 1815 alone, Franz composed:

• 2 piano sonatas and string quartet;
• 2 symphonies and 2 masses;
• 144 songs and 4 operas.

He wanted to establish himself as a composer. But in 1816, when applying for the position of bandmaster in Laibach, he was rejected.

Music

Franz was 13 years old when he wrote his first piece of music. And by the age of 16, he had several written songs and piano pieces, a symphony and an opera. Even the court composer, the famous Salieri, noticed such outstanding abilities of Schubert; he studied with Franz for almost a year.

In 1814, Schubert created his first significant works in music:

• Mass in F major;
• Opera "Satan's Pleasure Castle"

In 1816, Franz had a significant meeting with the famous baritone Vogl Johann Michael. Vogl performed works by Franz, which quickly gained popularity in the salons of Vienna. In the same year, Franz set Goethe’s ballad “The Forest King” to music, and this work was an incredible success.

Finally, at the beginning of 1818, Schubert's first composition was published.

The father’s dreams of a quiet and modest life for his son with a small but reliable teacher’s salary did not come true. Franz quit teaching at school and decided to devote his whole life only to music.

He quarreled with his father, lived in deprivation and constant need, but invariably created, composing one work after another. He had to live alternately with his comrades.

In 1818, Franz was lucky, he moved to Count Johann Esterhazy, in his summer residence, where he taught music to the count's daughters.

He did not work for the count for long and returned to Vienna again to do what he loved - create priceless musical works.

Personal life

Need became an obstacle to marrying his beloved girl, Teresa Gorb. He fell in love with her in the church choir. She was not a beauty at all; on the contrary, the girl could be called plain: white eyelashes and hair, traces of smallpox on her face. But Franz noticed how her round face transformed with the first chords of music.

But Teresa’s mother raised her without a father and did not want her daughter to play such a role as a poor composer. And the girl, having cried into her pillow, went down the aisle with a more worthy groom. She married a pastry chef, with whom life was long and prosperous, but gray and monotonous. Teresa died at the age of 78, by which time the ashes of the man who loved her with all his heart had long since decayed in the grave.

Last years

Unfortunately, in 1820, Franz's health began to worry. He became seriously ill at the end of 1822, but after treatment in hospital his health improved slightly.

The only thing he managed to achieve during his lifetime was a public concert in 1828. The success was resounding, but soon after he suffered from enteric fever. She shook him for two weeks, and on March 26, 1828, the composer died. He left a will to be buried in the same cemetery as Beethoven. It was fulfilled. And if in the person of Beethoven a “beautiful treasure” rested here, then in the person of Franz there were “beautiful hopes.” He was too young at the time of his death and there was so much more he could have done.

In 1888, the ashes of Franz Schubert and the ashes of Beethoven were transferred to the Central Vienna Cemetery.

After the composer's death, many unreleased works remained; all of them were published and found recognition from their listeners. His play Rosamund is especially revered; an asteroid that was discovered in 1904 is named after it.

In Vienna, in the family of a school teacher.

Schubert's exceptional musical abilities were evident in early childhood. From the age of seven he studied playing several instruments, singing, and theoretical disciplines.

At the age of 11, Schubert attended a boarding school for soloists of the court chapel, where, in addition to singing, he studied playing many instruments and music theory under the guidance of Antonio Salieri.

While studying at the chapel in 1810-1813, he wrote many works: an opera, a symphony, piano pieces and songs.

In 1813 he entered the teachers' seminary, and in 1814 he began teaching at the school where his father served. In his spare time, Schubert composed his first mass and set Johann Goethe's poem "Gretchen at the Spinning Wheel" to music.

His numerous songs date back to 1815, including “The Forest King” to words by Johann Goethe, the 2nd and 3rd symphonies, three masses and four singspiels (a comic opera with spoken dialogue).

In 1816, the composer completed the 4th and 5th symphonies and wrote more than 100 songs.

Wanting to devote himself entirely to music, Schubert left his job at school (this led to a break in relations with his father).

In Želiz, the summer residence of Count Johann Esterházy, he served as a music teacher.

At the same time, the young composer became close to the famous Viennese singer Johann Vogl (1768-1840), who became a promoter of Schubert's vocal creativity. During the second half of the 1810s, numerous new songs came from Schubert's pen, including the popular "The Wanderer", "Ganymede", "Forellen", and the 6th Symphony. His singspiel "The Twin Brothers", written in 1820 for Vogl and staged at the Kärntnertor Theater in Vienna, was not particularly successful, but brought Schubert fame. A more serious achievement was the melodrama "The Magic Harp", staged a few months later at the Theater an der Wien.

He enjoyed the patronage of aristocratic families. Schubert's friends published 20 of his songs by private subscription, but the opera Alfonso and Estrella with a libretto by Franz von Schober, which Schubert considered his great success, was rejected.

In the 1820s, the composer created instrumental works: the lyrical-dramatic “Unfinished” symphony (1822) and the epic, life-affirming C major (the last, ninth in a row).

In 1823, he wrote the vocal cycle “The Beautiful Miller's Wife” based on the words of the German poet Wilhelm Müller, the opera “Fiebras”, and the singspiel “The Conspirators”.

In 1824, Schubert created string quartets A-moll and D-moll (its second part is variations on the theme of Schubert's earlier song "Death and the Maiden") and a six-part Octet for winds and strings.

In the summer of 1825, in Gmunden near Vienna, Schubert made sketches of his last symphony, the so-called “Bolshoi”.

In the second half of the 1820s, Schubert enjoyed a very high reputation in Vienna - his concerts with Vogl attracted large audiences, and publishers willingly published the composer's new songs, as well as plays and sonatas for piano. Among Schubert's works of 1825-1826, the piano sonatas, the last string quartet and some songs, including "The Young Nun" and Ave Maria, stand out.

Schubert's work was actively covered in the press, he was elected a member of the Vienna Society of Friends of Music. On March 26, 1828, the composer gave an author’s concert in the society’s hall with great success.

This period includes the vocal cycle "Winterreise" (24 songs with words by Müller), two notebooks of impromptu piano, two piano trios and masterpieces of the last months of Schubert's life - the Es-dur Mass, the last three piano sonatas, the String Quintet and 14 songs, published after Schubert's death in the form of a collection entitled "Swan Song".

On November 19, 1828, Franz Schubert died in Vienna of typhus at the age of 31. He was buried in Waring Cemetery (now Schubert Park) in north-west Vienna next to the composer Ludwig van Beethoven, who had died a year earlier. On January 22, 1888, Schubert's ashes were reburied in the Vienna Central Cemetery.

Until the end of the 19th century, a significant part of the composer's extensive legacy remained unpublished. The manuscript of the "Grand" symphony was discovered by composer Robert Schumann in the late 1830s - it was first performed in 1839 in Leipzig under the baton of the German composer and conductor Felix Mendelssohn. The first performance of the String Quintet took place in 1850, and the first performance of the Unfinished Symphony in 1865. The catalog of Schubert's works includes about one thousand items - six masses, eight symphonies, about 160 vocal ensembles, over 20 completed and unfinished piano sonatas and over 600 songs for voice and piano.

The material was prepared based on information from RIA Novosti and open sources