How many years did Schubert live? Illustrated biographical encyclopedic dictionary. Other biography options

Franz Peter Schubert was a representative of the movement musical romanticism in Austria. In his works there was a longing for a bright ideal, which was so lacking in real life. Schubert's music, heartfelt and soulful, took a lot from the traditional folk art. His works are distinguished by melody and harmony, and a special emotional mood.

Franz Peter Schubert was a representative of the movement of musical romanticism in Austria. His works sounded a longing for a bright ideal, which was so lacking in real life. Schubert's music, heartfelt and soulful, took a lot from traditional folk art. His works are distinguished by melody and harmony, and a special emotional mood.

Schubert was born on January 31, 1797, into a family Franz Theodor Schubert- school teacher and amateur cellist. Boy with early age loved music and easily mastered musical instruments. Young Schubert sang beautifully - he had an excellent voice as a child - so in 1808 he was accepted into the Imperial Chapel. General education he received it at the Konvikt boarding school. In the school orchestra, Schubert was second violin, but Latin and mathematics were not easy for him.

From choir chapel Schubert was expelled as a teenager. In 1810, Schubert began writing music. Over the course of 3 years, he composed several pieces for piano, a symphony and even an opera. The famous man himself became interested in the young talent Salieri. (He studied composition with Schubert in the period 1812-17.)

Since 1813, Schubert taught at school. That year he composed his first famous masterpiece– the song Gretchen am Spinnrade (“Gretchen at the spinning wheel”) based on Goethe’s poems.

In 1815–16 Schubert wrote many works: more than one and a half hundred songs, several instrumental quartets and symphonies, four operettas, two masses. In 1816, his famous Fifth Symphony in B flat major, the songs “The Forest King” and “The Wanderer” were written.

The composer was lucky enough to meet the famous baritone singer M. Foglem. Vogl began performing Schubert's songs, and they soon gained popularity in all Viennese salons.

In the summer of 1818, Schubert left school and went to the residence of the famous art connoisseur and philanthropist - Count Johanna Esterhazy. There he taught and continued to write music. During this period the Sixth Symphony was created. Returning to Vienna, the composer received a lucrative order for the operetta “The Twin Brothers”. Premiere musical performance took place in 1820 - it was successful.

The next two years were difficult for the composer financially. He did not know how to achieve the favor of patrons and did not want to. In 1822, he completed work on the opera Alfonso and Estrella, but it was never staged.

During 1823, the composer was plagued by serious illnesses. Despite his physical weakness, he wrote two more operas. These works also did not see the stage. The composer did not lose heart and continued to create. The music for the play Rosamund and the song cycle called “The Beautiful Miller's Wife” were well received by the audience. Schubert again went to teach with the Esterhazy family and there, in the princely country residence, he slightly improved his health.

In 1825, the composer toured extensively with Vogl in Austria. At this time it was written vocal cycle to the words of Scott, which included the famous ode "Ave Maria".

Schubert's songs and vocal cycles were known and popular in Austria - both among the noble public and among common people. At that time, many private houses hosted evenings dedicated exclusively to the composer’s works – the Schubertiades. In 1827, the composer created the famous cycle “ winter journey».

The composer's health, meanwhile, was getting worse. In 1828 he felt signs of another serious illness. Instead of paying attention to his health, Schubert feverishly continued to work. At this time, the composer’s main masterpieces saw the light: the famous “Symphony in C major”, the quintet “in C major” for string instruments, three piano sonatas and a vocal cycle with symbolic name"Swan Song". (This cycle was published and performed after the composer's death).

Not all publishers agreed to publish Schubert's works; it happened that they paid him unreasonably little. He did not give up and worked until his last days.

Schubert died on November 19, 1828. The cause of death was typhus - the composer’s body, weakened by hard work, was unable to cope with the disease. He was buried next to Beethoven, but subsequently the ashes were transferred to the central cemetery of Vienna.

The composer lived only 31 years, but his contribution to the musical heritage of the 19th century is enormous. He created a lot in the song-romance genre; he wrote about 650 songs. At that time, German poetry was flourishing - it became the source of his inspiration. Schubert took poetic texts and, with the help of music, gave them his own context, new meaning. His songs were characterized by a direct impact on listeners - they became not observers, but participants in the plot of the musical composition.

Schubert managed to do a lot not only in the song, but also in the orchestral genre. His symphonies introduce listeners to a new, original music world, far from the classical style of the 19th century. All his orchestral works are distinguished by the brightness of emotions, enormous power impact.

Harmonious inner world Schubert is reflected in his chamber works. The composer often wrote pieces to be performed four hands, intended for “home” use. His trios, quartets, and quintets captivate with their frankness and emotional openness. This was Schubert - he had nothing to hide from his listener.

Schubert's piano sonatas are second only to Beethoven's in their emotional intensity and mastery. They combine traditional song and dance forms with classical musical techniques.

All of Schubert's works are imbued with the charm of his beloved city - old Vienna. During his life, he did not always have it easy, and Vienna did not always appreciate his talent. After his death, many unpublished manuscripts remained. Musicians and critics, friends, and relatives of the composer made a lot of efforts to find, embody and publish a significant number of his works. The popularization of this wonderful music continued for a century. It led to worldwide recognition musical genius— Franz Peter Schubert.

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Biography, life story of Schubert Franz Peter

Franz Peter Schubert (January 31, 1797 – November 19, 1828) – Austrian composer, one of the founders of musical romanticism.

Introduction

Schubert lived only thirty-one years. He died exhausted physically and mentally, exhausted by failures in life. None of the composer's nine symphonies were performed during his lifetime. Of the six hundred songs, about two hundred were published, and of the two dozen piano sonatas- only three.

In my dissatisfaction surrounding life Schubert was not alone. This dissatisfaction and protest the best people societies were reflected in a new direction in art - romanticism. Schubert was one of the first Romantic composers.

Childhood and youth

Franz Schubert was born on January 31, 1797 in the Vienna suburb of Lichtenthal. His father Franz Theodor Schubert, a school teacher, came from a peasant family. Mother Elizabeth Schubert (nee Fitz) was the daughter of a mechanic. The family loved music very much and constantly organized musical evenings. His father played the cello, and Franz's brothers played various instruments.

Having discovered in little Franz musical abilities, his father and older brother Ignatz began to teach him to play the violin and piano. Soon the boy was able to take part in home performances of string quartets, playing the viola part. Franz had a wonderful voice. He sang in the church choir, performing difficult solo parts. The father was pleased with his son's success. When Franz was eleven years old, he was assigned to the konvikt, a training school for church singers.

The environment of the educational institution was conducive to the development of the boy’s musical abilities. In the school student orchestra, he played in the first violin group, and sometimes even served as conductor. The orchestra's repertoire was varied. Schubert became acquainted with symphonic works of various genres (symphonies, overtures), quartets, and vocal works. He admitted to his friends that the G minor symphony shocked him. High example music became for him.

CONTINUED BELOW

Already in those years, Schubert began to compose. His first works were fantasia for piano, a number of songs. The young composer writes a lot, with great passion, often to the detriment of other school activities. The boy's outstanding abilities attracted the attention of the famous court composer, with whom Schubert studied for a year.

Over time, rapid development musical talent Franz began to cause concern in his father. Knowing well how difficult the path of musicians was, even world famous ones, the father wanted to protect his son from a similar fate. As punishment for his excessive passion for music, he even forbade him to be at home on holidays. But no prohibitions could delay the development of the boy’s talent.

Schubert decided to break with the convict. Throw away boring and unnecessary textbooks, forget about worthless cramming that drains your heart and mind, and go free. Give yourself entirely to music, live only by it and for its sake.

On October 28, 1813, he completed his first symphony in D major. On last sheet Schubert wrote: "The End and the End". The end of the symphony and the end of the convict.

For three years he served as an assistant teacher, teaching children literacy and other elementary subjects. But his attraction to music and his desire to compose is becoming stronger. One can only be amazed at the resilience of his creative nature. It was during these years of school hard labor, from 1814 to 1817, when it seemed that everything was against him, that he created an amazing number of works. In 1815 alone, Schubert wrote 144 songs, 4 operas, 2 symphonies, 2 masses, 2 piano sonatas, and a string quartet. Among the creations of this period there are many that are illuminated by the unfading flame of genius. These are the Tragic and Fifth B-flat major symphonies, as well as the songs “Rosochka”, “Margarita at the Spinning Wheel”, “The Forest Tsar”.

“Margarita at the Spinning Wheel” is a monodrama, a confession of the soul. “The Forest King” is a drama with several actors. They have their own characters, sharply different from each other, their own actions, completely dissimilar, their own aspirations, opposing and hostile, their own feelings, incompatible and polar.

The story behind the creation of this masterpiece is amazing. It arose in a fit of inspiration.

"One day, - recalled Shpaun, a friend of the composer, - we went to see Schubert, who was then living with his father. We found our friend in the greatest excitement. With a book in his hand, he walked back and forth around the room, reading aloud “The King of the Forest.” Suddenly he sat down at the table and began to write. When he stood up, the magnificent ballad was ready.".

Living for the music

The father's desire to make his son a teacher with a small but reliable income failed. The young composer firmly decided to devote himself to music and left teaching at school. He was not afraid of a quarrel with his father. The entire subsequent short life of Schubert represents a creative feat. Experiencing great material need and deprivation, he worked tirelessly, creating one work after another.

Financial adversity, unfortunately, prevented him from marrying his beloved girl. Teresa Grob sang in the church choir. From the very first rehearsals, Schubert noticed her, although she was inconspicuous. Blonde-haired, with whitish eyebrows, as if faded in the sun, and a grainy face, like most dull blondes, she did not sparkle with beauty at all. Rather, on the contrary - at first glance she seemed ugly. On round face traces of smallpox were clearly visible.

But as soon as the music sounded, the colorless face was transformed. It had just been extinguished and therefore lifeless. Now, illuminated inner light, it lived and radiated.

No matter how accustomed Schubert was to the callousness of fate, he did not imagine that fate would treat him so cruelly. “Happy is he who finds a true friend. Even happier is he who finds it in his wife.", he wrote in his diary.

However, the dreams went to waste. Teresa's mother, who raised her without a father, intervened. Her father owned a small silk-spinning factory. Having died, he left the family a small fortune, and the widow turned all her worries to ensuring that the already meager capital did not decrease. Naturally, she pinned hopes for a better future on her daughter’s marriage. And it is even more natural that Schubert did not suit her. In addition to the penny salary of an assistant schoolteacher, he had music, which, as we know, is not capital. You can live by music, but you can’t live by it.

A submissive girl from the suburbs, brought up in subordination to her elders, did not even allow disobedience in her thoughts. The only thing she allowed herself was tears. Having cried quietly until the wedding, Teresa walked down the aisle with swollen eyes.

She became the wife of a pastry chef and lived a long, monotonously prosperous life. gray life, dying in his seventy-eighth year. By the time she was taken to the cemetery, Schubert’s ashes had long since decayed in the grave.

For several years (from 1817 to 1822) Schubert lived alternately with one or the other of his comrades. Some of them (Spaun and Stadler) were friends of the composer from their convict days. Later they were joined by the multi-talented artist Schober, the artist Schwind, the poet Mayrhofer, the singer Vogl and others. The soul of this circle was Schubert. Short, stocky, very short-sighted, Schubert had enormous charm. His radiant eyes were especially beautiful, in which, as in a mirror, kindness, shyness and gentleness of character were reflected. And his delicate, changeable complexion and curly brown hair gave his appearance a special attractiveness.

During meetings, friends got acquainted with fiction, poetry of the past and present. They argued heatedly, discussing issues that arose, and criticized the existing social order. But sometimes such meetings were devoted exclusively to Schubert’s music; they even received the name “Schubertiad”. On such evenings, the composer did not leave the piano, immediately composing ecosaises, waltzes, landlers and other dances. Many of them remained unrecorded. Schubert's songs, which he often performed himself, evoked no less admiration. Often these friendly gatherings turned into country walks. Saturated with bold, lively thought, poetry, and beautiful music, these meetings represented a rare contrast with the empty and meaningless entertainment of secular youth. The unsettled life and cheerful entertainment could not distract Schubert from his creative, stormy, continuous, inspired work. He worked systematically, day after day. “I compose every morning, when I finish one piece, I begin another.”“, admitted the composer. Schubert composed music unusually quickly. On some days he created up to a dozen songs! Musical thoughts were born continuously, the composer barely had time to write them down on paper. And if she wasn’t at hand, he wrote the menu on the back, on scraps and scraps. Needing money, he especially suffered from a lack of music paper. Caring friends supplied the composer with it. Music also visited him in his dreams. When he woke up, he tried to write it down as soon as possible, so he did not part with his glasses even at night. And if the work did not immediately result in a perfect and complete form, the composer continued to work on it until he was completely satisfied. Thus, for some poetic texts, Schubert wrote up to seven versions of songs! During this period, Schubert wrote two of his wonderful works– “The Unfinished Symphony” and the cycle of songs “The Beautiful Miller’s Wife.”

« Unfinished Symphony"consists not of four parts, as is customary, but of two. And the point is not at all that Schubert did not have time to finish the remaining two parts. He started on the third - a minuet, as demanded classical symphony, but abandoned his idea. The symphony, as it sounded, was completely completed. Everything else would be superfluous and unnecessary. And if the classical form requires two more parts, you have to give up the form. Which is what he did.

Schubert's element was song. In it he achieved unprecedented heights. He elevated the genre, previously considered insignificant, to the level of artistic perfection. And having done this, he went further - saturated with songfulness chamber music- quartets, quintets, - and then symphonic. The combination of what seemed incompatible - miniature with large-scale, small with large, song with symphony - gave a new, qualitatively different from everything that came before - a lyric-romantic symphony.

Her world is a world of simple and intimate human feelings, the most subtle and deep psychological experiences. This is a confession of the soul, expressed not with a pen or a word, but with sound.

Song cycle “The Beautiful Miller's Wife” – bright that confirmation. Schubert wrote it based on poems by the German poet Wilhelm Müller. “The Beautiful Miller's Wife” is an inspired creation, illuminated by gentle poetry, joy, and the romance of pure and high feelings.

The cycle consists of twenty separate songs. And all together they form a single dramatic play with a beginning, twists and turns, and a denouement, with one lyrical hero - a wandering mill apprentice.

However, the hero in “The Beautiful Miller's Wife” is not alone. Next to him there is another, no less important hero - the stream. He lives his stormy, intensely changing life.

Works last decade Schubert's life is very varied. He writes symphonies, piano sonatas, quartets, quintets, trios, masses, operas, a lot of songs and much other music. But during the composer’s lifetime his works were rarely performed, and most of they remained in manuscripts. Having neither funds nor influential patrons, Schubert had almost no opportunity to publish his works. Songs, the main thing in Schubert's work, were then considered more suitable for home music playing than for open concerts. Compared to the symphony and opera, songs were not considered an important musical genre.

Not a single Schubert opera was accepted for production, and not a single one of his symphonies was performed by an orchestra. Moreover, the notes of his best Eighth and Ninth Symphonies were found only many years after the composer's death. But the songs based on the words sent to him by Schubert never received the poet’s attention.

Timidity, inability to manage his affairs, reluctance to ask, to humiliate himself in front of influential people were also an important reason for Schubert's constant financial difficulties. But, despite the constant lack of money, and often hunger, the composer did not want to go either into the service of Prince Esterhazy or as a court organist, where he was invited. At times, Schubert did not even have a piano and composed without an instrument. Financial difficulties did not prevent him from composing music.

And yet the Viennese came to know and love Schubert’s music, which itself made its way to their hearts. Like the old ones folk songs, passed from singer to singer, his works gradually gained admirers. These were not regulars of brilliant court salons, representatives of the upper class. Like a forest stream, Schubert's music found its way to the hearts of ordinary residents of Vienna and its suburbs. A major role was played here by the outstanding singer of that time, Johann Michael Vogl, who performed Schubert's songs to the accompaniment of the composer himself.

last years of life

Insecurity and continuous failures in life had a serious impact on Schubert's health. His body was exhausted. Reconciliation with father last years life, calmer, balanced home life they couldn't change anything anymore. Schubert could not stop composing music; this was the meaning of his life. But creativity required a huge expenditure of effort and energy, which became less and less every day.

At twenty-seven years old, the composer wrote to his friend Schober: “... I feel like an unhappy, insignificant person in the world...” This mood is reflected in the music last period. If earlier Schubert created mainly light, joyful works, then a year before his death he wrote songs, combining them common name"Winter Way".

This had never happened to him before. He wrote about suffering and suffered. He wrote about hopeless melancholy and was hopelessly melancholy. He wrote about the excruciating pain of the soul and experienced mental anguish.

“Winter Way” is a journey through torment. AND lyrical hero. And the author.

The cycle, written in the blood of the heart, excites the blood and stirs the hearts. A thin thread woven by the artist connected the soul of one person with the souls of millions of people with an invisible but indissoluble connection. She opened their hearts to the flow of feelings rushing from his heart.

In 1828, through the efforts of friends, the only concert of his works during Schubert’s lifetime was organized. The concert was a huge success and brought great joy to the composer. His plans for the future became more rosy. Despite his failing health, he continues to compose. The end came unexpectedly. Schubert fell ill with typhus. The weakened body could not withstand the serious illness, and on November 19, 1828, Schubert died. The remaining property was valued for pennies. Many works have disappeared. Famous poet of that time Grillparzer, who composed the funeral eulogy a year earlier

Franz Schubert is a famous Austrian composer. His life was quite short, he lived only 31 years, from 1797 to 1828. But during this short period he made a huge contribution to the development of the world musical culture. You can verify this by studying the biography and work of Schubert. This outstanding composer considered one of the most prominent founders romantic direction in musical art. Having familiarized yourself with the most important events in Schubert's biography, you can better understand his work.

Family

The biography of Franz Schubert begins on January 31, 1797. He was born into a poor family in Lichtenthal, a suburb of Vienna. His father, who came from a peasant family, was a school teacher. He was distinguished by his hard work and integrity. He raised his children, instilling in them that work is the basis of existence. Mother was the daughter of a mechanic. There were fourteen children in the family, but nine of them died in infancy.

Schubert's biography summary demonstrates the important role of family in the development of a young musician. She was very musical. Father played the cello, and little Franz's brothers played others musical instruments. Often musical evenings were held in their house, and sometimes all the amateur musicians they knew would gather at them.

First music lessons

From the short biography of Franz Schubert it is known that his unique musical abilities appeared very early. Having discovered them, his father and older brother Ignatz began classes with him. Ignatz taught him to play the piano, and his father taught him the violin. After some time, the boy became a full-fledged participant in the family string quartet, in which he confidently performed the viola part. It soon became clear that Franz needed more professional music studies. That's why music lessons with the gifted boy were entrusted to the regent of the Lichtenthal Church, Michael Holzer. The teacher admired the extraordinary musical abilities of his student. In addition, Franz had a wonderful voice. By the age of eleven, he performed difficult solo parts in the church choir, and also played the violin part, including solo, in the church orchestra. The father was very pleased with his son's success.

Konvikt

When Franz was eleven years old, he took part in a competition to select singers for the imperial royal court singing chapel. Having successfully passed all the tests, Franz Schubert becomes a singer. He is enrolled in Konvikt, a free boarding school for gifted children from low-income families. The Younger Schubert now has the opportunity to receive general and musical education, which becomes a blessing for his family. The boy lives in a boarding school and comes home only for the holidays.

Studying the short biography of Schubert, one can understand that the situation that developed in this educational institution, contributed to the development of the musical abilities of a gifted boy. Here Franz daily practices singing, playing the violin and piano, and theoretical disciplines. A student orchestra was organized at the school, in which Schubert played first violin. The conductor of the orchestra, Wenzel Ruzicka, noticing the extraordinary talent of his student, often entrusted him with the duties of conductor. The orchestra performed a wide variety of music. Thus, the future composer met orchestral music various genres. He was especially impressed by the music of the Viennese classics: Mozart's Symphony No. 40, as well as Beethoven's musical masterpieces.

First compositions

While studying in convict, Franz began to compose. Schubert's biography states that he was thirteen years old at the time. He writes music with great passion, often to the detriment of his schoolwork. Among his first compositions are a number of songs and a fantasy for piano. Demonstrating outstanding musical abilities, the boy attracted the attention of the famous court composer Antonio Salieri. He begins classes with Schubert, during which he teaches him counterpoint and composition. Teacher and student are connected not only by musical lessons, but also by warm relationships. These classes continued after Schubert left the convict.

Observing the rapid development of his son's musical talent, his father began to worry about his future. Understanding the hardship of existence for musicians, even the most famous and recognized ones, his father tries to protect Franz from such a fate. He dreamed of seeing his son become a school teacher. As a punishment for his excessive passion for music, he forbids his son to be at home on weekends and holidays. However, the bans did not help. Schubert Jr. could not give up music.

Leaving the convict

Having not completed his training in convict, Schubert, at the age of thirteen, decides to leave it. This was facilitated by a number of circumstances, which are described in the biography of F. Schubert. First, a voice mutation that no longer allowed Franz to sing in the choir. Secondly, his excessive passion for music left his interest in other sciences far behind. He was scheduled for a re-examination, but Schubert did not take advantage of this opportunity and left his training in convict.

Franz still had to return to school. In 1813 he entered the regular school of St. Anne, graduated from it and received a certificate of education.

Start of independent life

Schubert's biography tells that for the next four years he works as an assistant school teacher at the school where his father also works. Franz teaches children literacy and other subjects. The wages were extremely low, which forced the young Schubert to constantly seek additional income in the form of private lessons. Thus, he has practically no time left to compose music. But the passion for music does not go away. It's only getting stronger. Franz received enormous help and support from his friends, who organized concerts and useful contacts for him, and supplied him with music paper, which he always lacked.

During this period (1814-1816) his famous songs“The Forest King” and “Margarita at the Spinning Wheel” to the words of Goethe, over 250 songs, singspiels, 3 symphonies and many other works.

The composer's imaginative world

Franz Schubert is a romantic in spirit. He placed the life of the soul and heart at the basis of all existence. His heroes are simple people with a rich inner world. A theme appears in his work social inequality. The composer often draws attention to how unfair society is to the ordinary modest person, who does not have material goods, but spiritually rich.

Nature in its various states becomes a favorite theme of Schubert’s chamber vocal work.

Meet Vogl

After reading (briefly) the biography of Schubert, the most important event his acquaintance with the outstanding Viennese opera singer Johann Michael Vogl appears. It happened in 1817 through the efforts of the composer’s friends. This acquaintance was of great importance in the life of Franz. In him he acquired a devoted friend and performer of his songs. Subsequently, Vogl played a huge role in promoting the chamber and vocal creativity of the young composer.

"Schubertiades"

Over time, a circle of creative youth formed around Franz, consisting of poets, playwrights, artists, and composers. Schubert's biography mentions that meetings were often dedicated to his work. In such cases they were called "Schubertiads". Meetings were held in the home of one of the circle members or in the Vienna Crown coffee shop. All members of the circle were united by an interest in art, passion for music and poetry.

Trip to Hungary

The composer lived in Vienna, rarely leaving it. All the trips he made were related to concerts or teaching. Schubert's biography briefly mentions that during summer period In 1818 and 1824, Schubert lived on the estate of Count Esterhazy Zeliz. The composer was invited there to teach music to the young countesses.

Joint concerts

In 1819, 1823 and 1825, Schubert and Vogl traveled around Upper Austria and toured at the same time. The public has such joint concerts are enjoying great success. Vogl strives to introduce listeners to the work of his composer friend, to make his works known and loved outside of Vienna. Gradually, Schubert's fame is growing; people talk about him more and more often not only in professional circles, but also among ordinary listeners.

First editions

Schubert's biography contains facts about the beginning of publications of the young composer's works. In 1921, thanks to the care of F. Schubert’s friends, “The Forest King” was published. After the first edition, other Schubert works began to be published. His music becomes famous not only in Austria, but also far beyond its borders. In 1825, songs, piano works and chamber opuses began to be performed in Russia.

Success or illusion?

Schubert's songs and piano works are gaining great popularity. His works were highly appreciated by Beethoven, the composer's idol. But, along with the fame that Schubert gains thanks to Vogl’s propaganda activities, disappointments remain. The composer's symphonies were never performed, operas and singspiels are practically never staged. To this day, 5 operas and 11 singspiels by Schubert are in oblivion. A similar fate befell many other works that are rarely performed in concerts.

Creative flourishing

In the 20s, Schubert appeared in the song cycles “The Beautiful Miller’s Wife” and “Winter Reise” with lyrics by W. Müller, chamber ensembles, sonatas for piano, fantasy “Wanderer” for piano, as well as symphonies - “Unfinished” No. 8 and “Big” No. 9.

In the spring of 1828, the composer's friends organized a concert of Schubert's works, which took place in the hall of the Society of Music Lovers. The composer used the money received from the concert to purchase the first piano of his life.

Death of the composer

In the autumn of 1828, Schubert unexpectedly became seriously ill. His torment lasted three weeks. On November 19, 18128, Franz Schubert passed away.

Only a year and a half has passed since Schubert took part in the funeral of his idol - the last Viennese classic L. Beethoven. Now he too was buried in this cemetery.

Having familiarized yourself with the summary of Schubert's biography, you can understand the meaning of the inscription that was carved on his tombstone. It tells that a rich treasure is buried in the grave, but even more wonderful hopes.

Songs are the basis of Schubert's creative heritage

When talking about the creative heritage of this wonderful composer, we usually always highlight his song genre. Schubert wrote a huge number of songs - about 600. This is no coincidence, since vocal miniature is becoming one of the most popular genres of romantic composers. It was here that Schubert was able to fully reveal the main theme of the romantic movement in art - the rich inner world of the hero with his feelings and experiences. The first song masterpieces were created by the young composer at the age of seventeen. Each of Schubert's songs is an inimitable artistic image, born from the fusion of music and poetry. The content of the songs is conveyed not only by the text, but also by the music, which precisely follows it, emphasizing the originality of the artistic image and creating a special emotional background.

In his chamber vocal work, Schubert used both the texts of the famous poets Schiller and Goethe, and the poetry of his contemporaries, the names of many of whom became known thanks to the composer’s songs. In their poetry they reflected spiritual world, inherent in representatives of the romantic movement in art, which was close and understandable to the young Schubert. During the composer's lifetime, only a few of his songs were published.

The biography of Schubert is very interesting to study. He was born on January 31, 1797 in a suburb of Vienna. His father worked as a school teacher and was a very hardworking and decent person. The eldest sons chose their father's path, and the same path was prepared for Franz. However, they also loved music in their home. So, short biography Schubert...

Franz's father taught him to play the violin, his brother taught him the clavier, the church regent taught him theory and taught him to play the organ. It soon became clear to the household that Franz was unusually gifted, so at the age of 11 he began studying at a church singing school. There was an orchestra in which the students played. Soon Franz was performing the first violin part and even conducting.

In 1810 the guy writes his first composition, and it becomes clear that Schubert is a composer. His biography says that his passion for music intensified so much that over time it crowded out other interests. The young man dropped out of school after five years, angering his father. Schubert's biography tells that, yielding to his father, he enters a teacher's seminary, and then works as a teacher's assistant. However, all his father’s hopes of turning Franz into a man with a good and reliable income were in vain.

Schubert's biography in the period from 1814 to 1817 is one of the most active phases of his work. At the end of this time, he is already the author of 7 sonatas, 5 symphonies and approximately 300 songs that everyone knows. It would seem that a little more - and success is guaranteed. Franz quits his service. The father becomes furious, leaves him without funds and breaks off all relations.

Schubert's biography tells that he had to live with friends. Among them were poets and artists. It was during this period that the famous “Schubertiades” are held, that is, evenings dedicated to the music of Franz. He played the piano among his friends, composing music on the go. However, these were difficult years. Schubert lived in unheated rooms and gave hated lessons so as not to die of hunger. Due to poverty, Franz was unable to marry - the girl he loved preferred him to a wealthy pastry chef.

Schubert's biography shows that in 1822 he wrote one of his best creations - “The Unfinished Symphony”, and then the cycle of works “The Beautiful Miller's Wife”. For some time, Franz returned to the family, but two years later he left again. Naive and gullible, he was not adapted to independent life. Schubert often became a victim of deception by his publishers, who openly profited from him. The author of a huge and wonderful collection of songs that were very popular among the burghers during his lifetime, barely

Schubert was not a virtuoso musician like Beethoven or Mozart, and could only act as an accompanist for his melodies. The symphonies were never performed during the composer's lifetime. The Schubertiad circle broke up, friends started families. He didn’t know how to ask, and he didn’t want to humiliate himself in front of influential people.

Franz was completely desperate and believed that perhaps in his old age he would have to beg, but he was wrong. The composer did not know that he would not grow old. But, despite all this, his creative activity does not weaken, and even vice versa: Schubert’s biography claims that his music is becoming deeper, more expressive and larger-scale. In 1828, friends organized a concert at which the orchestra played only his songs. It was very successful. After this, Schubert was again filled with grandiose plans and began to work on new compositions with renewed energy. However, a few months later he fell ill with typhus and died in November 1828.

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, for a long time could not be put together. 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" main goal 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, the values ​​of one’s peace of mind. This is how it was born 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 public figure, not a speaker, 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, its short creative path Schubert passed in tragic obscurity. He did not enjoy the success that was natural for a musician of this caliber.

Meanwhile creative heritage Schubert is huge. According to the intensity of creativity and artistic value music, this composer can be compared to 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 full meeting Schubert's compositions, 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. A genre that clearly played a role in the art of the Viennese classics minor role, became equal in importance to 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 the 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 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 sonata-symphonic cycle - lyrical-romantic.