Franz Schubert

At 31 years old, Franz Schubert has this physical status:

Franz Peter Schubert (German: [fant pet]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and Early Romantic period. Schubert left behind a substantial body of piano and chamber music after his brief life. "Erlkönig" (D. 328), the Piano Quintet in A major, D. 667; the Symphony No. 1 (Trout Quintet), and the Piano Quintet were among his major works. 8 in B minor, D. 759 (Unfinished Symphony), the "Greatest" Symphony No. 1 in B minor, No. 8 - "unfinished Symphony No. 759 (Unfinished Symphony No. 659). 9 in C major, D. 946, the String Quintet (D. 946), the three last piano sonatas (D. 958–966), the opera Fierrabras (D. 796), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911).

Schubert, who was born in Vienna's Himmelpfortgrund suburb, had rare gifts for music from an early age. Schubert was his first violin lessons and his elder brother took him piano lessons, but he soon outgrew their capabilities. He became a student at the Stadtkonvikt academy in 1808, where he became familiar with Joseph Haydn's orchestral music, 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 training to become a schoolteacher. Despite this, he continued his composition studies with Antonio Salieri and is now composed prolifically. Schubert was admitted to the Gesellschaft der Musikfreunde as a performer in 1821, which helped him to establish his name among the Viennese civilian population. In March 1828, he gave a concert of his own works to critical acclaim, the first time he did so in his career. He died eight months later at the age of 31, the cause of typhoid fever being traced to typhoid fever but not syphilis, according to some scholars.

When Schubert's music was on the radio, it was limited to a small circle of admirers in Vienna, but his admiration of his work soared sharply in the decades after his demise. Felix Mendelsohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other 19th-century composers discovered and championed his works. Schubert is one of the best composers in Western music history today, and his work continues to be lauded.

Early life and education

Franz Peter Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, Austria's Archduchy of Austria, on January 31, 1797, and baptized in the Catholic Church the next day. He was Franz Theodor Florian Schubert (1763-1830) and Maria Elisabeth Katharina Vietz (1756-1812). Schubert's immediate ancestors were from the province of Zuckmantel in Austrian Silesia. His father, the son of a Moravian peasant, was a well-known parish schoolmaster, and his school in Lichtental (in Vienna's ninth district) had many students. In 1784, he came from Zukmantel and was named schoolmaster two years later. His mother, who had been a housemaid for a Viennese family before marriage, was the daughter of a Silesian master locksmith and had been housemaid for a Viennese family. Franz Theodor and Elisabeth's fourteen children (one of whom was illegitimate, born in 1783) died in infancy.

Ignaz later recalled:

When he was eight years old, his dad taught him his first violin lessons, preparing him to the point where he could play easy duets with ease. Schubert's first lessons outside the family were delivered by Michael Holzer, organist and choirmaster of the local parish church in Lichtental, just over a year ago. Holzer would often tell Schubert's father, with tears in his eyes, that he had never met such a student as Schubert, and that the lessons may have largely consisted of stories and expressions of admiration. Holzer gave the young Schubert not only piano and organ instruction but also in figured bass. However, according to Holzer, he did not give him any real instruction because Schubert would have already learned everything he tried to teach him; rather, he looked at Schubert with "astonishment and silence." Schubert seemed to gain more from an acquaintance with a fellow apprentice joiner who took him to a nearby pianoforte warehouse, where Schubert could practice on better instruments. He also played viola in the family string quartet, with brothers Ferdinand and Ignaz on first and second violin and his father on cello, and Paul on the cello. Schubert wrote his first string quartets for this ensemble.

Young Schubert first caught the attention of Antonio Salieri, then Vienna's top musical authority, in 1804, when his vocal talents were discovered. Through a choir scholarship in November 1808, he became a student at the Stadtkonvikt (Imperial Seminary). He was introduced to Mozart's overtures and symphonies, as well as Joseph Haydn's younger brother Michael Haydn's, and Beethoven's overtures and symphonies, as he gained admiration. His exposure to these and other works, as well as occasional visits to the opera, paved the way for a broader musical education. Johann Rudolf Zumsteeg, a leading composer of lieder, had a major musical influence. As reported by Joseph von Spaun, Schubert's companion, the precocious young student "wanted to modernize" Zumsteeg's songs. Schubert's acquaintance with Spaun began at the Stadtkonvikt and continued throughout his short life. Spaun supplied the impoverished Schubert with a large portion of his manuscript paper in those early days.

Schubert's talent began to emerge in his compositions; Salieri decided to begin training him privately in music theory and composition. The boy's first piano composition was a fantasy for four hands, according to Ferdinand; his first piece, Klagegesang der Hagar, will be published a year later. Schubert was occasionally allowed to conduct the Stadtkonvikt's orchestra, and it was the first orchestra he wrote for. In comparison to the unfinished "Octet for Winds" (D72), a cantata Wer ist groß? During the remainder of his time at the Stadtkonvikt, he dedicated a significant portion of his time in the form of a "Kyrie" (D 31), many songs, piano pieces, and, perhaps, liturgical choral works in the form of a "Kyrie" (D31). (D 110, for his father's birthday in 1813) and his first symphony (D 82).

Schubert left the townkonvikt and returned home for teacher education at the St Anna Normal-hauptschule at the end of 1813. In 1814, he began teaching the youngest children in his father's academy. Schubert suffered with intense drudgery for more than two years; there were still compensatory needs back then. Schubert's composition instructor, Salieri, received more theoretical instruction than any of his other tutors before they parted ways in 1817.

Schubert's teenage soprano Therese Grob, the daughter of a local silk manufacturer, wrote several of her liturgical poems (including a "Salve Regina" and a "Tantum Ergo") for her in 1814; she was also a soloist in the premiere of his Mass No. octagon. In September 1814, there was a 1 (D. 1055) in September. Schubert wanted to marry her but was prevented by 1815's tough marriage-consent law, which only required an aspiring bridegroom to demonstrate that he had the ability to care for a family. Schubert gave Grob's brother Heinrich a set of songs that had been held by the family into the twentieth century in November 1816, after struggling to obtain a musical job in Laibach (now Ljubljana, Slovenia).

1815 was one of Schubert's most prolific years. He produced more than 20,000 bars of music, the majority of which were for orchestra, including nine church works (despite being an agnostic), a symphony, and about 140 Lieders. He was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would be his lifelong friends. Johann Mayrhofer, a fellow, was introduced to him by Spaun in 1815.

Schubert and his father remained at home with his father through 1815. He continued to teach at the school and provide private musical instruction, but with little to no funds left over for luxury items, he continued to teach at the academy and give private musical lessons. Spaun was extremely aware that Schubert was dissatisfied with his work in the classroom and was concerned about Schubert's intellectual and musical growth. Spaun moved from Landskrongasse (in the inner city) to a new home in the Landstraße suburb in May 1816; one of the first things he did after settling in the new home was to invite Schubert to spend a few days with him. This was most likely Schubert's first visit away from home or school. Schubert's unhappiness during his time as a schoolteacher may have triggered early signs of depression, and it is almost certain that Schubert suffered from cyclothymia throughout his life.

Schubert was erotically attracted to men in 1989, according to musicologist Maynard Solomon, a view that has been hotly debated. Rita Steblin, a musicologist and Schubert specialist, has said he was "chasing women." Schubert's sexuality theory, or "Schubert as Others," has continued to influence current scholarship.

In 1816, major changes were made. Schober, a scholar and of a loving family and some other things, invited Schubert to stay at his mother's house. Schubert had just applied for the post of kapellmeister at Laibach and had already declined to resume teaching duties at his father's school, and it was particularly timely. He became a visitor in Schober's lodgings by the end of the year. For a time, he tried to increase the household income by teaching music, but they were soon abandoned, and he turned to composition. "I compose every morning, and when one piece is finished, I start another." During this year, he concentrated on orchestral and choral works, though he also wrote Lieder. The majority of this work was unpublished, but manuscripts and copies were circulated among friends and admirers alike.

Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior, in early 1817. Vogl, for whom Schubert went on to write a number of songs, became one of Schubert's most influential supporters in Viennese musical circles. Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also contributed to the promotion of his music. These, as well as an expanding circle of colleagues and musicians, were all liable for promoting, buying, and, in the aftermath of his death, preserving his work.

Schubert's father gained a new position at a school in Rossau, not far from Lichtental, in late 1817. Schubert returned to his father and relinquished 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 refused on the grounds of being "no amateur" even though he was working as a schoolteacher at the time and there were already professional musicians within the society's membership. However, he began to be noticed in the press, and the first public performance of a secular work, which was first performed in February 1818, earned acclaim in Vienna and abroad.

Schubert spent the summer of 1818 as a music tutor to the family of Count Johann Esterházy at their château in Zseliz (now eliezovce, Slovakia). The pay was fair, and he was able to compose well because his duties of teaching piano and singing to the two girls were relatively light. Schubert may have written his Marche Militaire in D major (D. 733 no. ) In comparison to other piano duets, Marie and Karoline will perform one (1). On his return from Zse Liz, he and his friend Mayrhofer took up residence.

Schubert was a member of a close-knit group of artists and scholars who held social gatherings together in the 1820s that were later identified as Schubertiads. Several of them took place in Ignaz von Sonnleithner's large apartment in the Gundelhof (Brandstätte 5, Vienna). In early 1820, Schubert was dealt a blow by a close group of friends with whom Schubert surrounded himself. The Austrian police detained Schubert and four of his relatives, who were on alert against revolutionary conduct and suspicious of any gathering of youth or students. Johann Senn, one of Schubert's closest friends, was tried, jailed for over a year, and then permanently banned from entering Vienna. In part for "inveighing against [officials] with insulting and opprobrious words," the other four were "severely reprimanded." Although Schubert never saw Senn again, he did set Selige Welt (D. 743) and Schwanengesang (D 744), which were both set to music. The incident may have resulted in Mayrhofer's death, with whom he was living at the time.

Schubert, who was barely more than five foot taller, was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom." "Schwamm" is German (in Austrian and Bavarian dialects) for mushrooming; the ending "-erl" makes it diminutive. Gibbs also admitted that he may have occasionally drank to excess, noting that references to Schubert's heavy drinking "... appear not only in later reports, but also in old records dating back to his lifetime."

The compositions of 1819 and 1820 represent a dramatic evolution and maturity of style. In February, the unfinished oratorio Lazarus (D. 69) was initiated, and later on by the hymn "Der 23." Psalm (D. 706), the octet "Gesang der Geister über den Wassern"), the Quartettet in C minor (D. 703), and the Wanderer Fantasy in C major for piano (D. 760). Two of Schubert's operas were staged in 1820: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on June 14, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on August 21. Hitherto's larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof (Brandstätte 5, Vienna), a society that grew out of the quartet-parties at his house. Now he's in a more prominent position, speaking to a larger audience. Publishers, on the other hand, remained distant, with Anton Diabelli reluctantly agreeing to print some of his books on commission. On these terms, the first seven opus numbers (all songs) appeared; then the commission was terminated; and he began to receive parsimonious royalties. At a concert that was well received in March 1821, the situation was somewhat improved. Schubert produced a Variation on a Waltz by Diabelli (D 718), one of the fifty composers to publish the Vaterländischer Künstlerverein edition that month.

Schubert's attention in the direction of the stage has waned more than ever, although he was almost unfavorable for a variety of reasons. All in all, he embarked on twenty stage projects, none of which were complete failures that were soon forgotten. Alfonso and Estrella was disapproved in 1822, partially due to its libretto (written by Schubert's colleague Franz von Schober). Fierbras (D 796) was turned down in 1823: Domenico Barbaia, the operatic's impresario for the court theatres, had little interest in new German opera due to Rossini's fame and the Italian operatic style's infammation, as well as Carl Maria von Weber's death. Die Verschworenen (The Conspirators, D 787) was forbidden by the censorship (apparently because of its title), but Rosamunde, Fürstin von Zypern (D 797) was dismissed after two nights, owing to poor quality of the play for which Schubert had written incidental music.

Schubert's name was steadily growing on other fronts, despite his operatic flops. The Gesellschaft der Musikfreunde finally accepted him as a performer in 1821, and the number of performances of his music has risen dramatically. Schubert's reputation among the Gesellschaft's members soared and his name was established. Some of the Gesellschaft's founders, including Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a major influence on the society's affairs, and his works were included in three major concerts of the Gesellschaft in 1821. One of his male-voice quartets appeared in April, and Overture in E minor (D. 648) received its first public performance in November; his Overture in E minor (D. 489) was performed at a different venue on the same day as the Overture's premiere.

Schubert had the acquaintance of both Weber and Beethoven in 1822, but no one was aware of it; in either case, Beethoven is reported to have acknowledged the younger man's gifts on a few occasions. Beethoven is said to have looked into some of the younger man's works on his deathbed and exclaimed, "The fire of divine inspiration lives in this Schubert." Beethoven also predicted that Schubert "would make a big comeback in the world" and regretted that he wasn't better acquainted with him earlier; he wanted to hear his operas and piano performances but he couldn't do so because of his physical ailments.

Schubert wrote a lot of music during the years, despite his preoccupation with the stage and later with his official duties. He completed the Mass in A-flat Major (D. 678) in 1822 and then embarked on a project that more clearly reflected his mature personal vision in those years, the Unfinished Symphony in B minor, which was more evidently than nearly every other in those years (D. 79). He left it unfinished after writing two movements and sketches some way into a third, and it's also surprising that he did not tell any of his relatives that he was excited by what he was accomplishing, as Brian Newbould notes. Schubert wrote his first large-scale song cycle, Die schöne Müllerin (D. 795), setting William Müller's poems in 1823. This series, along with the later cycle Winterreise (D. 911, also setting Müller's texts in 1827), is widely considered to be one of the pinnacles of Lieder. During this year, he wrote the song "You are rest and peace, D. 776). Syphilis first appeared in the first year of that year.

He wrote Variations in E minor for flute and piano in 1824; Trockne Blumen, a cycle of Die schöne Müllerin; and several string quartets. He wrote the Sonata in A minor for arpeggione and piano (D.821) at a time when there was only a minor revival of the instrument. He wrote the Octet in F major (D. 803), a sketch for a "Grand Symphony), and then in the summer, he returned to Zseliz. He was attracted to Hungarian musical idiom and wrote Divertissement à la hongroise in G minor for piano duet (D. 818) and the String Quartet in A minor Rosamunde (D. 804). He had a hopeless love for his pupil, Countess Caroline Esterházy, but his only work dedicated to her was his Fantasia in F minor for piano duet (D. 940). Eduard von Bauernfeld, his friend, penned the following passage, which seems to refer to Schubert's unrequited sentiments:

The prosperity and happiness of 1825 compensated the setbacks of previous years. Publication was getting more visible, the poverty was easing, and in the summer he enjoyed a relaxing holiday in Upper Austria where he was welcomed with elation. He created the seven-song cycle Fräulein am See, based on Walter Scott's "The Lady of the Lake") and including "Ellens Gesang III" ("Hymn to the Virgin") on tour (D. 839, Op. No. 52 is out of date. 6: Adam Storck's German translation of the Scott poem are now being replaced by the full text of the Roman Catholic prayer Hail Mary (Ave Maria in Latin), but for which the Schubert melody is not a new setting, the Schubert melody is not an original setting. The original says "Ave Maria," which also repeats only in the refrain. Schubert wrote the Piano Sonata in A minor in 1825 (D 845, first published as op. ). 42), and began the Symphony in C major (Great C major, D. 944), which was completed the following year.

Schubert lived in Vienna from 1826 to 1828, except for a brief visit to Graz, Austria, in 1827. In 1826, he dedicated a symphony (D. 944, later became known as the Great C major) to the Gesellschaft der Musikfreunde, receiving an honorarium in exchange. The String Quartet No. 1st. 14 in D minor (D. 810) was written during the winter of 1825–1826, with the variants on Death and the Maiden. I first played on January 25th, 1826. The String Quartet No. 2 arrived later this year. In G major, 15 people have been born (D 887, first announced as op. ), The Rondo in B minor for violin and piano (D. 895), Rondeau brillant, and the Piano Sonata in G major were the first published as Fantasie in G. (D894). (78). In 1826, three Shakespearian songs, "Ständchen" (D. 899) and "An Sylvia" (D. 891) were both written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening, the former at a tavern.

The composer's last two years' works reveal him as a new professional and compositional stage. Although parts of Schubert's personality were influenced by his family's acquaintances, he maintained an intensely personal sense of solitude; it was out of this sense that he wrote his best songs. Schubert's death affected Schubert deeply, and it may have inspired Schubert to reach new artistic heights. Schubert created the Winterreise (D. 911), the Fantasy in C major for violin and piano, first published in 1827 as op. This is the official version of a letter from the author. (D. 961), 159), the Impromptus for piano, the two piano quartets (the first in B-flat major (D. 898), and the second in E-flat major (D. 929); the three final piano sonatas (D. 957); (This set, which includes word by Heinrich Heine, Ludwig Rellstab, and Johann Gabriel Seidl's, is not a true song cycle like Die schöne Müllerin or Winterreise.) The Great C major symphony dates back to 1828, but Schubert scholars estimate that this symphony was written in 1825--1826 (being referred to when he was on holiday in Gastein in 1825) and was updated for future performance in 1828. The orchestra of the Gesellschaft allegedly read through the symphony at a rehearsal, but no one scheduled a public performance of it. The reasons for the current condition are still unclear, although the symphony's inability could be a possible explanation. He began sketching three movements for a new Symphony in D major (D936A) in the last weeks of his life; in this work, he anticipates Mahler's use of folksong-like harmonics and bare soundscapes. Schubert expressed the wish that if he lived his final illness to enhance his insight into harmony and counterpoint, and that he had made reservations for lessons with counterpoint master Simon Sechter.

Schubert gave a public concert of his own works on March 26, 1828, the centennial of Beethoven's death. Despite the fact that Niccol Paganini's first appearances in Vienna shortly after, the concert was a hit both physically and financially, it was still a success both financially and financially.

His wellbeing was deteriorating as a result of all the creative activity. Schubert's health was fading by the 1820s, and he told a few people that he feared he was near death. Ernst Rinna, a physician who may have confirmed Schubert's suspicions that he was sick beyond cure and likely to die soon, appeared in the late summer of 1828. Some of his signs resembled mercury poisoning (mercury was then a common treatment for syphilis), although Schubert was already suffering from it). He began ill in November, suffering headaches, fever, swollen legs, and vomiting. He was generally unable to digest solid food, and his health worsened. Karl Holz, a violinist, and his string quartet arrived five days before Schubert's death to perform for him. Beethoven's String Quartet No. 2 was the last musical work he wished to hear. Op. 14 in C-sharp minor, Op. "The King of Harmony has sent the King of Song a friendly bidding at the crossing," Holz said.

Schubert died in Vienna, aged 31, at the apartment of his brother Ferdinand, in 19 November 1828. The reason for his death was officially classified as typhoid fever, but other theories, including the tertiary stage of syphilis, have been suggested. Although there are sources that suggest he was syphilitic in a subtle manner, his relatives' words did not indicate that he was syphilitic, but his final illness did not have anything to do with tertiary syphilis. He walked 42 miles in three days, effectively ending musculoskeletal syphilis six weeks before his death. He wrote "Der Hirt Auf Den Felsen," his last work in the month of his death, making neurosyphilis seem unlikely. And lastly, meningo-vascular syphilis is unlikely because it mimics a progressive stroke-like snapshot, and Schubert had no neurological symptoms until his final delirium, which began only two days before his death. Robert L. Rold was able to demonstrate that his final illness, whether salmonella or otherwise typhus, was due to his digestive signs (namely vomiting). Schubert's syphilis, according to Eva M. Cybulska, is a conjecture. His multi-system signs and symptoms, she says, could point to a variety of conditions, such as leukaemia, anaemia, or Hashimoto's thyroiditis, and that several warning signs of syphilis, such as choline, mucous plaques, were absent. She claims that the syphilis diagnosis developed with Schubert's biographer Otto Deutsch in 1907, based on the aforementioned indirect references from his family, who have never fully repeated ever since.

Schubert was buried at his own request in the village cemetery of Währing, just south of Beethoven's grave, who had admired him all his life. He had been a torchbearer at Beethoven's funeral a year ago.

In 1872, a monument to Franz Schubert was unveiled in Wien's Stadtpark. Both Schubert and Beethoven's graves were relocated to the Zentralfriedhof in 1888, where they can now be discovered next to Johann Strauss II and Johannes Brahms' graves. Anton Bruckner attended both funerals and lifted the revered skulls in his hands. In 1925, the Schubert Park was turned into a park, and the cemetery in Währing was marked by a bust, and his former grave site was marked by a bust. "Die Tonkunst begrub hier a reichen Besitz, aber auch far greater hopes," his epitaph, written by his colleague, Franz Grillparzer, reads.

Source