Franz Schubert


Born: Jan 31, 1797; Austria   Died: Nov 19, 1828; Austria   Period: Romantic
Franz Peter Schubert was among the first of the Romantics, and the composer who, more than any other, brought the art song (lied) to artistic maturity. During his short but prolific career, he produced masterpieces in nearly every genre, all characterized by rich harmonies, an expansive treatment of classical forms, and a seemingly endless gift for melody. Schubert began his earliest musical training studying with his father and brothers. Having Read more passed an audition, Schubert enrolled at the Convict school that trained young vocalists to eventually sing at the chapel of The Imperial Court. Schubert began to explore composition and wrote a song that came to the attention of the institution's director, Antonio Salieri, who along with the school's professor of harmony, hailed young Schubert as a genius. In 1813, after Schubert's voice broke, he returned to live with his father, who directed him to follow in his footsteps and become a schoolteacher. Schubert begrudgingly complied and worked miserably in that capacity by day, while composing prolifically by night. He had written more than 100 songs as well as numerous symphonic, operatic, and chamber music scores, before he reached the age of 20.
Schubert finally left his teaching position to dedicate himself completely to musical pursuits. During the summer of 1818, the young composer worked as a private music teacher to the aristocratic Esterházy family. When he left that post in the fall, Schubert lived a somewhat bohemian lifestyle, composing and spending time with a group of friends that acted as his personal support system. In 1820, Schubert was commissioned by two opera houses, the Karthnerthor Theatre and Theatre-an-der-Wein, to compose a pair of operas. He wrote Zwillingsbruden, and Zauberharfe, both of which were unenthusiastically received. Schubert failed to secure a contract with a publisher, as none were willing to take a chance on a relatively unknown composer who wrote (harmonically) untraditional music. Schubert, along with the support of his artistic friends, published his own work for a collection of roughly 100 subscribers. These efforts, however, were financially unrewarding, and Schubert struggled to sustain himself. His work garnered little attention and contemporary composers dismissed his music as presumptuous and immature.
In 1823, Schubert was elected to the Musikverein of Graz, as an honorary member. Though this brought no financial reward and was an inconsequential appointment, Schubert relished its slight recognition, and to show his gratitude, composed his famous Unfinished Symphony. Five years later, Schubert's music was featured at a concert at Vienna's Musikverein. His work was received quite enthusiastically, and to much critical acclaim. This marked the only time during the composer's life that he enjoyed such success. This seemed to provide Schubert with a renewed sense of optimism, and despite illness, the composer continued to produce at an incredible rate. He began to organize a scheme to increase his artistic popularity, by continuing to evaluate his work and progress as a musician, perhaps even planning to study harmony privately. Schubert's health did not improve, and he soon found himself at death's door. During the composer's last moments, he instructed his brother Ferdinand to ensure that he would be buried alongside Ludwig van Beethoven's grave. Schubert revered the legendary composer, and was grateful to him, as Beethoven had praised his work after hearing a selection of songs. Schubert also highly regarded the work of both Franz Joseph Haydn and Wolfgang Amadeus Mozart. Franz Schubert died of syphilis.
Despite his short life, Schubert produced a wealth of symphonies, operas, masses, chamber music pieces, and piano sonatas, most of which are considered standard repertoire. He is known primarily for composing hundreds of songs including Gretchen am Spinnrade, and Erlkonig. He pioneered the song cycle with such works as Die Schöne Müllerin, and Die Winterreise, and greatly affected the vocal writing of both Robert Schumann and Gustav Mahler. Read less
Schubert: Works for Solo Piano, Vol. 3 / Douglas
Release Date: 04/06/2018   Label: Chandos  
Catalog: 10990   Number of Discs: 1
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Schubert: Piano Trios D 929 & D 897 / Stuttgart Piano Trio
Release Date: 02/05/1993   Label: Naxos  
Catalog: 8550132   Number of Discs: 1
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Deutsche Schubert-Lied-Edition 10 - Austrian Contemporaries 1
Release Date: 11/19/2002   Label: Naxos  
Catalog: 8554796   Number of Discs: 1
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Schubert: Piano Sonatas No 5, 7a, 11 And 12 / Wallisch
Release Date: 05/18/2004   Label: Naxos  
Catalog: 8557189   Number of Discs: 1
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Schumann, Schubert / Elly Ameling, Dalton Baldwin
Release Date: 08/17/2004   Label: Pentatone  
Catalog: 5186131   Number of Discs: 1
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Work: Symphony no 9 in C major, D 944 "Great"


1. Andante - Allegro ma non troppo
2. Andante con moto
3. Scherzo (Allegro vivace)
4. Allegro vivace
About This Work
This work wasn't performed in its entirety until March 21, 1839, at Leipzig, with Mendelssohn conducting. After composing six complete symphonies between 1813 and 1818 in the manner of Haydn and Mozart, Schubert completed only one more in the Read more remaining decade of his brief life. This was The Great C major, written during 1825-1826 (rather than 1828 as was supposed until quite recently), and thus is the allegedly lost "Gastein" Symphony. Although he dated a copy of the score "March 1828," it really is No. 9, despite an army of scholars that variously tagged it No. 7, 8, and even 10.

By 1818 the Viennese had typecast Schubert as a vocal composer, and the label stuck. His keyboard, chamber, and orchestral works were hardly known despite their excellences. Older brother Ferdinand hoarded the manuscript of No. 9, which Robert Schumann finally saw in 1838, and took to Leipzig. Orchestras in Vienna and Paris flatly refused to play it, however, and London musicians laughed derisively during rehearsals in 1844, when Mendelssohn tried without success to perform it there as he had in Leipzig ("with cuts" -- big ones). Strings in particular hated playing its endlessly repetitive patterns: their pre-Wagner and pre-Bruckner bow arms were not ready for Schubert's "heavenly lengths." When all repeats are observed, the Ninth lasts over an hour, with almost no let-up in momentum. Three of Schubert's four movements employ sonata form -- the first, the finale, and the song sections in an ABA scherzo. Only the slow movement is written in expanded song form (ABABA).

A soft but accented horn theme in the slow introduction foreshadows others to come in the exposition; it returns triumphantly in a long coda. The main body of the movement, marked "not too fast," is rhythmically so powerful and relentless that an unmodified Allegro tempo would have risked destroying it (and us).

Dotted rhythms characterize the A minor Andante, whose con moto qualification keeps it from dragging or sounding sentimentally sorrowful. Schubert's subsequent transition to A major is breathtaking, and his quiet writing for horns magical. As the movement began, it ends in A minor. Beethoven-like, the Song parts of the Allegro vivace scherzo feature a miniature exposition-development-reprise (maybe Schubert knew the elder master's Ninth after all), full of dance melodies. C major yields to A major in the trio, with its broader tune for winds, before the song-sonata repeats. Allegro vivace, again in C, this finale begins with a churning subject in triplet rhythm that stubbornly fights resolution (it is the grandest and most famous compositional trap in all music). Schubert finally must stop before he can introduce a new theme on clarinets and horns. Development and recapitulation follow on a titanic scale, capped by a coda in kind -- a movement, altogether, just short of 1,200 measures!

-- Roger Dettmer Read less

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