Illustrated biographical encyclopedic dictionary. Schubert Franz - biography, facts from life, photographs, background information A very short biography of Schubert

Franz Schubert went down in music history as the first of the great Romantic composers. In that “era of disappointment” that followed French Revolution, it seemed so natural to pay attention to to an individual with his passions, sorrows and joys - and this “song human soul“was brilliantly embodied in Schubert’s works, which remained “songlike” even in large forms.

Franz Schubert's birthplace is Lichtenthal, a suburb of Vienna, the European musical capital. In a large family, the parish school teachers valued music: his father played cello and violin, and Franz’s older brother played piano, and they became the talented boy’s first mentors. From the age of seven, he studied organ playing with the church bandmaster and singing with the regent. His beautiful voice allowed him to become a student at the age of eleven at Konvikt, a boarding school that trained singers for court chapel. Here one of his mentors was Antonio Salieri. While playing in the school orchestra, where he was eventually trusted to perform the duties of a conductor, Schubert became acquainted with many symphonic masterpieces, and the symphonies especially shocked him.

In Konvikt, Schubert created his first works, including. It was dedicated to the director of Konvikt, but the young composer did not feel much sympathy either for this man or for the educational institution he headed: Schubert was burdened by the strictest discipline, and the mind-drying cramming, and far from better relationship with mentors - devoting all his strength to music, he did not pay much attention to others academic disciplines. Schubert was not expelled for poor academic performance only because he left Konvikt on time without permission.

Even during his studies, Schubert had conflicts with his father: dissatisfied with his son’s success, Schubert Sr. forbade him to be at home on weekends (an exception was made only on the day of his mother’s funeral). Even more serious conflict arose when the question of choice arose life path: for all his interest in music, Schubert’s father did not consider the profession of a musician a worthy occupation. He wanted his son to choose a more respected profession as a teacher, which would guarantee a small but reliable income, and would also exempt him from military service. To a young man I had to obey. He worked at school for four years, but this did not stop him from creating a lot of music - operas, symphonies, masses, sonatas, and many songs. But if Schubert's operas are now forgotten, and in the instrumental works of those years the influence is quite strong Viennese classicism, then the songs have individual features creative appearance the composer appeared in all their glory. Among the works of these years are such masterpieces as "", "Rose", "".

At the same time, Schubert suffered one of the most significant disappointments of his life. His beloved Teresa Grob was forced to obey her mother, who did not want to see a teacher with a penny salary as her son-in-law. With tears in her eyes, the girl went down the aisle with someone else and lived a long, prosperous life the wife of a wealthy burgher. One can only guess how happy she was, but Schubert never found personal happiness in marriage.

Boring school duties, which distracted him from creating music, became increasingly burdensome for Schubert, and in 1817 he dropped out of school. After that, the father did not want to hear about his son. In Vienna, the composer lives first with one friend, then with another - these artists, poets and musicians were not much richer than himself. Schubert often did not have money even for music paper– he wrote down his musical thoughts on scraps of newspapers. But poverty did not make him gloomy and gloomy - he always remained cheerful and sociable.

It was not easy for the composer to make his way into musical world Vienna - he was not a virtuoso performer, moreover, he was distinguished by extreme modesty; Schubert's sonatas and symphonies did not gain popularity during the author's lifetime, but they found a lively understanding among friends. At friendly meetings, the soul of which was Schubert (they were even called “Schubertiads”), discussions were held about art, politics and philosophy, but dancing was an integral part of such evenings. The music for the dances was improvised by Schubert, and he wrote down the most successful discoveries - this is how Schubert's waltzes, ländlers and ecosaises were born. One of the participants in the Schubertiads, Michael Vogl, often performed Schubert’s songs on concert stage, becoming a promoter of his work.

Time creative flourishing become the 1820s for the composer. Then he created the last two symphonies - and, sonatas, chamber ensembles, as well as musical moments and impromptu performances. In 1823, one of his best creations was born - the vocal cycle “”, a kind of “novel in songs”. Despite the tragic ending, the cycle does not leave a feeling of hopelessness.

But tragic motives sound more and more clearly in Schubert’s music. Their focus is the second vocal cycle “” (the composer himself called it “terrible”). He often turns to the works of Heinrich Heine - along with songs based on poems by other poets, works based on his poems were published posthumously in the form of a collection "".

In 1828, the composer's friends organized a concert of his works, which brought Schubert great joy. Unfortunately, the first concert turned out to be the last that took place during his lifetime: the composer died of illness that same year. On Schubert's tombstone are inscribed the words: "Music has buried here rich treasures, but even more wonderful hopes."

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 the words of Johann Goethe, the 2nd and 3rd symphonies, three masses and four singspiels ( comic opera with spoken dialogues).

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 propagandist vocal creativity Schubert. 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, did not have special success, 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: lyrical-dramatic “Unfinished” symphony (1822) and 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 a theme of more early song Schubert's "Death and the Maiden") and the six-movement 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. March 26, 1828 composer with great success gave an author's concert in the society hall.

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

Before late XIX 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 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

Introduction

Franz Peter Schubert (German) Franz Peter Schubert; January 31, 1797, Lichtenthal, Austria - November 19, 1828, Vienna) - a great Austrian composer, one of the founders of romanticism in music, author of about 600 songs, nine symphonies (including the famous “Unfinished Symphony”), as well as a large number of chamber and solo piano music.

1. Biography

Franz Peter Schubert was born on January 31, 1797 in Lichtental (now Alsergrund), a small suburb of Vienna, in the family of a schoolteacher who played music as an amateur. His father came from a peasant family. Mother was the daughter of a mechanic. Of the fifteen children in the family, ten died in early age. Franz showed musical talent very early. From the age of six he studied at a parish school, and his household taught him to play the violin and piano.

At the age of eleven, Franz was accepted into the Konvict - the court chapel, where, in addition to singing, he studied playing many instruments and music theory (under the guidance of Antonio Salieri). Leaving the chapel in 1813, Schubert took a job as a teacher at a school. He studied mainly Gluck, Mozart and Beethoven. He wrote his first independent works - the opera "Satan's Pleasure Castle" and the Mass in F major - in 1814.

The composer died of typhoid fever in Vienna on November 19, 1828. In accordance with his last wishes, Schubert was buried in the cemetery where Beethoven, whom he idolized, had been buried a year earlier. An eloquent inscription is engraved on the monument: “Death buried here a rich treasure, but even more beautiful hopes.” A crater on Mercury was named in honor of Schubert.

2. Creativity

In the field of song, Schubert was a successor to Beethoven. Thanks to Schubert, this genre received an artistic form, enriching the field of concert vocal music. The ballad “The Forest King,” written in 1816, brought fame to the composer. Soon after it appeared “The Wanderer”, “Praise of Tears”, “Zuleika” and others.

Great importance in vocal literature there are large collections of Schubert’s songs based on the poems of Wilhelm Müller - “The Beautiful Miller’s Wife” and “Winter Reise”, which are, as it were, a continuation of Beethoven’s idea expressed in the collection of songs “To a Distant Beloved”. In all these works Schubert showed remarkable melodic talent and a wide variety of moods; he gave the accompaniment greater importance, greater artistic sense. The collection “Swan Song” is also remarkable, from which many songs have gained worldwide fame (for example, “Serenade”, “Shelter”, “Fisherman”, “By the Sea”). Schubert did not try, like his predecessors, to imitate national character, but his songs involuntarily reflected the national current, and they became the property of the country. Schubert wrote almost 600 songs. Schubert's amazing musical gift was reflected in the areas of piano and symphony. His fantasies in C major and F minor, impromptu songs, musical moments, and sonatas are proof of his rich imagination and great harmonic erudition. In the string quartet in D minor, the quintet in C major, the piano quintet "Forel" (often also called "Forellenquintett", "Trout"), the great symphony in C major and the unfinished symphony in B minor, Schubert is Beethoven's successor. In the field of opera, Schubert was not so gifted; although he wrote about 20 of them, they will add little to his fame. Among them, “Conspirators, or Home War” stands out. Certain numbers of his operas (for example, Rosamund) are quite worthy of a great musician. Of Schubert's numerous church works (mass, offertoria, hymns, etc.) with an exalted character and musical richness The Mass in E-flat major is especially different. Schubert's musical productivity was enormous. Beginning in 1813, he composed incessantly. In the highest circle, where Schubert was invited to accompany his vocal compositions, he was extremely reserved, was not interested in praise and even avoided it; Among his friends, on the contrary, he highly valued approval. Of the operas performed at that time, Schubert liked most of all “The Swiss Family” by Weigel, “Medea” by Cherubini, “John of Paris” by Boieldier, “Cendrillon” by Izouard and especially “Iphigenie in Tauris” by Gluck. Italian opera, which was in great fashion in his time, Schubert had little interest; only “The Barber of Seville” and some passages from Rossini’s “Othello” seduced him. According to biographers, Schubert never changed anything in his compositions, because he did not have it for that time. He did not spare his health and, in the prime of his life and talent, died at the age of 31. Last year His life, despite his poor health, was especially fruitful: it was then that he wrote a symphony in C major and a mass in E-flat major. During his lifetime he did not enjoy outstanding success. After his death, a mass of manuscripts remained that later saw the light (6 masses, 7 symphonies, 15 operas, etc.).

3. Unfinished Symphony

The exact date of creation of the symphony in B minor (Unfinished) is unknown. It was dedicated to the amateur musical society of Graz, and Schubert presented two parts of it in 1824.

The manuscript was kept for more than 40 years by Schubert's friend Anselm Hüttenbrenner, until the Viennese conductor Johann Herbeck discovered it and performed it at a concert in 1865. The symphony was published in 1866.

It remains a mystery to Schubert himself why he did not complete the “Unfinished” Symphony. It seems that he intended to bring it to its logical conclusion, the first scherzos were completely finished, and the rest were discovered in sketches.

From another point of view, the “Unfinished” symphony is a completely completed work, since the circle of images and their development exhausts itself within two parts. Thus, at one time Beethoven created sonatas in two parts, and later works of this kind became common among romantic composers.

Currently, there are several options for completing the “Unfinished” Symphony (in particular, the options of the English musicologist Brian Newbould and the Russian composer Anton Safronov).

4. Essays

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Operas- Alfonso and Estrella (1822; staged 1854, Weimar), Fierrabras (1823; staged 1897, Karlsruhe), 3 unfinished, including Count von Gleichen, etc.;

Singspiel(7), including Claudina von Villa Bella (on a text by Goethe, 1815, the first of 3 acts has been preserved; production 1978, Vienna), The Twin Brothers (1820, Vienna), The Conspirators, or Home War (1823; production 1861, Frankfurt am Main);

Music for plays- The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.);

For soloists, choir and orchestra- 7 masses (1814-28), German Requiem (1818), Magnificat (1815), offertories and other spiritual works, oratorios, cantatas, incl. Victory song Miriam (1828);

For orchestra- symphonies (1813; 1815; 1815; Tragic, 1816; 1816; Small C major, 1818; 1821, unfinished; Unfinished, 1822; Major C major, 1828), 8 overtures;

Chamber instrumental ensembles- 4 sonatas (1816-17), fantasy (1827) for violin and piano; sonata for arpeggione and piano (1824), 2 piano trios (1827, 1828?), 2 string trios (1816, 1817), 14 or 16 string quartets(1811-26), Forel piano quintet (1819?), string quintet (1828), octet for strings and winds (1824), etc.;

For piano 2 hands- 23 sonatas (including 6 unfinished; 1815-28), fantasy (Wanderer, 1822, etc.), 11 impromptu (1827-28), 6 musical moments (1823-28), rondo, variations and others plays, over 400 dances (waltzes, ländlers, German dances, minuets, ecosaises, gallops, etc.; 1812-27);

For piano 4 hands- sonatas, overtures, fantasies, Hungarian divertissement (1824), rondos, variations, polonaises, marches, etc.;

Vocal ensembles for men's, women's voices And mixed compositions accompanied and unaccompanied;

Songs for voice and piano, (more than 600) including the cycles “The Beautiful Miller’s Wife” (1823) and “Winter Retreat” (1827), the collection “Swan Song” (1828), “Ellen’s Third Song” (“Ellens dritter Gesang”, also known like "Ave Maria" by Schubert).

Bibliography:

V. Galatskaya. Franz Schubert // Musical literature foreign countries. Vol. III. M.: Music. 1983. p. 155

V. Galatskaya. Franz Schubert // Musical literature foreign countries. Vol. III. M.: Music. 1983. p. 212

Franz Schubert (1797–1828) - Austrian composer. Born into the family of a school teacher. In 1808–12 he was a choirmaster at the Vienna Court Chapel. He was brought up in the Vienna convict, where he studied general bass with V. Ruzicka, counterpoint and composition (until 1816) with A. Salieri. In 1814–18 he was an assistant teacher at his father's school. By 1816, Schubert had created over 250 songs (including words to the words of J. V. Goethe - “Gretchen at the Spinning Wheel”, 1814, “The Forest King”, “To the Charioteer Kronos”, both 1815), 4 singspiels, 3 symphonies and etc. A circle of friends formed around Schubert - admirers of his work (including the official J. Spaun, the amateur poet F. Schober, the poet I. Mayrhofer, the poet and comedian E. Bauernfeld, the artists M. Schwind and L. Kupelwieser, the singer I.M. Fogl, who became a promoter of his songs). As a music teacher to the daughters of Count J. Esterhazy, Schubert visited Hungary (1818 and 1824), together with Vogl he traveled to Upper Austria and Salzburg (1819, 1823, 1825), and visited Graz (1827). Recognition came to Schubert only in the 20s. In 1828, a few months before Schubert's death, his author's concert took place in Vienna, which was a great success. Honorary member of the Styrian and Linz Musical Unions (1823). Schubert - the first major representative musical romanticism, who expressed, according to B.V. Asafiev, “the joys and sorrows of life” in the way “as most people feel them and would like to convey them.” The most important place the song for voice and piano (German Lied, about 600) occupies Schubert's work. One of the greatest melodists, Schubert reformed the song genre, endowing it with deep content. Having enriched the previous song forms - simple and varied strophic, reprise, rhapsodic, multi-part - Schubert created and new type songs of continuous development (with a variable motif in the piano part that unites the whole), as well as the first highly artistic examples of the vocal cycle. Schubert’s songs used poems by about 100 poets, primarily Goethe (about 70 songs), F. Schiller (over 40; “Group from Tartarus”, “The Girl’s Complaint”), W. Müller (the cycles “The Beautiful Miller’s Wife” and “Winter Reise” "), I. Mayrhofer (47 songs; "The Rower"); among other poets are D. Schubart (“Trout”), F. L. Stolberg (“Barcarolle”), M. Claudius (“Girl and Death”), G. F. Schmidt (“Wanderer”), L. Relshtab ( “Evening Serenade”, “Shelter”), F. Rückert (“Hello”, “You are my peace”), W. Shakespeare (“Morning Serenade”), W. Scott (“Ave Maria”). Schubert owns quartets for male and female voices, 6 masses, cantatas, oratorios, etc. From music for musical theater Only the overture and dances to the play “Rosamund, Princess of Cyprus” by V. Chezy (1823) became famous. In the instrumental music of Schubert, based on the traditions of Viennese composers classical school, song-type thematics acquired great importance. The composer sought to preserve the melodious lyrical theme as a whole, giving it new illumination through tonal repainting, timbre and texture variation. Of Schubert's 9 symphonies, 6 early ones (1813–18) are still close to the works Viennese classics, although they are distinguished by romantic freshness and spontaneity. The pinnacle examples of romantic symphonism are the lyrical-dramatic 2-part “Unfinished Symphony” (1822) and the majestic heroic-epic “Big” Symphony in C major (1825–28). Of Schubert's orchestral overtures, the two most popular are in the “Italian style” (1817). Schubert is the author of deep and significant chamber instrumental ensembles (one of the best is the trout piano quintet), a number of which were written for home music playing. Piano music- an important area of Schubert's work. Having experienced the influence of L. Beethoven, Schubert laid down the tradition of a free romantic interpretation of the piano sonata genre. The piano fantasy “The Wanderer” also anticipates the “poem” forms of the romantics (in particular, the structure of some of F. Liszt’s symphonic poems). Schubert's impromptu and musical moments are the first romantic miniatures, close to the works of F. Chopin, R. Schumann, F. Liszt. Piano waltzes, landlers, “German dances,” ecosaises, gallops, etc. reflected the composer’s desire to poetize dance genres. Many of Schubert’s works for piano 4 hands go back to the same tradition of home music-making, including “Hungarian Divertissement” (1824), Fantasia (1828), variations, polonaises, marches. Schubert's work is connected with the Austrian folk art, with the everyday music of Vienna, although he rarely used genuine folk song themes in his compositions. The composer also incorporated the peculiarities of the musical folklore of the Hungarians and Slavs who lived on the territory of the Austrian Empire. Of great importance in his music are color and brilliance, achieved through orchestration, enriching the harmony with side triads, bringing together the major and minor keys of the same name, wide application deviations and modulations, the use of variational development. During Schubert's lifetime, it was mainly his songs that became famous. Many major instrumental works were performed only decades after his death (“The Great” Symphony was performed in 1839, under the baton of F. Mendelssohn; “The Unfinished Symphony” - in 1865).

Essays: Operas - Alfonso and Estrella (1822; staged 1854, Weimar), Fierabras (1823; staged 1897, Karlsruhe), 3 unfinished, including Count von Gleichen, etc.; Singspiel (7), including Claudina von Villa Bella (on a text by Goethe, 1815, the first of 3 acts has been preserved; production 1978, Vienna), The Twin Brothers (1820, Vienna), Conspirators, or Home War (1823; production 1861, Frankfurt on Main); music To plays - The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.); For soloists, choir And orchestra - 7 masses (1814–28), German Requiem (1818), Magnificat (1815), offertories and other wind works, oratorios, cantatas, including Miriam’s Victory Song (1828); For orchestra - symphonies (1813; 1815; 1815; Tragic, 1816; 1816; Small C-dur, 1818; 1821, unfinished; Unfinished, 1822; Large C-dur, 1828), 8 overtures; intimate-instrumental ensembles - 4 sonatas (1816–17), fantasia (1827) for violin and piano; sonata for arpeggione and piano (1824), 2 piano trios (1827, 1828?), 2 string trios (1816, 1817), 14 or 16 string quartets (1811–26), Trout piano quintet (1819?), string quintet ( 1828), octet for strings and winds (1824), etc.; For piano V 2 hands - 23 sonatas (including 6 unfinished; 1815–28), fantasy (Wanderer, 1822, etc.), 11 impromptu (1827–28), 6 musical moments (1823–28), rondo, variations and other pieces , over 400 dances (waltzes, landlers, German dances, minuets, ecosaises, gallops, etc.; 1812–27); For piano V 4 hands - sonatas, overtures, fantasies, Hungarian divertissement (1824), rondos, variations, polonaises, marches, etc.; vocal ensembles for male, female voices and mixed compositions with and without accompaniment; songs For vote With piano, including the cycles The Beautiful Miller's Wife (1823) and Winter's Journey (1827), the collection Swan Song (1828).

Franz Schubert

creativity composer Schubert

Childhood and years of study. Franz Schubert was born in 1797 in the Vienna suburb of Lichtenthal. His father school teacher, came from a peasant family. Mother was the daughter of a mechanic. The family loved music very much and constantly organized musical evenings. His father played the cello, and his brothers played various instruments.

Having discovered musical abilities in little Franz, his father and older brother Ignatz began to teach him to play the violin and piano. 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 a konvikt - a training school for church singers. Situation educational institution favored the development musical abilities boy. In the school student orchestra, he played in the first violin group, and sometimes even served as conductor.

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 Salieri, with whom Schubert studied for a year.

Over time, rapid development musical talent Franz began to cause concern in his father. But no prohibitions could delay the development of the boy’s talent.

Years of creative flourishing. 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. 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. 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. The soul of this circle was Schubert. Vertically challenged, dense, stocky, very short-sighted, Schubert had enormous charm. During meetings, friends got acquainted with fiction, poetry of the past and present.

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.

The last years of life and creativity. He writes symphonies, piano sonatas, quartets, quintets, trios, masses, operas, a lot of songs and much other music. Having neither funds nor influential patrons, Schubert had almost no opportunity to publish his works.

And yet the Viennese came to know and love Schubert’s music. Like the old ones folk songs, passed from singer to singer, his works gradually gained admirers.

Insecurity and constant failures in life had a serious impact on Schubert's health. At the age of 27, the composer wrote to his friend Schober: “...I feel unhappy, the most insignificant person in the world..." This mood was reflected in the music last period. If earlier Schubert created mainly bright, joyful works, then a year before his death he wrote songs, uniting them under the common title “Winterreise”. 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 the composer great joy and hope for the future. The end came unexpectedly. Schubert fell ill with typhus, and in the fall of 1828 Schubert died. The remaining property was valued for pennies, and many works were lost. The famous poet of the time, Grillparzer, who had composed Beethoven’s funeral eulogy a year earlier, wrote on the modest monument to Schubert in the Vienna cemetery: “Death buried here a rich treasure, but even more wonderful hopes.”

Major works.

Over 600 songs

9 symphonies (one of them lost)
13 overtures for symphony orchestra
22 piano sonatas

Several collections of pieces and individual dances for piano

8 impromptu
6 “musical moments”

“Hungarian Divertissement” (for piano 4 hands)

Trios, quartets, quintets for various compositions