Franz Schubert "Schubert" redirects here. For other uses, see Schubert (disambiguation). Franz Schubert by Wilhelm August Rieder. Oil painting, 1875, after a watercolor painting by Rieder of 1825. Franz Peter Schubert (January 31, 1797 – November 19, 1828) was an Austrian composer. He wrote some 600 lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, and a large body of chamber and solo piano music. He is particularly noted for his original melodic and harmonic writing. While Schubert had a close circle of friends and associates who admired his work (including his teacher Antonio Salieri, and the prominent singer Johann Michael Vogl), wider appreciation of his music during his lifetime was limited at best. He was never able to secure adequate permanent employment, and for most of his career he relied on the support of friends and family. Interest in Schubert's work increased dramatically in the decades following his death and he is now widely considered to be one of the greatest composers in the Western tradition. Contents [hide] • 1 Biography • 1.1 Early life and education • 1.2 Teacher at his father's school • 1.3 Supported by friends • 1.4 Last years and masterworks • 1.5 Death • 2 Music • 2.1 Style • 2.2 Posthumous history of Schubert's music • 2.3 Catalogue • 3 Media • 4 Notes • 5 References • 6 External links • 6.1 Recordings and MIDI files • 6.2 Sheet music [edit] Biography [edit] Early life and education Schubert was born in Vienna on January 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elizabeth Vietz was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's sixteen children (one illegitimate child was born in 1783)[1], eleven died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended.[2] He was not a famous musician, but he taught his son what he could of music. The house in which Schubert was born, today Nussdorfer Strasse 54, in the 9th district of Vienna. At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at the Himmelpfortgrund school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin. At seven, Schubert was placed under the instruction of Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration[3] and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he was given the opportunity to practice on better instruments. The unsatisfactory nature of Schubert's early training was even more pronounced during his time given that composers could expect little chance of success unless they were also able to appeal to the public as performers. To this end, Schubert's meager musical education was never entirely sufficient. In October 1808, he was received as a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. It was at the Stadtkonvikt that Schubert was introduced to the overtures and symphonies of Mozart.[4] His exposure to these pieces as well as various lighter compositions combined with his occasional visits to the opera set the foundation for his greater musical knowledge. At the Stadtkonvikt he would also form a number of close friendships that would last the rest of his life, notably with Joseph von Spaun. Meanwhile, his genius was already beginning to show itself in his compositions. Antonio Salieri, a leading composer of the period, became aware of the talented young man and decided to train him in musical composition and music theory. Schubert's early essay in chamber music is noticeable, since at the time a regular quartet-party was established at his home "on Sundays and holidays," in which his two brothers played the violin, his father the cello and Franz himself the viola.[5] It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal more chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D.31) and Salve Regina (D.27), an octet for wind instruments (D.72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D.110, in honor of his father's birthday in 1813), and his first symphony (D.82). [edit] Teacher at his father's school At the end of 1813 he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814 he entered his father's school as teacher of the youngest students. For over two years the young man endured the drudgery of the work, which he performed with very indifferent success.[6] There were, however, other interests to compensate. He continued to received private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1816. In 1814 Schubert was introduced to a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also premiered his first Mass in F in October 1814.[6] In 1994 musicologist Rita Steblin discovered the marriage petition of Schubert's brother Karl on the attic floor of the Lichtental church. She interpreted this document to show that Schubert had wanted to marry Grob, but was hindered by the harsh marriage consent law of 1815[7], however more prosaic reasons, such as the lack of means to support a wife appear more likely.[8] In November 1816, after failing to gain a position at Laibach, Schubert sent Grob a collection of songs, which were retained by her family into the 20th century.[9] 1815 was probably the most prolific period of Schubert's life. He composed over 20,000 bars of music, more than half for orchestra, including nine church works, a symphony, and about 140 lieder.[10] His schoolfriend Joseph von Spaun once surprised him amid composition of Erlkönig (D.328, published as Op.1)[11] In that year he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become lifelong friends. Johann Mayrhofer, another friend was introduced to him by Spaun in 1814. [edit] Supported by friends Franz Schubert (posthumous) 1816 saw some real change in his fortunes. A few weeks later Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made an unsuccessful application for the post of Kapellmeister at Laibach, and had also decided not to resume teaching duties at his father's school. By the end of the year he was installed as a guest in Schober's lodgings. For a time he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another."[12] The focus of his composition was on orchestral and choral works, although he continued to write lieder. In late 1817 his father gained a new position at a school in Rossau (not far from Lichtental), and Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818 he was rejected for membership in the Gesellschaft der Musikfreunde, something that might well have furthered his musical career. Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Eszterházy at their chateau in Zseliz, Hungary. His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay comparably good. As a result, he happily continued to compose during this time. On his return from Zseliz, he took up housing with his friend Mayrhofer.[13] The respite at Zseliz led to a succession of compositions for piano duet. All this time his circle of friends was steadily widening. Schober introduced him to Johann Michael Vogl in 1817, a famous baritone, who did him good service by performing his songs in the salons of Vienna. Joseph von Gahy, an excellent pianist, played his sonatas and fantasias; the Sonnleithners, a burgher family whose eldest son had been at the Stadtkonvikt, gave him free access to their home, and organized in his honor musical parties which soon assumed the name of Schubertiaden. The material needs of life were supplied without much difficulty. No doubt Schubert was entirely penniless, for he had given up teaching, he could earn nothing by public performance, and, as yet, no publisher would take his music as a gift; but his friends came to his aid with true Bohemian generosity — one found him lodging, another found him appliances, they took their meals together and the man who had any money paid the score.[citation needed] Schubert was always the leader of the party, but more often than not, was penniless. Though he was known by half a dozen affectionate nicknames, the most characteristic was Kanevas (from German "kann er was?", "Is he good for anything?"), his usual question when a new acquaintance was introduced.[12] Another nickname was "The Little Mushroom" as Schubert was only five feet, one and one-half inches tall (1.56 m), and tended to corpulence.[citation needed] The compositions of 1820 are remarkable, and show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D.689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D.706), the Gesang der Geister (D.705/714), the Quartettsatz in C minor (D.703), and the "Wanderer Fantasy" for piano (D.760). But of almost more biographical interest is the fact that in this year two of Schubert's operas appeared at the Kärntnerthor Theater, Die Zwillingsbrüder (D.647) on June 14, and Die Zauberharfe (D.644) on August 19. Hitherto his larger compositions (apart from Masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position and address a wider public. Still, however, publishers remained distant, with Anton Diabelli hesitatingly agreeing to print some of his works on commission.[14] The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meagre pittances which were all that the great publishing houses ever accorded to him. The situation improved somewhat in March 1821 when Vogl sang Der Erlkönig at a concert that was extremely well received. The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. Alfonso und Estrella was refused, partly due to its libretto. Fierrabras (D.796) was also rejected, but this was largely due to the arrival and popularity of Rossini and the Italian operatic style. Die Verschworenen (D.787) was prohibited by the censor (apparently on the ground of its title), and Rosamunde (D.797) was withdrawn after two nights, owing to the poor quality of its libretto. Of these works the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822 he made the acquaintance both of Weber and of Beethoven, but little came of it in either case, though Beethoven cordially acknowledged his genius on several occasions, saying, "Truly, the spark of divine genius resides in this Schubert!"[15] However, due to the failure to stage these works, and the fact that his close friend Schober was away from Vienna, these were the darkest years of his life. [edit] Last years and masterworks Schubert in 1825 In 1823 Schubert wrote his first song cycle, Die schöne Müllerin (D.795), after poems by Wilhelm Müller. This work, together with the later cycle "Winterreise" (D.911; also written to texts of Müller) is widely considered one of the pinnacles of Lieder. The song Du bist die Ruh ("You are stillness/peace") D.776 was also composed during this year. In the spring of 1824 he wrote the Octet in F (D.803), "A Sketch for a Grand Symphony"; and in the summer went back to Želiezovce, when he became attracted by Hungarian idiom, and wrote the Divertissement à l'Hongroise (D.818) for piano duet and the String Quartet in A minor (D.804). It has been said that he held a hopeless passion for his pupil Countess Karoline Eszterházy; the only work he dedicated to her was his Fantasie in F minor (D.940) for piano duet. His friend Bauernfeld penned the following verse, which appears to reference these unrequited sentiments: In love with a Countess of youthful grace,
—A pupil of Galt's; in desperate case
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother[16] Schubert in 1827 Despite his preoccupation with the stage and later with his official duties, he found time during these years for a good deal of miscellaneous composition. The Mass in A flat (D.678) was completed and the "Unfinished Symphony" (Symphony No. 8 in B minor, D.759) begun in 1822. The question of why the symphony was "unfinished" has been debated endlessly and is still unresolved. To 1824, beside the works mentioned above, belong the variations for flute and piano on Trockne Blumen, from the cycle Die schöne Müllerin. There is also a sonata for piano and arpeggione (D.821). This music is nowadays usually played by either cello or viola and piano, although a number of other arrangements have been made. The mishaps of the recent years were compensated by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; in the summer there was a pleasant holiday in Upper Austria, where Schubert was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains his famous and beloved Ellens dritter Gesang (D.839). This is today more popularly, though mistakenly, referred to as "Schubert's Ave Maria"; while he had set it to Adam Storck's German translation of Scott's hymn from The Lady of the Lake that happens to open with the greeting Ave Maria and also has it for its refrain, subsequently the entire Scott/Storck text in Schubert's song have occasionally been substituted with the complete Latin text of the traditional Ave Maria prayer. During this time he also wrote the Piano Sonata in A minor (D.845, Op. 42) and the "Great" Symphony No. 9 (in C major, D.944), which is believed to have been completed the following year, in 1826. From 1826 to 1828 Schubert resided continuously in Vienna, except for a brief visit to Graz in 1827. The history of his life during these three years is little more than a record of his compositions. There were few events worth mention during this period. In 1826, he dedicated a symphony to the Gesellschaft der Musikfreunde and received an honorarium in return. In the spring of 1828 he gave, for the first and only time in his career, a public concert of his own works which was very well received. But the compositions themselves are a sufficient biography. The String Quartet in D minor (D.810), with the variations on Death and the Maiden, was written during the winter of 1825–1826, and first played on January 25, 1826. Later in the year came the String Quartet in G major, the "Rondeau brilliant" for piano and violin (D.895, Op.70), and the Piano Sonata in G (D.894, Op.78) (first published under the title "Fantasia in G"). To these should be added the three Shakespearian songs, of which "Hark! Hark! the Lark" (D.889) and "Who is Sylvia?" (D.891) were allegedly 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. In 1827 Schubert wrote the song cycle Winterreise (D.911), a colossal peak of the art of art-song (remarkable is already the way it was presented at the Schubertiades), the Fantasia for piano and violin in C (D.934), and the two piano trios (B flat, D.898; and E flat, D.929); in 1828 the Mirjams Siegesgesang (Song of Miriam, D.942) on a text by Franz Grillparzer, the Mass in E-flat (D.950), the Tantum Ergo (D.962) in the same key, the String Quintet in C (D.956), the second Benedictus to the Mass in C, the last three piano sonatas, and the collection of songs published posthumously under the fanciful name of Schwanengesang ("Swan-song", D.957), which whilst not a true song cycle, retains a unity of style amongst the individual songs, touching unwonted depths of tragedy and the morbidly supernatural. Six of these are to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. The Symphony No. 9 (D.944) is dated 1828, and many modern Schubert scholars (including Brian Newbould) believe that this symphony, written in 1825-6, was revised for performance in 1828 (a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for many of his larger-scale works during his lifetime). In the last weeks of his life he began to sketch three movements for a new Symphony in D (D.936A). The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche and human relationships, and with a deeper sense of spiritual awareness and conception of the 'beyond', reaching extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles, (the song Der Doppelgaenger reaching an extraordinary climax, conveying madness at the realization of rejection and imminent death, and yet able to touch repose and communion with the infinite in the almost timeless ebb and flow of the String Quintet). Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint. [edit] Death Franz Schubert memorial in Vienna's Stadtpark In the midst of this creative activity, his health deteriorated. He contracted syphilis in 1822. The final illness may have been typhoid fever, though other causes have been proposed; some of his final symptoms match those of mercury poisoning (mercury was then a common treatment for syphilis). His solace in his final illness was reading, and he had become a passionate fan of the writings of James Fenimore Cooper.[17] He died aged 31 on Wednesday November 19, 1828 at the apartment of his brother Ferdinand in Vienna. At 3 p.m. "someone observed that he had ceased to breathe."[citation needed] By his own request, he was buried next to Beethoven, whom he had adored all his life, in the village cemetery of Währing. In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark. In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof, where they can now be found next to those of Johann Strauss II and Johannes Brahms. [edit] Music [edit] Style In July 1947 the twentieth-century composer Ernst Krenek discussed Schubert's style pursuant to annotating a recording by American pianist Ray Lev of the so-called Reliquie Sonata with Krenek's ca. 1921 completion, which, although largely forgotten today, had some currency during the 1920s through 1950s. Abashedly admitting that he at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes … lacking the dramatic power and searching intelligence which distinguished such 'real' masters as Bach or Beethoven," Krenek wrote that he reached a completely different assessment after close study of Schubert's songs at the urging of friend and fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition." Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional molds; on the contrary he was a thinking artist with a keen appetite for experimentation."[18] That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation. It also appears in unusual choices of instrumentation, as in the Arpeggione Sonata or the unconventional scoring of the Trout Quintet. If it not infrequently led Schubert up blind alleys, resulting in fragmentary works, it also enabled him to create music unlike anything that had come before, such as his two song cycles of unprecedented scope. While he was clearly influenced by the Classical sonata forms of Beethoven and Mozart (his early works, among them notably the 5th Symphony, are particularly Mozartean), his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his 9th Symphony was described by Robert Schumann as running to "heavenly lengths".[1] His harmonic innovations include movements in which the first section ends in the key of the subdominant rather than the dominant (as in the last movement of the Trout Quintet). Schubert's practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end. It was in the genre of the Lied, however, that Schubert made his most indelible mark. Plantinga remarks, "In his more than six hundred lieder he explored and expanded the potentialities of the genre as no composer before him." [19] Prior to Schubert's influence, lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities burgeoned by the stirrings of Romantic nationalism[20]. Among Schubert's treatments of the poetry of Goethe, his settings of Gretchen am Spinnrade and Der Erlkönig are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in Gretchen and the furious and ceaseless gallop the right hand in Erlkönig. Also of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, and the collection Schwanengesang, all of which helped to establish the genre and its potential for musical, poetic, and dramatic narrative. In turn, Schubert's work in Lieder fostered interest in shorter and more lyrical instrumental works.[citation needed] Schubert's compositional style progressed rapidly throughout his short life. The loss of potential masterpieces caused by his early death at 31 was perhaps best expressed in the epitaph on his tombstone written by the poet Franz Grillparzer, "Here music has buried a treasure, but even fairer hopes." [edit] Posthumous history of Schubert's music Interior of museum at Schubert's birthplace, Vienna, 1914 Some of his smaller pieces were printed shortly after his death, but the manuscripts of many of the longer works, whose existence was not widely know, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers. In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major symphony (the "Great", D.944) and took it back to Leipzig, where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. The most important step towards the recovery of the neglected works was the journey to Vienna which Sir George Grove (widely known for the Grove's Dictionary of Music and Musicians) and Arthur Sullivan made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the Rosamunde incidental music, some of the Masses and operas, some of the chamber works, and a vast quantity of miscellaneous pieces and songs.[21] This led to more widespread public interest in Schubert's work. From the 1830s through the 1870s, Franz Liszt transcribed and arranged a number of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived".[22] Schubert's symphonies were of particular interest to Antonín Dvořák, with Hector Berlioz and Anton Bruckner acknowledging being influenced by the "Great" Symphony.[23] Controversy arose over the numbering of the symphonies, in particular the "Great" C Major Symphony. Many[who?] German-speaking scholars number it as symphony number 7, the revised Deutsch catalogue (the standard catalogue of Schubert's works, compiled by Otto Erich Deutsch) lists it as number 8, and English-speaking scholars[who?] list it as number 9, with the Unfinished Symphony listed as number 8. Another controversy, which originated with Grove and Sullivan and continued for many years, surrounded the "lost" symphony. Immediately before Schubert's death, his friend Eduard von Bauernfeld recorded the existence of an additional symphony, dated 1828 (although this does not necessarily indicate the year of composition) named the "Letzte" or "Last" symphony. It has been more or less accepted by musicologists[who?] that the "Last" symphony refers to a sketch in D major (D.936A), identified by Ernst Hilmar in 1977, and which was realised by Brian Newbould as the Tenth Symphony. In 1897, the publisher Breitkopf und Härtel released a critical edition of Schubert's works, under the general editing of Johannes Brahms, enabling a wider dissemination of his music. In the 20th century, composers such as Benjamin Britten, Richard Strauss, and George Crumb either championed or paid homage to Schubert in their work. Britten, an accomplished pianist, accompanied many of Schubert's lieder and performed many piano solo and duet works.[23] [edit] Catalogue Since relatively few of his works were published in Schubert's lifetime, only a small number of them have opus numbers assigned, and, even in those cases, the sequence of the numbers does not give a good indication of the order of composition. In 1951, musicologist Otto Erich Deutsch published a "thematic catalogue" of Schubert's works that lists his compositions numerically by their composition date. • Catalogue by Deutsch number: D 1 to 504 - D 505 to 998 • List of compositions by Franz Schubert — by musical genre • Alphabetical list of Wikipedia articles about Schubert's compositions [edit] Media Wikimedia Commons has media related to: Franz Schubert • Ellens dritter Gesang • • Ellens dritter Gesang, often referred to as Schubert's Ave Maria • Moment Musical No. 2 in A-flat Major • • Performed by Raymond Smullyan • Piano Sonata in A minor, D.784, Allegro Giusto • • Performed by Raymond Smullyan • Piano Sonata in G major, D.894 - Moderato • • Performed by Randolph Hokanson • Piano Sonata in G major, D.894 - Andante • • Performed by Randolph Hokanson • Piano Sonata in G major, D.894 - Menuetto • • Performed by Randolph Hokanson • Piano Sonata in G major, D.894 - Allegretto • • Performed by Randolph Hokanson • A recording of Randolph Hokanson playing the B-flat sonata, D. 960. • 1. Molto moderato • • • 2. Andante sostenuto • • • 3. Scherzo. Allegro vivace con delicatezza • • • 4. Allegro, ma non troppo • • • A recording by David H. Porter, also of the B-flat sonata, courtesy of Musopen • 1. Molto moderato • • • 2. adagio sostenuto • • • 3. Scherzo. Allegro vivace con delicatezza • • • 4. Allegro, ma non troppo • • • Wanderer Fantasy in C Major, I. Allegro con Fuoco • • Performed by Daniel Blanch. Courtesy of Musopen • Wanderer Fantasy in C Major, Ii. adagio • • Performed by Daniel Blanch. Courtesy of Musopen • Wanderer Fantasy in C Major, Iii. Presto • • Performed by Daniel Blanch. Courtesy of Musopen • Wanderer Fantasy in C Major, Iv. Allegro • • Performed by Daniel Blanch. Courtesy of Musopen • Mass in G, movement 1 • • • Mass in G, movement 2 • • • Mass in G, movement 3 • • • Mass in G, movement 4 • • • Mass in G, movement 5 • • • Mass in G, movement 6 • • • Impromptu Op. 99 No. 1 (D. 899/1) in C minor • • Performed by Randolph Hokanson • Impromptu in A-flat, D. 935/2 (Op. 142 No. 2) • • • Impromptu in B-flat, D. 935/3 (Op. 142 No. 3), movement 1 • • • Impromptu in B-flat, D. 935/3 (Op. 142 No. 3), movement 2 • • • Impromptu in B-flat, D. 935/3 (Op. 142 No. 3), movement 3 • • • Impromptu in B-flat, movement 4 • • • Impromptu in B-flat, D. 935/3 (Op. 142 No. 3), movement 5 • • • Impromptu in B-flat, D. 935/3 (Op. 142 No. 3), movement 6 • • • Impromptu in B-flat, D. 935/3 (Op. 142 No. 3), movement 7 • • • Der Hirt auf dem Felsen • • • Arpeggione Sonata - 1. Allegro Moderato • • Performed by Hans Goldstein (cello) and Clinton Adams (piano) • Arpeggione Sonata - 2. Adagio and 3. Allegretto • • Performed by Hans Goldstein (cello) and Clinton Adams (piano) • Arpeggione Sonata - 3. Allegretto • • Performed by Elias Goldstein (viola) with the Advent Chamber Orchestra • Trout Quintet, 2. Andante • • Performed by Bruce Murray (piano), J. Patrick Rafferty (violin), Scott Rawls (viola), Carlton McCreery(cello), and Craig Brown(bass) • Octet - 1. Adagio - Allegro • • Performed on historical instruments • Octet - 2. Adagio • • Performed on historical instruments • Octet - 3. Scherzo • • Performed on historical instruments • Octet - 4. Andante • • Performed on historical instruments • Octet - 5. Menuetto • • Performed on historical instruments • Octet - 6. Andante Molto - Allegro • • Performed on historical instruments • Problems listening to the files? See media help. [edit] Notes This article or section includes a list of references or external links, but its sources remain unclear because it lacks inline citations. You can improve this article by introducing more precise citations where appropriate. 1. ^ Rita Steblin, "Franz Schubert - das dreizehnte Kind", Wiener Geschichtsblätter, 3/2001, pp. 245-65. 2. ^ Wilberforce, p. 2 "the school was much frequented" 3. ^ Maurice J. E. Brown, The New Grove Schubert, ISBN 0-393-30087-0, pp. 2–3 4. ^ Duncan, pp. 5-7 5. ^ Duncan, p. 9 6. ^ a b Duncan, pp. 13-14 7. ^ Steblin 8. ^ Newbould, p. 37 9. ^ Newbould, p. 64 10. ^ Newbould, p. 40 11. ^ Duncan, p. 138 12. ^ a b Duncan, p. 26 13. ^ Newbould pp. 69-72 14. ^ Wilberforce, pp. 90-92 15. ^ Thayer, Alexander Wheelock; Krehbiel, Henry E.;Deiters, Hermann; Riemann, Hugo (1921). The Life of Ludwig Van Beethoven: vol 1. The Beethoven Association, pp. 299-300. }} 16. ^ Duncan, p. 99 17. ^ Duncan, p. 75 18. ^ Lev, Ray (1947). Album notes for Franz Schubert — Piano Sonata no. 15 in C Major (Unfinished); Allegretto in C Minor — Ray Lev, Pianist [78 RPM]. United States: Concert Hall Society (Release B3). 19. ^ Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe, published by Norton, 1984, p. 117 20. ^ ibid. pp. 107-117. 21. ^ Kreissle, pp. 297-332, in which Grove recounts his visit to Vienna. 22. ^ Liszt, Franz; Suttoni, Charles (translator, contributor) (1989). An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835-1841. University of Chicago Press, p. 144. ISBN 0226485102. 23. ^ a b Newbould, pp. 403-404 [edit] References Wikisource has original text related to this article: Franz Schubert This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain. • Austin, George Lowell (1873). The Life of Franz Schubert. Shepard and Gill. • Duncan, Edmondstoune (1905). Schubert. J.M. Dent & Co. • Gibbs, Christopher H. (2000). The Life Of Schubert. Cambridge University Press. ISBN 0-521-59512-6. • Gibbs, Christopher H. [ed.] (1997). The Cambridge Companion to Schubert. Cambridge University Press. • von Hellborn, Heinrich Kreissle; Wilberforce, Edward (translator) (1866). Franz Schubert, a musical biography, from the German (abridged). • von Kreissle, Heinrich; Coleridge, Arthur Duke (translator); Grove, George (appendix) (1869). The Life of Franz Schubert, Vol. 2. Longmans, Green, and Co. • Newbould, Brian (1999). Schubert: The Music and the Man. University of California Press. ISBN 0-520-21957-0. • Steblin, Rita; Newbould, Brian [ed.] (1998). "Schubert's Relationship with Women: An Historical Account", from Schubert Studies. Ashgate, pp. 159-182. • Steblin, Rita (1998). "In Defense of Scholarship and Archival Research: Why Schubert's Brothers Were Allowed to Marry". Current Musicology 62: pp. 7-17. [edit] External links • The Lied and Arts Song Texts Page • Franz Schubert discography at MusicBrainz • Franz Schubert at the Internet Broadway Database • Franz Schubert at the Internet Movie Database • Catalogue of Works by Franz Schubert • Digital reproductions of score manuscripts and letters by Franz Schubert • Franz Peter Schubert: Master of Song • Notes on Franz Schubert by pianist Bart Berman • The Schubert Institute (UK), detailed time-line, biography, work list and (flawed) family tree • The Schubert Society of the USA • The Franz Schubert Society of Victoria • Franz-Schubert-Institut in Baden bei Wien • Works by or about Franz Schubert in libraries (WorldCat catalog) [edit] Recordings and MIDI files • Recordings of all works by Schubert for voice and piano • Recordings of all works by Schubert for piano and violin • Schubert cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library. • Selected Lieder (MIDI) • Kunst der Fuge: Franz Schubert - MIDI files • Schubert selected works (MP3) [edit] Sheet music • www.kreusch-sheet-music.net Schubert's Piano Works • http://www.schubertline.co.uk - about 250 of Schubert's Songs (Schubertline edition) • Free scores by Franz Schubert in the International Music Score Library Project • Franz Schubert free scores in the Choral Public Domain Library (ChoralWiki) • Free scores by Franz Schubert in the Werner Icking Music Archive (WIMA) • Works by Franz Schubert at Project Gutenberg • Schubert's Sheet Music by Mutopia Project • Lieder sheet music [hide] v • d • e Romanticism Culture Bohemianism · Ossian · Romantic nationalism · Wallenrod (Wallenrodism) Literature Blake · Burns · Byron · Chateaubriand · Coleridge · Espronceda · Goethe · Grimm Brothers · Heine · Hoffmann · Hölderlin · Hugo · Keats · Krasinski · Lamartine · Leopardi · Lermontov · Mickiewicz · Musset  · Nerval · Novalis · Oehlenschläger · Poe · Pushkin · Schiller · Scott · Mary Shelley  · Percy Bysshe Shelley · Slowacki · Stendhal · Ujejski · Wordsworth Music Alkan · Auber · Beethoven · Bellini · Berlioz · Berwald · Chopin · Donizetti · Field · Franck · Glinka · Grieg · Halévy · Liszt · Loewe · Marschner · Méhul · Mendelssohn · Meyerbeer · Paganini · Rossini · Schubert · Schumann · Thalberg · Verdi · Wagner · Weber Philosophy and aesthetics Coleridge · Goethe · Schiller · Müller · Schleiermacher · Tieck · Mickiewicz · Feuerbach · Fichte · Wackenroder · Jahn · Schlegel · Schelling · Hegel · Søren Kierkegaard · Słowacki · Towiański Visual arts Blake · Briullov · Constable · Corot · Delacroix · Friedrich · Géricault · Gothic Revival architecture · Goya · Hudson River School · Leutze · Nazarene movement · Palmer · Turner · Wiertz  « Age of Enlightenment Realism »  Categories: 1797 births | 1828 deaths | Austrian composers | Austrian Roman Catholics | Burials at the Zentralfriedhof | Classical era composers | People from Vienna | Opera composers | Romantic composers | Viennese composers • article discussion edit this page history • Log in / create account