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In his short, tumultuous life, Franz Schubert (1797-1828) produced an astonishing amount of music. Symphonies, chamber music, opera, church music, and songs (more than 600 of them) poured forth in profusion. His "Trout" Quintet, his "Unfinished" Symphony, the last three piano sonatas, and above all his song cycles Die Schone Mullerin and Winterreise have come to be universally regarded as belonging to the very greatest works of music? Who was the man who composed this amazing succession of masterpieces, so many of which were either entirely ignored or regarded as failures during his lifetime? In this new biography, Elizabeth McKay paints a vivid portrait of Schubert and his world. She explores his family background, his education and musical upbringing, his friendships, and his brushes and flirtations with the repressive authorities of Church and State. She discusses his experience of the arts, literature, and theater, and his relations with the professional and amateur musical world of his day. She traces the way Schubert's manic-depression became an increasingly significant influence in his life, responsible at least in part for social inadequacies, professional ineptitude, and idiosyncrasies in his music. And she examines Schubert's decline after he contracted syphilis, looking at its effect on his music and emotional life.
This searching biography takes a fresh look at this elusive and misunderstood genius.
The life, times, and music of Franz Schubert During his short lifetime, Franz Schubert (1797–1828) contributed to a wide variety of musical genres, from intimate songs and dances to ambitious chamber pieces, symphonies, and operas. The essays and translated documents in Franz Schubert and His World examine his compositions and ties to the Viennese cultural context, revealing surprising and overlooked aspects of his music. Contributors explore Schubert's youthful participation in the Nonsense Society, his circle of friends, and changing views about the composer during his life and in the century after his death. New insights are offered about the connections between Schubert’s music and the popular theater of the day, his strategies for circumventing censorship, the musical and narrative relationships linking his song settings of poems by Gotthard Ludwig Kosegarten, and musical tributes he composed to commemorate the death of Beethoven just twenty months before his own. The book also includes translations of excerpts from a literary journal produced by Schubert’s classmates and of Franz Liszt’s essay on the opera Alfonso und Estrella. In addition to the editors, the contributors are Leon Botstein, Lisa Feurzeig, John Gingerich, Kristina Muxfeldt, and Rita Steblin.
Clarity of outline, conciseness, and formal beauty are excellent things in musical works, but an exquisite fancy, a noble imagination, and a lofty poetic spirit are of infinitely greater account; and no one ever possessed these inestimable gifts in richer profusion than Franz Schubert. This new edition of Henry Frost’s 1892 biography of Franz Schubert has been edited and revised. The original references to pieces by Opus number have been replaced with the more commonly used D numbers. Many illustrations of places and people have been added throughout the text, and a complete catalog of Schubert’s works has been included. “With faith man steps forth into the world. Faith is far ahead of understanding and knowledge; for to understand anything, I must first of all believe something. Faith is the higher basis on which weak understanding rears its first columns of proof; reason is nothing but faith analysed.” – Franz Schubert
Clarity of outline, conciseness, and formal beauty are excellent things in musical works, but an exquisite fancy, a noble imagination, and a lofty poetic spirit are of infinitely greater account; and no one ever possessed these inestimable gifts in greater measure than Franz Schubert. This new edition of Henry Frost's 1892 biography of Franz Schubert has been edited and revised. The original references to pieces by Opus number have been replaced with the more commonly used D numbers. Many illustrations of places and people have been added throughout the text, and a complete catalog of Schubert's works has been included. Contents 1 Introduction and overview by William Henry Hadow. 2 - Schubert's unique position among composers. - Birth and parentage. - Early instruction in music, and evidence of extraordinary talent. - Admission to the Imperial Chapel and Stadtconvict. - School experiences and first compositions. - Salieri. - Symphony No. 1 in D. - He decides to leave the Convict. 3 - Schubert's experience as a school teacher. - Friendship with Mayrhofer. - Works from 1814; Des Teufels Lustschloss, Mass in F, etc. - Extraordinary productiveness in 1815. - Operas, symphonies, masses, and songs. - Characteristics of Schubert's Lieder. - Diary kept in 1816. - Der Erlkönig. - Cantatas and symphonies. - He applies for a position. - Franz von Schober. - He leaves his father's school. 4 - Johann Michael Vogl. - Josef Huttenbrenner. - Piano sonatas. - Overtures in Italian style. - He becomes music teacher to the Esterhazy family. - His residence with Mayrhofer. - Excursion in upper Austria. - Rossini. - Goethe. - His first commissions for the stage. - Die Zwillingsbruder. - Die Zauberharfe. - Contemporary criticism. - The oratorio Lazarus. - The Fantasia in C. 5 - The first publications. - Enthusiasm of his friends. - Schubertiaden. - The symphony in E. - Schubert and Beethoven. - Alfonso and Estrella; performance at Weimar. - The mass in A flat. - The unfinished symphony in B minor. - Schubert and Weber. - Rosamunde. - Fierabras. - Die Verschwornen, or Der hauslicne Krieg. - Die schone Mullerin. - Publications in 1823. 6 - Schubert's temporary depression. - Diary and letters. - Second visit to Zelesz. - Love for Caroline Esterhazy. - Compositions; the duet sonata in C. - Travels in Steyr. - Restored cheerfulness. - Efforts to gain employment. - Schindler's singular story. - Negotiations with foreign publishers. - Present from the Musikfreunde. - Beethoven's funeral. - Visit to the Pachlers at Gratz. - Failing health. - Rochlitz and Der Erste Ton 7 - Great productiveness in 1828. - Symphony in C. - Mass in E flat. - Schwanengesang. - Last sonatas. - Disappointments. - His last illness and death. 8 - Posthumous honours. - Personal qualities. - Schubert's position in music. - General survey of works
When Schubert's contemporary reviewers first heard his modulations, they famously claimed that they were excessive, odd and unplanned. This book argues that these claims have haunted the analysis of Schubert's harmony ever since, outlining why Schubert's music occupies a curiously marginal position in the history of music theory. Analyzing Schubert traces how critics, analysts and historians from the early nineteenth century to the present day have preserved cherished narratives of wandering, alienation, memory and trance by emphasizing the mystical rather than the logical quality of the composer's harmony. This study proposes a new method for analyzing the harmony of Schubert's works. Rather than pursuing an approach that casts Schubert's famous harmonic moves as digressions from the norms of canonical theoretical paradigms, Suzannah Clark explores how the harmonic fingerprints in Schubert's songs and instrumental sonata forms challenge pedigreed habits of thought about what constitutes a theory of tonal and formal order.
Of all the great composers, none - not even Mozart - has been so dogged by myth and misunderstanding as Franz Schubert. The notion of Schubert as a pudgy, lovelorn Bohemian schwammerl (mushroom) scribbling tunes on the back of menus in idle moments has never quite been eradicated. In this major new biography, Brian Newbould balances discussion of Schubert's compositions with an exploration of biographical influences that shaped his musical aesthetics. Schubert: The Music and the Man offers an eminently readable description of a musician who was compulsively dedicated to his art - a composer so prolific that he produced over a thousand works in eighteen years. Gifted with an intuitive know-how, coupled with a Mozartian facility for composition, Schubert combined the relish and wonder of an amateur with the discipline and technical rigor of a professional. He moved quickly and comfortably among genres, and sometimes composed directly into score but many pieces required painstaking revision before they satisfied his growing self-criticism. Examining afresh the enigmas surrounding Schubert's religious outlook, his loves, his sexuality, his illness and death, Newbould offers above all a celebration of a unique genius, an idiosyncratic composer of an astonishing body of powerful, enduring music.