Franz Schubert art direction. Biography of Schubert Franz Peter

Franz Peter Schubert was a representative of the current of musical romanticism in Austria. In his works, there was a longing for a bright ideal, which was so lacking in real life. Schubert's music, hearty and soulful, took a lot from traditional folk art. His works are distinguished by melody and harmony, a special emotional mood.

Franz Peter Schubert was a representative of the current of musical romanticism in Austria. In his works, there was a longing for a bright ideal, which was so lacking in real life. Schubert's music, hearty and soulful, took a lot from traditional folk art. His works are distinguished by melody and harmony, a special emotional mood.

Schubert was born on January 31, 1797, in the family Franz Theodor Schubert- School teacher and amateur cellist. The boy fell in love with music from an early age and easily mastered musical instruments. Young Schubert sang beautifully - he had an excellent voice as a child - so in 1808 he was admitted to the Imperial Chapel. He received his general education at the Konvikt boarding school. In the school orchestra, Schubert was the second violin, but Latin and mathematics were not easy for him.

Schubert was expelled from the choir chapel as a teenager. In 1810, Schubert began writing music. Within 3 years he composed several pieces for piano, a symphony and even an opera. The famous himself became interested in the young talent Salieri. (He studied composition with Schubert in the period 1812-17.)

From 1813 Schubert taught at the school. In that year, he composed his first known masterpiece, the song Gretchen am Spinnrade ("Gretchen at the Spinning Wheel"), with lyrics by Goethe.

In 1815–16 Schubert wrote many works: more than one and a half hundred songs, several instrumental quartets and symphonies, four operettas, two masses. In 1816, his famous Fifth Symphony in B flat major, the songs "Forest King" and "Wanderer" were written.

The composer was lucky to meet the eminent baritone singer M. Foglem. Vogl began to perform Schubert's songs, and they soon gained popularity in all Viennese salons.

In the summer of 1818, Schubert left his service at school and went to the residence of a well-known art connoisseur, patron of the arts - Count Johann Esterhazy. There he taught and continued to write music. During this period, the Sixth Symphony was created. Returning to Vienna, the composer received a lucrative commission for the operetta The Twin Brothers. The premiere of the musical performance took place in 1820 - it was a success.

The next two years were financially difficult for the composer. He did not know how to achieve the favor of patrons and did not want to. In 1822 he completed Alfonso e Estrella, but it was never staged.

During 1823, the composer was pursued by serious illnesses. Despite his physical weakness, he wrote two more operas. These works also did not see the stage. The composer did not lose heart and continued to create. The music for Rosamund's play and the song cycle called "The Beautiful Miller's Girl" were well received by the audience. Schubert again left to teach at the Esterhazy family and there, in the country princely residence, improved his health a little.

In 1825, the composer toured extensively with Vogl in Austria. At this time, a vocal cycle was written to the words of Scott, which included the famous ode "Ave Maria".

Schubert's songs and vocal cycles were known and popular in Austria, both among the noble public and among the common people. Many private houses then held evenings devoted exclusively to the works of the composer - the Schubertiades. In 1827, the composer created the famous cycle "Winter Way".

The health of the composer, meanwhile, was getting worse. In 1828, he felt signs of another serious illness. Instead of paying attention to the state of health, Schubert feverishly continued to work. At that time, the composer's main masterpieces were released: the famous "Symphony in C", the quintet "C major" for string instruments, three piano sonatas and a vocal cycle with the symbolic name "Swan Song". (This cycle was published and performed after the death of the composer).

Not all publishers agreed to publish Schubert's works; it happened that he was paid unreasonably little. He did not give up and worked until the last days.

Schubert died on November 19, 1828. The cause of death was typhus - the composer's body, weakened by hard work, could not cope with the disease. He was buried next to Beethoven, but later the ashes were transferred to the central cemetery in Vienna.

The composer lived only 31 years, but his contribution to the musical heritage of the 19th century is enormous. He worked a lot in the song-romance genre; he wrote about 650 songs. At that time, German poetry was flourishing - it became a source of his inspiration. Schubert took poetic texts and, with the help of music, gave them their own context, a new meaning. His songs were characterized by a direct impact on the listeners - they became not observers, but participants in the plot of the musical composition.

Not only in the song, but also in the orchestral genre, Schubert managed to do a lot. His symphonies introduce listeners to a new, original musical world, far from the classical style of the 19th century. All his orchestral works are distinguished by the brightness of emotions, the enormous power of influence.

The harmonious inner world of Schubert is reflected in his chamber works. The composer often wrote four-hand pieces intended for "home" use. His trios, quartets, quintets captivate with frankness and emotional openness. Such was Schubert - he had nothing to hide from his listener.

Schubert's piano sonatas are second only to Beethoven's in their emotional intensity and mastery. They combine traditional song and dance forms with classical musical techniques.

All of Schubert's works are imbued with the charm of his beloved city - old Vienna. During his lifetime, it was not always easy for him, and Vienna did not always appreciate his talent at its true worth. After his death, many unpublished manuscripts remained. Musicians and critics, friends and relatives of the composer have made great efforts to find, translate and publish a significant number of his works. The popularization of this wonderful music continued for a century. It led to worldwide recognition of the musical genius Franz Peter Schubert.

The biography of Schubert is very interesting to study. He was born on January 31, 1797 in a suburb of Vienna. His father worked as a school teacher, was a very hardworking and decent person. The eldest sons chose their father's path, the same path was prepared for Franz. However, music was also loved in their house. So, a brief biography of Schubert ...

Franz's father taught him to play the violin, his brother taught him the clavier, the church regent taught him theory and taught him to play the organ. It soon became clear to the household that Franz was unusually gifted, so at the age of 11 he began to study at a church singing school. There was an orchestra in which the students played. Soon, Franz was already playing the first violin part and even conducting.

In 1810, the guy writes his first composition, and it becomes clear that Schubert is a composer. His biography says that the passion for music in him intensified so much that over time it supplanted other interests. The young man dropped out of school after five years, angering his father. Schubert's biography tells that, yielding to his father, he enters the teacher's seminary, and then works as a teacher's assistant. However, all the father's hopes to make Franz a man with a good and reliable income were in vain.

Biography of Schubert in the period from 1814 to 1817 is one of the most active phases of his work. At the end of this time, he is already the author of 7 sonatas, 5 symphonies and about 300 songs that are on everyone's lips. It would seem that a little more - and success is guaranteed. Franz leaves the service. The father becomes furious, leaves him penniless and breaks off all relations.

Schubert's biography tells that he had to live with friends. Among them were poets and artists. It was during this period that the famous "Schubertiads" are held, that is, evenings dedicated to the music of Franz. Among friends, he played the piano, composing music on the go. However, these were difficult years. Schubert lived in unheated rooms and gave hateful lessons so as not to starve to death. Due to poverty, Franz could not get married - his girlfriend preferred a wealthy confectioner to him.

Schubert's biography testifies that in 1822 he wrote one of his best creations - "The Unfinished Symphony", and then the cycle of works "The Beautiful Miller's Woman". For some time, Franz returned to the family, but two years later he left again. Naive and trusting, he was not adapted to an independent life. Schubert was often deceived by his publishers, who frankly profited from him. The author of a huge and wonderful collection of songs that were very popular among the burghers during his lifetime, barely

Schubert was not a virtuoso musician, like Beethoven or Mozart, and could only act as an accompanist to his melodies. The symphonies were never performed during the composer's lifetime. The Schubertiada circle broke up, friends started families. He did not know how to ask, and did not want to humiliate himself in front of influential personalities.

Franz was completely desperate and believed that, perhaps, in old age he would have to beg, but he was wrong. The composer did not know that he would not have old age. But, despite all this, his creative activity does not weaken, and even vice versa: Schubert's biography claims that his music becomes deeper, more expressive and large-scale. In 1828, friends organized a concert at which the orchestra played only his songs. He was a very big success. After that, Schubert was again filled with grandiose plans and began to work on new compositions with redoubled energy. However, a few months later he fell ill with typhus and died in November 1828.

Said, "Never ask for anything! Never and nothing, and especially for those who are stronger than you. They themselves will offer and give everything themselves!

This quote from the immortal work "The Master and Margarita" characterizes the life of the Austrian composer Franz Schubert, familiar to most of the song "Ave Maria" ("Ellen's Third Song").

During his lifetime, he did not strive for fame. Although the works of the Austrian were distributed from all the salons of Vienna, Schubert lived extremely poorly. Once the writer hung out his frock coat on the balcony with the pockets turned inside out. This gesture was addressed to creditors and meant that there was nothing more to take from Schubert. Knowing the sweetness of glory only fleetingly, Franz died at the age of 31. But centuries later, this musical genius became recognized not only in his homeland, but throughout the world: Schubert's creative heritage is immense, he composed about a thousand works: songs, waltzes, sonatas, serenades and other compositions.

Childhood and youth

Franz Peter Schubert was born in Austria, not far from the picturesque city of Vienna. The gifted boy grew up in an ordinary poor family: his father, the school teacher Franz Theodor, came from a peasant family, and his mother, the cook Elisabeth (née Fitz), was the daughter of a repairman from Silesia. In addition to Franz, the couple raised four more children (out of 14 children born, 9 died in infancy).

It is not surprising that the future maestro showed a love for notes early, because music constantly “flowed” in his house: Schubert Sr. loved to play the violin and cello like an amateur, and Franz's brother was fond of piano and clavier. Franz Jr. was surrounded by a delightful world of melodies, as the hospitable Schubert family often received guests, arranging musical evenings.

Noticing the talent of their son, who at the age of seven played music on the keys without studying the notes, the parents assigned Franz to the Lichtental parochial school, where the boy tried to master the organ, and M. Holzer taught the young Schubert the vocal art, which he mastered to fame.

When the future composer was 11 years old, he was accepted as a chorister in the court chapel, located in Vienna, and also enrolled in a school with a Konvikt boarding house, where he made his best friends. In an educational institution, Schubert zealously learned the basics of music, but mathematics and Latin were bad for the boy.

It is worth saying that no one doubted the talent of the young Austrian. Wenzel Ruzicka, who taught Franz the bass voice of a polyphonic musical composition, once stated:

“I have nothing to teach him! He already knows everything from the Lord God.

And in 1808, to the delight of his parents, Schubert was accepted into the imperial choir. When the boy was 13 years old, he independently wrote his first serious musical composition, and after 2 years the recognized composer Antonio Salieri began to work with the young man, who did not even take a monetary reward from the young Franz.

Music

When the sonorous boyish voice of Schubert began to break down, the young composer, for obvious reasons, was forced to leave Konvikt. Franz's father dreamed that he would enter the teacher's seminary and follow in his footsteps. Schubert could not resist the will of his parent, so after graduation he began to work at a school where he taught the alphabet to elementary grades.

However, a man whose life was a passion for music, the noble work of a teacher was not to his liking. Therefore, between the lessons that Franz only aroused contempt, he sat down at the table and composed works, and also studied the works of and Gluck.

In 1814 he wrote the opera Satan's Pleasure Castle and a Mass in F major. And by the age of 20, Schubert had become the author of at least five symphonies, seven sonatas and three hundred songs. Music did not leave Schubert's thoughts for a minute: the talented writer woke up even in the middle of the night in order to have time to write down the melody that sounded in a dream.

In his free time, the Austrian arranged musical evenings: acquaintances and close friends appeared in the house of Schubert, who did not leave the piano and often improvised.

In the spring of 1816, Franz tried to get a job as the head of the choir chapel, but his plans were not destined to come true. Soon Schubert, thanks to friends, met the famous Austrian baritone Johann Fogal.

It was this performer of romances that helped Schubert to establish himself in life: he performed songs to the accompaniment of Franz in the music salons of Vienna.

But it cannot be said that the Austrian mastered the keyboard instrument as masterly as, for example, Beethoven. He did not always make the right impression on the listening public, so Fogal got the attention of the audience at the performances.

In 1817, Franz became the author of music for the song "Trout" to the words of his namesake Christian Schubert. The composer also became famous thanks to the music for the famous ballad of the German writer "The Forest King", and in the winter of 1818 Franz's "Erlafsee" was published by a publishing house, although before Schubert's fame, the editors constantly found an excuse to refuse the young performer.

It is worth noting that during the peak years of popularity, Franz acquired profitable acquaintances. So, his comrades (the writer Bauernfeld, the composer Huttenbrenner, the artist Schwind and other friends) helped the musician with money.

When Schubert was finally convinced of his vocation, in 1818 he left work at the school. But his father did not like his son's spontaneous decision, so he deprived his adult child of material assistance. Because of this, Franz had to ask friends for a place to sleep.

Fortune in the life of the composer was very changeable. The opera Alfonso e Estrella based on a composition by Schober, which Franz considered his success, was rejected. In this regard, Schubert's financial situation worsened. Also in 1822, the composer contracted an illness that undermined his health. In mid-summer, Franz moved to Zelize, where he settled on the estate of Count Johann Esterházy. There, Schubert taught music lessons to his children.

In 1823, Schubert became an honorary member of the Styrian and Linz musical unions. In the same year, the musician composes the song cycle "The Beautiful Miller's Woman" to the words of the romantic poet Wilhelm Müller. These songs tell about a young man who went in search of happiness.

But the young man's happiness lay in love: when he saw the miller's daughter, Cupid's arrow rushed into his heart. But the beloved drew attention to his rival, the young hunter, so the joyful and sublime feeling of the traveler soon grew into desperate grief.

After the tremendous success of The Beautiful Miller's Girl in the winter and autumn of 1827, Schubert worked on another cycle called The Winter Journey. The music, written to the words of Muller, is distinguished by pessimism. Franz himself called his brainchild "a wreath of creepy songs." It is noteworthy that Schubert wrote such gloomy compositions about unrequited love shortly before his own death.

Franz's biography indicates that sometimes he had to live in dilapidated attics, where, with the light of a burning torch, he composed great works on scraps of greasy paper. The composer was extremely poor, but he did not want to exist on the financial assistance of his friends.

“What will happen to me…,” Schubert wrote, “I will probably have to go from door to door and beg for bread in my old age, like Goethe’s harpist.”

But Franz could not even imagine that he would not have old age. When the musician was on the verge of despair, the goddess of fate smiled at him again: in 1828, Schubert was elected a member of the Vienna Society of Friends of Music, and on March 26, the composer gave his first concerto. The performance was triumphant, and the hall was torn from loud applause. On this day, Franz for the first and last time in his life learned what real success is.

Personal life

In life, the great composer was very timid and shy. Therefore, many of the writer's entourage profited from his gullibility. Franz's financial situation became a stumbling block on the path to happiness, because his beloved chose a rich groom.

Schubert's love was called Teresa the Hump. Franz met this special person while in the church choir. It is worth noting that the fair-haired girl was not known as a beauty, but, on the contrary, had an ordinary appearance: her pale face was “adorned” with smallpox marks, and sparse and white eyelashes “flaunted” on her eyelids.

But it was not appearance that attracted Schubert in choosing a lady of the heart. He was flattered that Teresa listened to music with awe and inspiration, and at these moments her face took on a ruddy look, and happiness shone in her eyes.

But, since the girl was brought up without a father, her mother insisted that she choose the latter between love and money. Therefore, Gorb married a wealthy confectioner.

The rest of the information about Schubert's personal life is very scarce. According to rumors, in 1822 the composer was infected with syphilis - at that time an incurable disease. Based on this, it can be assumed that Franz did not disdain visiting brothels.

Death

In the autumn of 1828, Franz Schubert was tormented by a two-week fever caused by an infectious intestinal disease - typhoid fever. On November 19, at the age of 32, the great composer died.

The Austrian (according to his last wish) was buried at the Waering cemetery next to the grave of his idol, Beethoven.

• Franz Schubert bought a grand piano with the proceeds from the triumphant concert in 1828.
• In the autumn of 1822, the composer wrote "Symphony No. 8", which went down in history as the "Unfinished Symphony". The fact is that at first Franz created this work in the form of a sketch, and then in the score. But for some unknown reason, Schubert never finished work on the brainchild. According to rumors, the remaining parts of the manuscript were lost and were kept by friends of the Austrian.

• Some mistakenly attribute to Schubert the authorship of the title of the impromptu play. But the phrase "Musical moment" was coined by the publisher Leidesdorf.
• Schubert adored Goethe. The musician dreamed of getting to know this famous writer better, but his dream was not destined to come true.
• Schubert's great C major symphony was found 10 years after his death.

• An asteroid discovered in 1904 was named after Franz's play Rosamund.
• After the death of the composer, a mass of unpublished manuscripts remained. For a long time people did not know what was composed by Schubert.

Discography

Songs (over 600 in total)

• Cycle "The Beautiful Miller" (1823)
• Cycle "Winter Way" (1827)
• Collection "Swan Song" (1827-1828, posthumous)
• About 70 songs to texts by Goethe
• About 50 songs to texts by Schiller

Symphonies

• First D-dur (1813)
• Second B-dur (1815)
• Third D-dur (1815)
• Fourth c-moll "Tragic" (1816)
• Fifth B major (1816)
• Sixth C-dur (1818)

Quartets (total 22)

• Quartet B-dur op. 168 (1814)
• G minor quartet (1815)
• A minor quartet op. 29 (1824)
• Quartet in d-moll (1824-1826)
• Quartet G-dur op. 161 (1826)

Schubert belongs to the first romantics (the dawn of romanticism). In his music, there is still no such condensed psychologism as that of later romantics. This composer is a lyricist. The basis of his music is inner experiences. It conveys love and many other feelings in music. In the last work, the main theme is loneliness. It covered all genres of the time. He brought in a lot of new things. The lyrical nature of his music predetermined his main genre of creativity - the song. He has over 600 songs. Songwriting has influenced the instrumental genre in two ways:

The use of song themes in instrumental music (the song “Wanderer” became the basis of the piano fantasy, the song “The Girl and Death” became the basis of the quartet).

The penetration of songwriting into other genres.

Schubert is the creator of the lyric-dramatic symphony (unfinished). The theme is song, the presentation is song (unfinished symphony: I-th part - pp, pp. II-th part - pp), the principle of development is the form, like the verse, finished. This is especially noticeable in the symphonies and sonatas. In addition to the lyrical song symphony, he also created an epic symphony (C-dur). He is the creator of a new genre - the vocal ballad. Creator of romantic miniatures (impromptu and musical moments). Created vocal cycles (Beethoven had an approach to this).

Creativity is enormous: 16 operas, 22 piano sonatas, 22 quartets, other ensembles, 9 symphonies, 9 overtures, 8 impromptu, 6 musical moments; music related to everyday music-making - waltzes, langlers, marches, more than 600 songs.

Life path.

Born in 1797 on the outskirts of Vienna - in the city of Lichtental. Father is a school teacher. A large family, all were musicians, played music. Franz's father taught him to play the violin, and his brother taught him the piano. Familiar regent - singing and theory.

1808-1813

Years of study in Konvikt. This is a boarding school that trained court choristers. There, Schubert played the violin, played in the orchestra, sang in the choir, and participated in chamber ensembles. There he learned a lot of music - the symphonies of Haydn, Mozart, Beethoven's 1st and 2nd symphonies. Favorite work - Mozart's 40th symphony. In Konvikt, he became interested in creativity, so he abandoned the rest of the subjects. In Convict, he took lessons from Salieri from 1812, but their views were different. In 1816, their paths parted. In 1813, he left Konvikt because his studies interfered with his creativity. During this period he wrote songs, a fantasy in 4 hands, the 1st symphony, wind works, quartets, operas, piano works.

1813-1817

He wrote the first song masterpieces (“Margarita at the Spinning Wheel”, “Forest King”, “Trout”, “Wanderer”), 4 symphonies, 5 operas, a lot of instrumental and chamber music. After Convict, Schubert, at the insistence of his father, finishes teaching courses and teaches arithmetic and the alphabet at his father's school.

In 1816 he left school and tried to get a position as a music teacher, but failed. The connection with the father was severed. A period of disasters began: he lived in a damp room, etc.

In 1815 he wrote 144 songs, 2 symphonies, 2 masses, 4 operas, 2 piano sonatas, string quartets and other works.

Fell in love with Teresa Coffin. She sang in the Lichtental church in the choir. Her father married her to a baker. Schubert had a lot of friends - poets, writers, artists, etc. His friend Shpaut wrote about Schubert Goethe. Goethe did not answer. He had a very bad temper. He did not like Beethoven. In 1817, Schubert met the famous singer Johann Vogl, who became an admirer of Schubert. In 1819 he made a concert tour of Upper Austria. In 1818 Schubert lived with his friends. For several months he served as a home teacher for Prince Esterhazy. There he wrote a Hungarian Divertimento for piano 4 hands. Among his friends were: Spaun (he wrote memoirs about Schubert), the poet Mayrhofer, the poet Schober (Schubert wrote the opera Alphonse and Estrella based on his text).

Often there were meetings of Schubert's friends - Schubertiades. Vogl often attended these Schubertiades. Thanks to the Schubertiads, his songs began to spread. Sometimes his individual songs were performed at concerts, but operas were never staged, symphonies were never played. Schubert was published very little. The first edition of the songs was published in 1821 at the expense of admirers and friends.

Early 20s.

The dawn of creativity - 22-23. At this time he wrote the cycle “The Beautiful Miller”, a cycle of piano miniatures, musical moments, the fantasy “Wanderer”. The everyday side of Schubert continued to be difficult, but he did not lose hope. In the mid-20s, his circle broke up.

1826-1828

Last years. The hard life is reflected in his music. This music has a dark, heavy character, the style changes. AT

songs appear more declamatory. Less roundness. The harmonic basis (dissonances) becomes more complicated. Songs on poems by Heine. Quartet in D minor. At this time, the C-dur symphony was written. During these years, Schubert once again applied for the post of court bandmaster. In 1828, the recognition of Schubert's talent finally began. His author's concert took place. In November he died. He was buried in the same cemetery as Beethoven.

Songwriting by Schubert

600 songs, late songs collection, latest songs collection. The choice of poets is important. Started with the work of Goethe. Finished with a tragic song on Heine. Wrote "Relshtab" for Schiller.

Genre - vocal ballad: "Forest King", "Grave Fantasy", "To the Murderer's Father", "Agaria's Complaint". The genre of the monologue is “Margarita at the spinning wheel”. Genre of the folk song "Rose" by Goethe. Song-aria - "Ave Maria". The genre of the serenade is “Serenade” (Serenade Relshtab).

In his melodies, he relied on the intonation of an Austrian folk song. The music is clear and sincere.

Relationship between music and text. Schubert conveys the general content of the verse. Melodies are wide, generalized, plastic. Part of the music marks the details of the text, then there is more recitativeness in the performance, which later becomes the basis of Schubert's melodic style.

For the first time in music, the piano part acquired such a meaning: not an accompaniment, but a carrier of a musical image. Expresses an emotional state. There are musical moments. “Margarita at the Spinning Wheel”, “Forest King”, “Beautiful Miller”.

The ballad "The Forest King" by Goethe is built as a dramatic refrain. It pursues several goals: dramatic action, expression of feelings, narration, voice of the author (narration).

Vocal cycle “The Beautiful Miller’s Woman”

1823. 20 songs to verses by W. Müller. Cycle with sonata development. The main theme is love. In the cycle there is a hero (miller), an episodic hero (hunter), the main role (stream). Depending on the state of the hero, the stream murmurs either joyfully, lively, or violently, expressing the pain of the miller. On behalf of the stream sounds the 1st and 20th song. This joins the loop. The last songs reflect peace, enlightenment in death. The overall mood of the cycle is still bright. The intonation system is close to everyday Austrian songs. It is wide in intonation of chants and in the sounds of chords. In the vocal cycle there is a lot of song, chant and little recitation. The melodies are wide, generalized. Basically, the forms of songs are couplet or simple 2 and 3 partial.

1st song - "Let's hit the road". B-dur, cheerful. This song is on behalf of the stream. He is always portrayed in the piano part. Accurate couplet form. The music is close to folk everyday Austrian songs.

2nd song - "Where". The miller sings, G-dur. The piano has a gentle murmur of a stream. The intonations are wide, singsong, close to Austrian melodies.

6th song - Curiosity. This song has a quieter, more subtle lyrics. More detailed. H-dur. The form is more complex - a non-reprise 2-part form.

Part 1 - "Neither stars nor flowers."

Part 2 is bigger than part 1. A simple 3-part form. Appeal to the stream - 1st section of the 2nd part. The murmur of the stream reappears. Here comes the major-minor. This is characteristic of Schubert. In the middle of the 2nd part, the melody becomes recitative. An unexpected turn in G-dur. In the reprise of the 2nd section, the major-minor appears again.

Song form outline

A-C

CBC

11 song - "My". There is a gradual increase in a lyrical joyful feeling in it. It is close to Austrian folk songs.

12-14 songs express the fullness of happiness. A turning point in development occurs in song No. 14 (Hunter) - c-moll. Folding reminds of hunting music (6/8, parallel sixth chords). Further (in the following songs) there is an increase in sadness. This is reflected in the piano part.

15 song “Jealousy and Pride.” Reflects despair, confusion (g-moll). 3-part form. The vocal part becomes more declamatory.

16 song - "Favorite color". h-moll. This is the mournful climax of the whole cycle. There is stiffness in the music (astinate rhythm), constant repetition of fa#, sharp delays. The juxtaposition of h-moll and H-dur is characteristic. Words: "In the green coolness ...". In the text for the first time in the cycle, the memory of death. Further, it will permeate the entire cycle. Cuplet form.

Gradually, towards the end of the cycle, a sad enlightenment occurs.

19 song - "The miller and the stream." g-moll. 3-part form. It is like a conversation between a miller and a stream. Middle in G-dur. The murmur of the brook at the piano appears again. Reprise - again the miller sings, again g-moll, but the murmur of the stream remains. At the end, enlightenment is G-dur.

20 song - "Lullaby of the brook." The stream calms the miller at the bottom of the stream. E-dur. This is one of Schubert's favorite keys ("Linden's Song" in "The Winter Journey", 2nd movement of the unfinished symphony). Cuplet form. Words: “Sleep, sleep” from the face of the stream.

Vocal cycle “Winter Way”

Written in 1827. 24 songs. Just like “The Beautiful Miller's Woman”, to the words of V. Muller. Despite 4 years of difference, they are strikingly different from each other. The 1st cycle is light in music, but this one is tragic, reflecting the despair that seized Schubert.

The theme is similar to the 1st cycle (also the theme of love). The action in the 1st song is much less. The hero leaves the city where his girlfriend lives. His parents leave him and he (in winter) leaves the city. The rest of the songs are lyrical confession. Minor predominance. Tragic songs. The style is completely different. If we compare the vocal parts, then the melodies of the 1st cycle are more generalized, reveal the general content of the poems, are broad, close to the Austrian folk songs, and in the “Winter Way” the vocal part is more declamatory, there is no song, much less close to folk songs, it becomes more individualized.

The piano part is complicated by sharp dissonances, transitions to distant keys, and enharmonic modulations.

Forms are also getting more complex. Forms are saturated with cross-cutting development. For example, if the couplet form, then the couplet varies, if it is 3-part, then the reprises are greatly changed, dynamized (“By the brook”).

There are few major songs, and even minor penetrates into them. These bright islands: "Linden", "Spring Dream" (the culmination of the cycle, No. 11) - romantic content and harsh reality are concentrated here. Section 3 - laugh at yourself and your feelings.

1 song – “Sleep well” in d-moll. Measured rhythm of July. “I came in a strange way, I will leave a stranger.” The song begins with a high climax. Couplet-variation. These couplets are varied. 2nd verse - d-moll - "I mustn't hesitate to share." Verse 3-1 - "You shouldn't wait here anymore." 4th verse - D-dur - "Why disturb peace." Major, as the memory of the beloved. Already inside the verse, the minor returns. End in minor.

3rd song – “Frozen Tears” (f-moll). Oppressive, heavy mood - "Tears flow from the eyes and freeze on the cheeks." In the melody, an increase in recitativeness is very noticeable - “Oh, these tears.” Tonal deviations, complicated harmonic warehouse. 2-part form of end-to-end development. There is no reprise as such.

4th song – “Stupor”, c-moll. A very well developed song. Dramatic, desperate character. "I'm looking for her traces." Complicated 3-part form. The last parts consist of 2 topics. 2nd theme in g-moll. “I want to fall to the ground.” Interrupted cadences prolong development. Middle part. Enlightened As-dur. “Oh, where were the flowers?” Reprise - 1st and 2nd theme.

5th song - "Linden". E-dur. E-moll penetrates the song. Couplet-variation form. The piano part depicts the rustling of leaves. Verse 1 - "At the entrance to the city of linden." Calm, peaceful melody. There are very important piano moments in this song. They are pictorial and expressive. The 2nd verse is already in e-moll. "And hastening on a long way." A new theme appears in the piano part, the theme of wanderings with triplets. Major appears in the 2nd half of the 2nd verse. "Here the branches rustled." The piano fragment draws gusts of wind. Against this background, a dramatic recitative sounds between the 2nd and 3rd verses. "Wall, cold wind." 3rd couplet. “Now I am already wandering far in a foreign country.” The features of the 1st and 2nd verse are combined. In the piano part, the theme of wanderings from the 2nd verse.

7th song - "By the brook." An example of a through dramatic development of form. It is based on a 3-part form with strong dynamization. E-moll. The music is stagnant and sad. "O my turbulent stream." The composer strictly follows the text, there are modulations in cis-moll on the word “now”. Middle part. “I am a sharp stone on ice.” E-dur (talking about the beloved). There is a rhythmic revival. Pulse acceleration. Triplets appear in sixteenths. “I will leave the happiness of the first meeting here on the ice.” The reprise has been greatly changed. Strongly expanded - in 2 hands. The theme goes into the piano part. And in the vocal part, the recitative “I recognize myself in a stream that has frozen itself.” Rhythmic changes appear further. 32 durations appear. Dramatic climax towards the end of the play. Many deviations - e-moll, G-dur, dis-moll, gis-moll - fis-moll – g-moll.

11 song - "Spring dream". Meaningful climax. A-dur. Light. It has 3 areas:

memories, dream

sudden awakening

mocking your dreams.

1st section. Waltz. Words: "I dreamed of a merry meadow."

2nd section. Sharp contrast (e-moll). Words: "Cock crowed suddenly." The rooster and raven are a symbol of death. This song has a rooster, and song #15 has a raven. The juxtaposition of keys is characteristic - e-moll - d-moll - g-moll - a-moll. Harmony of the second low level sounds sharply on the tonic organ point. Sharp intonations (there are nones).

3rd section. Words: “But who decorated all my windows with flowers there.” A minor dominant appears.

Cuplet form. 2 verses, each consisting of these 3 contrasting sections.

14 song - "Gray hair". tragic character. C-moll. A wave of hidden drama. dissonant harmonies. There is a similarity with the 1st song (“Sleep in peace”), but in a distorted, aggravated version. Words: "Hoarfrost adorned my forehead ...".

15 song - "Crow". C-moll. Tragic enlightenment from-

for triplets figurations. Words: "The black raven set off on a long journey for me." 3-part form. Middle part. Words: "Raven, strange black friend." Declamatory melody. Reprise. It is followed by a piano conclusion in a low register.

20 song - "Waypost". The step rhythm appears. Words: “Why did it become difficult for me to walk along the big roads?”. Distant modulations - g-moll - b-moll - f-moll. Couplet-variation form. Comparison of major and minor. 2nd verse - G-dur. 3rd verse - g-moll. Important code. The song conveys stiffness, numbness, the breath of death. This is manifested in the vocal part (constant repetition of one sound). Words: "I see a pillar - one of many ...". Distant modulations - g-moll - b-moll - cis-moll - g-moll.

24 song - "The organ grinder." Very simple and deeply tragic. A-moll. The hero meets an unfortunate organ grinder and invites him to endure grief together. The entire song is on a fifth tonic organ point. Quints depict a hurdy-gurdy. Words: “Here stands an organ grinder sadly outside the village.” Constant repetition of phrases. Cuplet form. 2 couplets. There is a dramatic climax at the end. Dramatic recitative. It ends with the question: “Do you want us to endure grief together, do you want us to sing together under the hurdy-gurdy?” There are diminished seventh chords on the tonic organ point.

Symphonic creativity

Schubert wrote 9 symphonies. During his lifetime, none of them was performed. He is the founder of the lyric-romantic symphony (unfinished symphony) and the lyrical-epic symphony (No. 9 - C-dur).

Unfinished symphony

Written in 1822 in h-moll. Written at the time of creative dawn. Lyric-dramatic. For the first time, a personal lyrical theme became the basis in a symphony. Song pervades it. It pervades the entire symphony. It manifests itself in the character and presentation of topics - melody and accompaniment (as in a song), in form - a complete form (as a verse), in development - it is variational, the proximity of the sound of the melody to the voice. The symphony has 2 parts - h-moll and E-dur. Schubert began to write the 3rd movement, but gave up. It is characteristic that before that he had already written 2 piano 2-part sonatas - Fis-dur and e-moll. In the era of romanticism, as a result of free lyrical expression, the structure of the symphony changes (a different number of parts). Liszt has a tendency to compress the symphonic cycle (Faust symphony in 3 parts, Dont's symphony in 2 parts). Liszt created a one-movement symphonic poem. Berlioz has an extension of the symphonic cycle (Fantastic symphony - 5 parts, symphony "Romeo and Juliet" - 7 parts). This happens under the influence of software.

Romantic traits are manifested not only in song and 2-particular, but also in tonal relationships. This is not a classic ratio. Schubert takes care of the colorful tonal ratio (G.P. - h-moll, P.P. - G-dur, and in P.P.'s reprise - in D-dur). The tertian ratio of tonalities is characteristic of the romantics. In the II part of G.P. – E-dur, P.P. - cis-moll, and in the reprise P.P. - a-moll. Here, too, there is a tertian correlation of tonalities. The variation of themes is also a romantic feature - not the fragmentation of themes into motives, but the variation of the whole theme. The symphony ends in E-dur, while the symphony itself ends in h-moll (this is also typical for romantics).

I part – h-moll. The opening theme is like a romantic question. She is in lower case.

G.P. – h-moll. Typical song with melody and accompaniment. Clarinet and oboe soloist, and strings accompany. The form, like that of the couplet, is finished.

P.P. - no contrast. She is also a songwriter, but she is also a dancer. The theme takes place at the cello. Dotted rhythm, syncopation. Rhythm is, as it were, a link between the parts (because it is also in P.P. in the second part). A dramatic change occurs in the middle of it, it is sharp in autumn (transition to c-moll). At this turning point, the G.P. theme intrudes. This is a classic trait.

Z.P. – built on the theme of P.P. G-dur. Canonical holding of the theme in different instruments.

The exposition is repeated - like the classics.

Development. On the verge of exposition and development, the theme of the introduction arises. Here it is in e-mall. The theme of the introduction (but dramatized) and the syncopated rhythm from the accompaniment of P.P. participate in the development. The role of polyphonic techniques is huge here. 2 sections are under development:

1st section. The theme of the introduction to e-moll. The ending has been changed. The theme comes to a climax. Enharmonic modulation from h-moll to cis-moll. Next comes the syncopated rhythm from P.P. Tonal plan: cis-moll - d-moll - e-moll.

2nd section. This is a modified intro theme. Sounds ominous, commanding. E-moll, then h-moll. The theme is first with the copper ones, and then it passes as a canon in all voices. A dramatic culmination built on the theme of the introduction by the canon and on the syncopated rhythm of P.P.. Next to it is the major culmination - D-dur. Before the reprise, there is a roll call of the woodwinds.

Reprise. G.P. – h-moll. P.P. - D-dur. In P.P. again there is a change in development. Z.P. – H-dur. Calls between different instruments. The canonical performance of P.P. On the verge of a reprise and coda, the theme of the introduction sounds in the same key as at the beginning - in h-moll. All code is based on it. The topic sounds canonical and very mournful.

II part. E-dur. Sonata form without development. There is landscape poetry here. In general, it is light, but there are flashes of drama in it.

G.P.. Song. The theme is for violins, and for basses - pizzicato (for double basses). Colorful harmonic combinations - E-dur - e-moll - C-dur - G-dur. The theme has lullaby intonations. 3-part form. She (the form) is finished. The middle is dramatic. Reprise G.P. abbreviated.

P.P.. The lyrics here are more personal. The theme is also song. In it, just like in P.P. Part II, syncopated accompaniment. He connects these themes. Solo is also a romantic trait. Here the solo is first at the clarinet, then at the oboe. The tonalities are chosen very colorfully - cis-moll - fis-moll - D-dur - F-dur - d-moll - Cis-dur. 3-part form. Variation middle. There is a reprise.

Reprise. E-dur. G.P. - 3 private. P.P. - a-moll.

Code. Here all the themes seem to dissolve one by one. Elements of G.P.

Franz Schubert entered the history of music as the first of the great Romantic composers. In that “epoch of disappointment” that followed the French Revolution, it seemed so natural to pay attention to an individual person with his passions, sorrows and joys - and this “song of the human soul” received a brilliant embodiment in the works of Schubert, which remained “song” even in large forms. .

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

In Konvikt, Schubert created his first works, including. It was dedicated to the director Konvikt, but the young composer did not feel much sympathy for either this person or the educational institution he headed: Schubert was burdened by the strictest discipline, mind-draining cramming, and far from the best relations with mentors - giving all his strength to music, he did not paid special attention to other academic disciplines. Schubert was not expelled for academic failure just because he left Konvikt on time without permission.

Even at the time of teaching, Schubert had conflicts with his father: dissatisfied with the success of his son, Schubert Sr. forbade him to be at home on weekends (an exception was made only on the day of his mother's funeral). An even more serious conflict arose when the question of choosing a life path arose: for all his interest in music, Schubert's father did not consider the profession of a musician to be a worthy occupation. He wanted his son to choose a more respected profession of a teacher, guaranteeing a salary, at least a small but reliable one, and besides, he would exempt him from military service. The young man had to obey. He worked at school for four years, but this did not prevent him from creating a lot of music - operas, symphonies, masses, sonatas, many songs. But if Schubert's operas are now forgotten, and the influence of Viennese classicism is quite strong in the instrumental works of those years, then in the songs the individual features of the composer's creative image 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 Coffin was forced to submit to her mother, who did not want to see her son-in-law as a teacher with a penny salary. With tears in her eyes, the girl went down the aisle with another and lived a long, prosperous life as the wife of a wealthy burgher. How happy she was, one can only guess, but Schubert never found personal happiness in marriage.

Boring school duties, distracting from the creation of music, increasingly burdened Schubert, and in 1817 he left school. After that, the father did not want to hear about his son. In Vienna, the composer lives now with one friend, then with another - these artists, poets and musicians were not much richer than himself. Schubert often did not even have money 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 in the musical world of 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 found a lively understanding among friends. At friendly meetings, the soul of which was Schubert (they were even called “Schubertiades”), discussions were held about art, politics and philosophy, but dancing was an integral part of such evenings. Schubert improvised music for dances, and he recorded the most successful finds - this is how Schubert waltzes, landlers and ecossaises were born. One of the participants in the Schubertiades, Michael Vogl, often performed Schubert's songs on the concert stage, becoming a promoter of his work.

The 1820s became the time of creative flourishing for the composer. Then he created the last two symphonies - and, sonatas, chamber ensembles, as well as musical moments and impromptu. 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 refers to the work 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 great joy to Schubert. Unfortunately, the first concert turned out to be the last one that took place during his lifetime: in the same year, the composer died of an illness. Schubert's tombstone is inscribed with the words: "Music has buried rich treasures here, but even finer hopes."

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