Trusting, frank, incapable of betrayal, sociable, talkative in a joyful mood - who knew him differently?
From the memories of friends

F. Schubert is the first great romantic composer. Poetic love and pure joy of life, despair and coldness of loneliness, longing for an ideal, thirst for wandering and the hopelessness of wandering - all this found an echo in the composer’s work, in his naturally and effortlessly flowing melodies. The emotional openness of the romantic worldview and the spontaneity of expression raised the song genre to unprecedented heights: this previously minor genre became the basis for Schubert art world. In a song melody, the composer could express a whole range of feelings. His inexhaustible melodic gift allowed him to compose several songs a day (more than 600 in total). Song melodies also penetrate into instrumental music, for example, the song “Wanderer” served as material for the piano fantasy of the same name, and “Trout” - for a quintet, etc.

Schubert was born into a family school teacher. The boy showed extraordinary musical abilities and he was sent to study in the convict (1808-13). There he sang in the choir, studied music theory under the direction of A. Salieri, played in the student orchestra and conducted it.

In Schubert's family (as in the German burghers in general) music was loved, but tolerated only as a hobby; the profession of a musician was considered insufficiently honorable. The aspiring composer had to follow in his father's footsteps. For several years (1814-18) school work distracted Schubert from creativity, and yet he composes extremely a lot. If in instrumental music The dependence on style is still visible Viennese classics(mainly W.A. Mozart), then in the song genre the composer, already at the age of 17, creates works that fully reveal his individuality. The poetry of J. V. Goethe inspired Schubert to create such masterpieces as “Gretchen at the Spinning Wheel”, “The Forest King”, songs from “Wilhelm Meister”, etc. Schubert also wrote many songs based on the words of another classic German literature- F. Schiller.

Wanting to devote himself entirely to music, Schubert left his job at school (this led to a break in relations with his father) and moved to Vienna (1818). Such intermittent sources of livelihood remain as private lessons and the publication of essays. Not being a virtuoso pianist, Schubert could not easily (like F. Chopin or F. Liszt) gain a name for himself in musical world and thus promote the popularity of their music. This was not helped by the composer’s character, his complete immersion in composing music, his modesty and at the same time the highest creative integrity, which did not allow him to make any compromises. But he found understanding and support among his friends. A circle of creative youth is grouped around Schubert, each of whose members must certainly have some kind of artistic talent (What can he do? - this was the question that greeted every newcomer). Participants in the “Schubertiads” became the first listeners, and often co-authors (I. Mayrhofer, I. Zenn, F. Grillparzer) of the brilliant songs of the head of their circle. Conversations and heated debates about art, philosophy, and politics alternated with dances, for which Schubert wrote a lot of music, and often simply improvised it. Minuets, ecausses, polonaises, landlers, polkas, gallops - this is the range of dance genres, but waltzes rise above everything - no longer just dances, but rather lyrical miniatures. Psychologizing dance, turning it into a poetic picture of mood, Schubert anticipates the waltzes of F. Chopin, M. Glinka, P. Tchaikovsky, S. Prokofiev. Circle member, famous singer M. Vogl promoted Schubert's songs on the concert stage and, together with the author, toured the cities of Austria.

Schubert's genius grew out of the long-standing musical traditions of Vienna. The classical school (Haydn, Mozart, Beethoven), multinational folklore, in which the influences of the Hungarians, Slavs, Italians were superimposed on the Austro-German basis, and finally, the special passion of the Viennese for dance and home music-making - all this determined the appearance of Schubert’s work.

The heyday of Schubert's work - the 20s. At this time the best are created instrumental works: lyrical-dramatic “Unfinished” symphony (1822) and epic, life-affirming C major (last, Ninth). Both symphonies were unknown for a long time: the C major one was discovered by R. Schumann in 1838, and the “Unfinished” was found only in 1865. Both symphonies influenced the composers of the second half of the 19th century c., defining different paths of romantic symphonism. Schubert never heard any of his symphonies performed professionally.

There were many difficulties and failures with opera productions. Despite this, Schubert constantly wrote for the theater (about 20 works in total) - operas, singspiels, music for the play “Rosamund” by V. Cesi. He also creates spiritual works (including 2 masses). Schubert wrote music of remarkable depth and impact in chamber genres (22 piano sonatas, 22 quartets, about 40 other ensembles). His impromptu songs (8) and musical moments (6) marked the beginning of the Romantic piano miniature. New things arise in song creativity. 2 vocal cycles based on poems by W. Müller - 2 stages life path person.

The first of them is “The Beautiful Miller's Wife” (1823) - a kind of “novel in songs”, covered by a single plot. A young man, full of strength and hope, sets off to find happiness. Spring nature, a cheerfully babbling brook - everything creates a cheerful mood. Confidence soon gives way to a romantic question, the languor of the unknown: Where? But then the stream leads the young man to the mill. Love for the miller's daughter, her happy moments are replaced by anxiety, torment of jealousy and the bitterness of betrayal. In the gently murmuring, soothing streams of the stream, the hero finds peace and consolation.

The second cycle - “Winter Retreat” (1827) - a series of mournful memories of a lonely wanderer about unrequited love, tragic thoughts, only occasionally interspersed with bright dreams. In the last song, "Organ Grinder", an image is created traveling musician, forever and monotonously turning his barrel organ and finding neither feedback nor outcome anywhere. This is the personification of the path of Schubert himself, already seriously ill, exhausted by constant poverty, backbreaking work and indifference to his creativity. The composer himself called the songs of “Winter Retreat” “terrible.”

Crown vocal creativity- “Swan Song” - a collection of songs based on the words of various poets, including G. Heine, who turned out to be close to the “late” Schubert, who felt the “split of the world” more acutely and painfully. At the same time, Schubert never, even in the last years of his life, isolated himself in mournful tragic moods (“pain sharpens thought and tempers feelings,” he wrote in his diary). The figurative and emotional range of Schubert's lyrics is truly limitless - it responds to everything that worries any person, while the sharpness of the contrasts in it is constantly increasing (the tragic monologue “Double” and next to it is the famous “Serenade”). Schubert finds more and more creative impulses in the music of Beethoven, who, in turn, became acquainted with some of the works of his younger contemporary and appreciated them very highly. But modesty and shyness did not allow Schubert to personally meet his idol (one day he turned back at the very door of Beethoven’s house).

The success of the author's first (and only) concert, organized a few months before his death, finally attracted the attention of the musical community. His music, especially songs, begins to quickly spread throughout Europe, finding the shortest path to the hearts of listeners. She has a huge influence on the romantic composers of subsequent generations. Without the discoveries made by Schubert, it is impossible to imagine Schumann, Brahms, Tchaikovsky, Rachmaninov, Mahler. He filled the music with the warmth and spontaneity of song lyrics, revealed the inexhaustible peace of mind person.

K. Zenkin

Schubert's creative life is estimated at only seventeen years. Nevertheless, it is even more difficult to list everything he wrote than to list the works of Mozart. creative path which was longer. Just like Mozart, Schubert did not bypass any area musical art. Some of his legacy (mainly operatic and spiritual works) was pushed aside by time itself. But in a song or symphony, in a piano miniature or chamber ensemble found expression best sides Schubert's genius, the wonderful spontaneity and ardor of the romantic imagination, lyrical warmth and quest thinking man XIX century.

In these areas of musical creativity, Schubert's innovation manifested itself with the greatest courage and scope. He is the founder of the lyrical instrumental miniature, the romantic symphony - lyrical-dramatic and epic. Schubert is completely unfaithful figurative content V large forms chamber music: in piano sonatas, string quartets. Finally, the true brainchild of Schubert is the song, the creation of which is simply inseparable from his very name.

Schubert's music was formed on Viennese soil, fertilized by the genius of Haydn, Mozart, Gluck, and Beethoven. But Vienna is not only a classic, represented by its luminaries, but also rich life everyday music. The musical culture of the capital of a multinational empire has long been significantly influenced by its diverse and multilingual population. The crossing and interpenetration of Austrian, Hungarian, German, and Slavic folklore with the constant influx of Italian melodies over the centuries led to the formation of a specifically Viennese musical flavor. Lyrical simplicity and lightness, clarity and grace, cheerful temperament and lively dynamics street life, good-natured humor and ease dance movement left a characteristic imprint on the everyday music of Vienna.

Austrian democracy folk music, the music of Vienna is inspired by the work of Haydn and Mozart; Beethoven was also influenced by it; according to Schubert, he is a child of this culture. For his commitment to her, he even had to listen to reproaches from friends. Schubert's melodies “sometimes sound too domestic, too in Austrian, writes Bauernfeld, “remind folk songs, the somewhat base tone and ugly rhythm of which do not have sufficient grounds to penetrate into poetic song.” To this kind of criticism, Schubert replied: “What do you understand? This is how it is and how it should be!” And indeed, Schubert speaks in the language of genre-everyday music, thinks in its images; works grow from them tall shapes art of the most varied nature. In a broad generalization of the song lyrical intonations that matured in the musical everyday life of the burghers, in the democratic environment of the city and its suburbs - the nationality of Schubert's creativity. The lyrical and dramatic “Unfinished” symphony unfolds on a song and dance basis. Translation genre material can be felt both in the epic canvas of the “Big” symphony in C major and in the intimate lyrical miniature or instrumental ensemble.

The element of songfulness permeated all areas of his work. The song melody forms the thematic basis of Schubert's instrumental works. For example, in the piano fantasy on the theme of the song “Wanderer”, in the piano quintet “Trout”, where the melody of the song of the same name serves as the theme for variations of the finale, in the d-minor quartet, where the song “Death and the Maiden” is introduced. But also in other works not related to the themes of certain songs - in sonatas, in symphonies - the song thematic structure determines the features of the structure, methods of developing the material.

It is natural, therefore, that although the beginning of Schubert’s career as a composer was marked by an extraordinary scope of creative ideas that encouraged him to try in all areas of musical art, first of all he found himself in song. It was in it, ahead of everything else, that the edges of his lyrical talent shone with a wonderful play.

“Among the music not for the theater, not for church, not for concerts, there is a particularly wonderful department - romances and songs for one voice with piano. From the simple, verse form of the song, this genre has developed to whole small single scenes-monologues, allowing for all the passion and depth of spiritual drama.

This type of music was magnificently manifested in Germany, in the genius of Franz Schubert,” wrote A. N. Serov.

Schubert - “the nightingale and the swan of song” (B.V. Asafiev). The song contains his entire creative essence. It is Schubert's song that is a kind of boundary separating the music of romanticism from the music of classicism. Coming from early XIX century, the era of song, romance is a pan-European phenomenon that “can be called by name greatest master urban democratic song-romance of Schubert - Schubertianism" (B.V. Asafiev). The place of the song in Schubert's work is equivalent to the position of the fugue in Bach or the sonata in Beethoven. According to B.V. Asafiev, Schubert accomplished in the field of song what Beethoven did in the field of symphony. Beethoven summarized the heroic ideas of his era; Schubert was a singer of “simple natural thoughts and deep humanity.” Through the world of lyrical feelings reflected in the song, he expresses his attitude towards life, people, and the surrounding reality.

Lyricism is the very essence of Schubert's creative nature. Range lyrical themes in his work is exceptionally broad. The theme of love with all the richness of its poetic shades, sometimes joyful, sometimes sorrowful, is intertwined with the theme of wandering, pilgrimage, loneliness, and the theme of nature, which permeates all romantic art. Nature in Schubert’s work is not just a background against which a certain narrative unfolds or some events take place: it is “humanized”, and the radiation of human emotions, depending on their nature, colors the images of nature, gives them a particular mood and corresponding flavor.

Franz Schubert short biography outlined in this article.

Franz Schubert short biography

Franz Peter Schubert - Austrian composer, one of the founders of romanticism in music, author of about 600 vocal compositions, nine symphonies, as well as large quantity chamber and solo piano music.

Schubert is born January 31, 1797 in the suburbs of Vienna in a large family. Since childhood he was fond of music: he played the violin and piano. From the age of six he studied at the parish school of Lichtenthal. From the age of seven he took organ lessons from the bandmaster of the Lichtental church.

In 1808-1812, Franz sang in the Imperial Court Chapel under the guidance of the outstanding Viennese composer and teacher Antonio Salieri, who, drawing attention to the boy’s talent, began to teach him the basics of composition. By the age of seventeen, Schubert was already the author of piano pieces, vocal miniatures, string quartets, a symphony and the opera The Devil's Castle.

While working as a teacher's assistant at his father's school (1814-18), Schubert continued to compose intensively.

The composer Schubert experienced his first popularity in 1816 after writing the ballad “The Forest King”. Schubert's further work further revealed his melodic talent. Songs and symphonies by Schubert from the collections “The Beautiful Miller's Wife” and “Winter Reise” were especially noted.

Schubert's "Serenade" from the collection "Swan Song", as well as the songs "Shelter" and "By the Sea" were found world fame. Some works, for example, Schubert's unfinished symphony (in B minor), the great symphony and others, are a continuation of Beethoven's music.

The great composer wrote about 600 compositions. Schubert's waltzes make up a large proportion of the 400 dances written for piano playing in 4 hands. Despite this, Franz Schubert experienced a lack of funds almost all his life.

In 1823 he was elected an honorary member of the Styrian and Linz musical unions.

In the 1820s, Schubert began to have health problems. In December 1822 he fell ill, but after a stay in hospital in the autumn of 1823 his health improved.

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

his music has color and brilliance, achieved through orchestration, enrichment of harmony with secondary triads, bringing together the major and minor keys of the same name, the widespread use of deviations and modulations, and the use of variational development. During Schubert's lifetime, it was mainly his songs that became famous. Many major instrumental works were performed only decades after his death (“The Great” Symphony was performed in 1839, under the baton of F. Mendelssohn; “The Unfinished Symphony” - in 1865). Essays: - Operas Alfonso and Estrella (1822; staged 1854, Weimar), Fierabras (1823; staged 1897, Karlsruhe), 3 unfinished, including Count von Gleichen, etc.; (7), Singspiel including Claudina von Villa Bella (on a text by Goethe, 1815, the first of 3 acts has been preserved; production 1978, Vienna), The Twin Brothers (1820, Vienna), Conspirators, or Home War (1823; production 1861, Frankfurt on Main); music To - plays The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.); For, soloists choir And - orchestra 7 masses (1814–28), German Requiem (1818), Magnificat (1815), offertories and other wind works, oratorios, cantatas, incl. Victory song The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.); And - Miriam (1828); symphonies (1813; 1815; 1815; Tragic, 1816; 1816; Small C-dur, 1818; 1821, unfinished; Unfinished, 1822; Large C-dur, 1828), 8 overtures;-intimate instrumental - 4 sonatas (1816–17), fantasia (1827) for violin and piano; sonata for arpeggione and piano (1824), 2 piano trios (1827, 1828?), 2 string trios (1816, 1817), 14 or 16 string quartets (1811–26), Trout piano quintet (1819?), string quintet ( 1828), octet for strings and winds (1824), etc.; The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.); piano V 2 hands - 23 sonatas (including 6 unfinished; 1815–28), fantasy (Wanderer, 1822, etc.), 11 impromptu (1827–28), 6 musical moments (1823–28), rondo, variations and other pieces , over 400 dances (waltzes, landlers, German dances, minuets, ecosaises, gallops, etc.; 1812–27); The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.); piano V 4 hands - sonatas, overtures, fantasies, Hungarian divertissement (1824), rondos, variations, polonaises, marches, etc.; vocal instrumental for male, female voices and mixed compositions accompanied and unaccompanied; songs The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.); vote With piano, including the cycles The Beautiful Miller's Wife (1823) and Winter's Journey (1827), the collection Swan Song (1828).

Which is known to all figures of musical art, was born on January 31, 1797 in the suburbs of the Austrian capital Vienna. He was the fourth son of a schoolteacher and cellist. All the teachers of the future musician noted his talent and diligence, with which he easily mastered knowledge in the field of music.

Education

Success and excellent mastery of his voice helped Schubert enter the Imperial Chapel, and then one of best schools Vienna - Konvikt. At the age of thirteen, he began to write his first compositions: songs, piano pieces, symphonies and operas. In 1812, Franz met the famous Salieri, who became interested in the talented young man. For five years they collaborated on creating compositions.

The composer Franz Schubert was formed precisely during his studies with Salieri - from 1812 to 1817. In 1813, he became a student at the teachers' seminary, and a year later he became a teacher at the school where his father once worked. It was then that he composed one of his first masses and set Goethe's poems to music.

Creation

In 1815-1816, Franz Schubert, whose biography is today studied in schools during music lessons, was quite productive. During this period he composed more than 250 songs, four symphonies, three masses and several operettas and string quartets. It was then that songs were created that spread throughout the world - “Forest King” and “Wanderer”.

But despite all this, Franz Schubert, whose works are today considered classics of world music, was as poor as a church rat. With the help of his friend J. von Spaun, the composer met the poet F. von Schober, who, in turn, was able to organize a meeting between Schubert and the then popular baritone M. Vogl.

Franz continued to work at the school, but in the summer of 1818 he decided to leave his service and went to the estate of Count Esterhazy, where he worked as a music teacher for several months. In 1819, Schubert completed the famous Sixth Symphony, and then composed several variations on a French song, which he dedicated to Beethoven.

Returning to Vienna, Franz Schubert, whose biography turned out to be too short, created the opera “The Twin Brothers” upon request. It was first staged in the summer of 1820 at the Kärtnertortheater. Schubert spent the summer of 1819 together with the baritone Vogl, and it was then that he managed to compose “Trout” (A major) - a popular quintet for piano.

The following years turned out to be quite difficult for the composer, since he was not equipped to seek the patronage of influential officials and figures in the art world. In 1823, he was quite seriously ill and was in a state of despondency. Nobody wanted to stage his operas, but Franz pulled himself together and wrote vocal cycle called "The Beautiful Miller's Wife".

In 1825, Franz Schubert, whose biography is familiar to many classical music lovers, managed to restore his health. His new opuses for piano were born. Until 1828, the composer worked hard to create his

At the beginning of 1828, Schubert's health began to fail. Apparently, the composer had a presentiment of his imminent death, so he tried to write at a feverish pace. It was in 1828 that he created great amount masterpieces that gained popularity after the death of the author. Franz Schubert died on November 19, 1828 from typhus.

Franz Peter Schubert (1797-1828) – Austrian composer. For such short life he managed to compose 9 symphonies, a lot of chamber and solo music for piano, and about 600 vocal compositions. He is rightfully considered one of the founders of romanticism in music. His works still, two centuries later, remain among the main ones in classical music.

Childhood

His father, Franz Theodor Schubert, was an amateur musician, worked as a teacher at the Lichtenthal parish school, and had peasant origins. He was a very hardworking and respectable person, his ideas about the path in life were associated only with work, and Theodore raised his children in this spirit.

The musician's mother is Elisabeth Schubert ( maiden name Fitz). Her father was a mechanic from Silesia.

In total, fourteen children were born into the family, but the spouses buried nine of them back in early age. Franz's brother, Ferdinand Schubert, also connected his life with music.

The Schubert family loved music very much; they often hosted musical evenings, and on holidays a whole circle of amateur musicians gathered. Dad played the cello, his sons were also taught to play different musical instruments.

Franz's talent for music was discovered at an early age. childhood. His father began to teach him to play the violin, and his older brother taught the baby to play the piano and clavier. And very soon little Franz became a permanent member of the family string quartet, he performed the viola part.

Education

At the age of six, the boy went to parish school. Here not only his amazing ear for music, but also an amazing voice. The child was taken to sing in church choir, where he performed rather complex solo parts. Church Regent, who often attended musical parties with the Schubert family, taught Franz singing, music theory and playing the organ. Soon everyone around realized that Franz was gifted child. Dad was especially happy about his son’s achievements.

At the age of eleven, the boy was sent to a boarding school, where singers were trained for the church, which at that time was called konvikt. Even the atmosphere at school was conducive to musical talents Franz developed.

There was a student orchestra at the school, he was immediately assigned to the first violin group, and occasionally Franz was even trusted to conduct. The repertoire in the orchestra was distinguished by its diversity, the child learned in it different genres musical works: overtures and works for vocals, quartets and symphonies. He told his friends that Mozart's Symphony in G minor made the greatest impression on him. And Beethoven's works were for a child the highest example musical works.

During this period, Franz began to compose himself, he did it with great passion, which even put music to the detriment of others school subjects. Latin and mathematics were especially difficult for him. Father was alarmed by Franz’s excessive passion for music; he began to worry, knowing the path of the world famous musicians, he wanted to protect his child from such a fate. He even came up with a punishment - a ban on coming home for the weekend and holidays. But the development of the young composer’s talent was not affected by any prohibitions.

And then, as they say, everything happened by itself: in 1813, the teenager’s voice broke and he had to leave the church choir. Franz came home to his parents, where he began studying at a teachers' seminary.

Mature years

After graduating from the seminary in 1814, the guy got a job at the same parish school where his father worked. During three years Franz worked as a teacher's assistant, teaching subjects to children primary school and literacy. Only this did not weaken the love for music; the desire to create was ever stronger. And it was at this time, from 1814 to 1817 (as he himself called it, during the period of school hard labor), he created a huge number musical compositions.

In 1815 alone, Franz composed:

• 2 sonatas for piano and string Quartet;
• 2 symphonies and 2 masses;
• 144 songs and 4 operas.

He wanted to establish himself as a composer. But in 1816, when applying for the position of bandmaster in Laibach, he was rejected.

Music

Franz was 13 years old when he wrote his first piece of music. And by the age of 16, he had several written songs and piano pieces, a symphony and an opera. Even the court composer, the famous Salieri, noticed such outstanding abilities of Schubert; he studied with Franz for almost a year.

In 1814, Schubert created his first significant works in music:

• Mass in F major;
• Opera "Satan's Pleasure Castle"

In 1816, a significant acquaintance took place in Franz’s life with famous baritone Vogl Johann Michael. Vogl performed works by Franz, which quickly gained popularity in the salons of Vienna. In the same year, Franz set Goethe’s ballad “The Forest King” to music, and this work had incredible success.

Finally, at the beginning of 1818, Schubert's first composition was published.

The father’s dreams of a quiet and modest life for his son with a small but reliable teacher’s salary did not come true. Franz quit teaching at school and decided to devote his whole life only to music.

He quarreled with his father, lived in deprivation and constant need, but invariably created, composing one work after another. He had to live alternately with his comrades.

In 1818, Franz was lucky, he moved to Count Johann Esterhazy, in his summer residence, where he taught music to the count's daughters.

He did not work for the count for long and returned to Vienna again to do what he loved - create invaluable musical works.

Personal life

Need became an obstacle to marrying his beloved girl, Teresa Gorb. He fell in love with her in the church choir. She was not a beauty at all; on the contrary, the girl could be called plain: white eyelashes and hair, traces of smallpox on her face. But Franz noticed how her round face transformed with the first chords of music.

But Teresa’s mother raised her without a father and did not want her daughter to play such a role as a poor composer. And the girl, having cried into her pillow, went down the aisle with a more worthy groom. She married a pastry chef, with whom life was long and prosperous, but gray and monotonous. Teresa died at the age of 78, by which time the ashes of the man who loved her with all his heart had long since decayed in the grave.

Last years

Unfortunately, in 1820, Franz's health began to worry. He became seriously ill at the end of 1822, but after treatment in hospital his health improved slightly.

The only thing he managed to achieve during his lifetime was a public concert in 1828. The success was resounding, but soon after he suffered from enteric fever. She shook him for two weeks, and on March 26, 1828, the composer died. He left a will to be buried in the same cemetery as Beethoven. It was fulfilled. And if in the person of Beethoven a “beautiful treasure” rested here, then in the person of Franz there were “beautiful hopes.” He was too young at the time of his death and there was so much more he could have done.

In 1888, the ashes of Franz Schubert and the ashes of Beethoven were transferred to the Central Vienna Cemetery.

After the composer's death, many unreleased works remained; all of them were published and found recognition from their listeners. His play Rosamund is especially revered; an asteroid that was discovered in 1904 is named after it.