Franz schubert artistic direction. Life story

Schubert lived only thirty-one years. He died exhausted physically and mentally, exhausted by failures in life. None of the composer's nine symphonies were performed during his lifetime. Of the six hundred songs, about two hundred were published, and of the two dozen piano sonatas, only three.

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Schubert was not alone in his dissatisfaction with the life around him. This dissatisfaction and protest of the best people of society were reflected in a new direction in art - romanticism. Schubert was one of the first Romantic composers.
Franz Schubert was born in 1797 in the Vienna suburb of Lichtenthal. His father, a school teacher, came from a peasant family. Mother was the daughter of a mechanic. The family loved music very much and constantly organized musical evenings. His father played the cello, and his brothers played various instruments.

Having discovered musical abilities in little Franz, his father and older brother Ignatz began to teach him to play the violin and piano. Soon the boy was able to take part in home performances of string quartets, playing the viola part. Franz had a wonderful voice. He sang in the church choir, performing difficult solo parts. The father was pleased with his son's success.

When Franz was eleven years old, he was assigned to a konvikt - a training school for church singers. The environment of the educational institution was conducive to the development of the boy’s musical abilities. In the school student orchestra, he played in the first violin group, and sometimes even served as conductor. The orchestra's repertoire was varied. Schubert became acquainted with symphonic works of various genres (symphonies, overtures), quartets, and vocal works. He confided to his friends that Mozart's Symphony in G Minor shocked him. Beethoven's music became a high example for him.

Already in those years, Schubert began to compose. His first works were fantasia for piano, a number of songs. The young composer writes a lot, with great passion, often to the detriment of other school activities. The boy's outstanding abilities attracted the attention of the famous court composer Salieri, with whom Schubert studied for a year.
Over time, the rapid development of Franz's musical talent began to cause concern in his father. Knowing well how difficult the path of musicians was, even world famous ones, the father wanted to protect his son from a similar fate. As punishment for his excessive passion for music, he even forbade him to be at home on holidays. But no prohibitions could delay the development of the boy’s talent.

Schubert decided to break with the convict. Throw away boring and unnecessary textbooks, forget about worthless cramming that drains your heart and mind, and go free. Give yourself entirely to music, live only by it and for its sake. On October 28, 1813, he completed his first symphony in D major. On the last sheet of the score, Schubert wrote: “The end and the end.” The end of the symphony and the end of the convict.

For three years he served as an assistant teacher, teaching children literacy and other elementary subjects. But his attraction to music and his desire to compose becomes stronger. One can only be amazed at the resilience of his creative nature. It was during these years of school hard labor from 1814 to 1817, when it seemed that everything was against him, that he created an amazing number of works.

In 1815 alone, Schubert wrote 144 songs, 4 operas, 2 symphonies, 2 masses, 2 piano sonatas, and a string quartet. Among the creations of this period there are many that are illuminated by the unfading flame of genius. These are the Tragic and Fifth B-flat major symphonies, as well as the songs “Rosochka”, “Margarita at the Spinning Wheel”, “The Forest King”, “Margarita at the Spinning Wheel” - a monodrama, a confession of the soul.

“The Forest King” is a drama with several characters. They have their own characters, sharply different from each other, their own actions, completely dissimilar, their own aspirations, opposing and hostile, their own feelings, incompatible and polar.

The story behind the creation of this masterpiece is amazing. It arose in a fit of inspiration.” “One day,” recalls Shpaun, a friend of the composer, “we went to see Schubert, who was then living with his father. We found our friend in the greatest excitement. With a book in his hand, he walked back and forth around the room, reading “The Forest King” aloud. Suddenly he sat down at the table and began to write. When he stood up, the magnificent ballad was ready.”

The father's desire to make his son a teacher with a small but reliable income failed. The young composer firmly decided to devote himself to music and left teaching at school. He was not afraid of a quarrel with his father. The entire subsequent short life of Schubert represents a creative feat. Experiencing great material need and deprivation, he worked tirelessly, creating one work after another.

Financial adversity, unfortunately, prevented him from marrying his beloved girl. Teresa Grob sang in the church choir. From the very first rehearsals, Schubert noticed her, although she was inconspicuous. Blonde-haired, with whitish eyebrows, as if faded in the sun, and a grainy face, like most dull blondes, she did not sparkle with beauty at all.Rather, on the contrary - at first glance she seemed ugly. Traces of smallpox clearly appeared on her round face. But as soon as the music sounded, the colorless face was transformed. It had just been extinguished and therefore lifeless. Now, illuminated by the inner light, it lived and radiated.

No matter how accustomed Schubert was to the callousness of fate, he did not imagine that fate would treat him so cruelly. “Happy is he who finds a true friend. Even happier is he who finds it in his wife.” , he wrote in his diary.

However, the dreams went to waste. Teresa's mother, who raised her without a father, intervened. Her father owned a small silk-spinning factory. Having died, he left the family a small fortune, and the widow turned all her worries to ensuring that the already meager capital did not decrease.
Naturally, she pinned hopes for a better future on her daughter’s marriage. And it is even more natural that Schubert did not suit her. In addition to the penny salary of an assistant schoolteacher, he had music, which, as we know, is not capital. You can live by music, but you can’t live by it.
A submissive girl from the suburbs, brought up in subordination to her elders, did not even allow disobedience in her thoughts. The only thing she allowed herself was tears. Having cried quietly until the wedding, Teresa walked down the aisle with swollen eyes.
She became the wife of a pastry chef and lived a long, monotonously prosperous gray life, dying at the age of seventy-eight. By the time she was taken to the cemetery, Schubert’s ashes had long since decayed in the grave.

For several years (from 1817 to 1822) Schubert lived alternately with one or the other of his comrades. Some of them (Spaun and Stadler) were friends of the composer from the convict days. Later they were joined by the multi-talented artist Schober, the artist Schwind, the poet Mayrhofer, the singer Vogl and others. The soul of this circle was Schubert.
Short, stocky, very short-sighted, Schubert had enormous charm. His radiant eyes were especially beautiful, in which, as in a mirror, kindness, shyness and gentleness of character were reflected. And his delicate, changeable complexion and curly brown hair gave his appearance a special attractiveness.

During meetings, friends got acquainted with fiction, poetry of the past and present. They argued heatedly, discussing issues that arose, and criticized the existing social order. But sometimes such meetings were devoted exclusively to Schubert’s music; they even received the name “Schubertiad”.
On such evenings, the composer did not leave the piano, immediately composing ecosaises, waltzes, landlers and other dances. Many of them remained unrecorded. Schubert's songs, which he often performed himself, evoked no less admiration. Often these friendly gatherings turned into country walks.

Saturated with bold, lively thought, poetry, and beautiful music, these meetings represented a rare contrast with the empty and meaningless entertainment of secular youth.
The unsettled life and cheerful entertainment could not distract Schubert from his stormy, continuous, inspired creativity. He worked systematically, day after day. “I compose every morning, when I finish one piece, I start another” , - admitted the composer. Schubert composed music unusually quickly.

On some days he created up to a dozen songs! Musical thoughts were born continuously, the composer barely had time to write them down on paper. And if it wasn’t at hand, he wrote the menu on the back, on scraps and scraps. Needing money, he especially suffered from a lack of music paper. Caring friends supplied the composer with it. Music also visited him in his dreams.
When he woke up, he tried to write it down as soon as possible, so he did not part with his glasses even at night. And if the work did not immediately develop into a perfect and complete form, the composer continued to work on it until he was completely satisfied.

Thus, for some poetic texts, Schubert wrote up to seven versions of songs! During this period, Schubert wrote two of his wonderful works - “The Unfinished Symphony” and the cycle of songs “The Beautiful Miller’s Wife”. “The Unfinished Symphony” consists not of four parts, as is customary, but of two. And the point is not at all that Schubert did not have time to finish the remaining two parts. He started on the third - a minuet, as the classical symphony demanded, but abandoned his idea. The symphony, as it sounded, was completely completed. Everything else would turn out to be superfluous and unnecessary.
And if the classical form requires two more parts, you have to give up the form. Which is what he did. Schubert's element was song. In it he reached unprecedented heights. He elevated the genre, previously considered insignificant, to the level of artistic perfection. And having done this, he went further - he saturated chamber music with songfulness - quartets, quintets - and then symphonic music.

The combination of what seemed incompatible - miniature with large-scale, small with large, song with symphony - gave a new, qualitatively different from everything that came before - a lyric-romantic symphony. Her world is a world of simple and intimate human feelings, the most subtle and deep psychological experiences. This is a confession of the soul, expressed not with a pen or a word, but with sound.

The song cycle “The Beautiful Miller's Wife” is a clear confirmation of this. Schubert wrote it based on poems by the German poet Wilhelm Müller. “The Beautiful Miller's Wife” is an inspired creation, illuminated by gentle poetry, joy, and the romance of pure and high feelings.
The cycle consists of twenty separate songs. And all together they form a single dramatic play with a beginning, twists and turns and a denouement, with one lyrical hero - a wandering mill apprentice.
However, the hero in “The Beautiful Miller's Wife” is not alone. Next to him there is another, no less important hero - a stream. He lives his stormy, intensely changing life.

The works of the last decade of Schubert's life are very diverse. He writes symphonies, piano sonatas, quartets, quintets, trios, masses, operas, a lot of songs and much other music. But during the composer’s lifetime, his works were rarely performed, and most of them remained in manuscripts.
Having neither funds nor influential patrons, Schubert had almost no opportunity to publish his works. Songs, the main thing in Schubert's work, were then considered more suitable for home music playing than for open concerts. Compared to the symphony and opera, songs were not considered an important musical genre.

Not a single Schubert opera was accepted for production, and not a single one of his symphonies was performed by an orchestra. Moreover, the notes of his best Eighth and Ninth Symphonies were found only many years after the composer's death. And the songs based on Goethe’s words, sent to him by Schubert, never received the poet’s attention.
Timidity, inability to manage his affairs, reluctance to ask, to humiliate himself in front of influential people were also an important reason for Schubert's constant financial difficulties. But, despite the constant lack of money, and often hunger, the composer did not want to go either into the service of Prince Esterhazy or as a court organist, where he was invited. At times, Schubert did not even have a piano and composed without an instrument. Financial difficulties did not prevent him from composing music.

And yet the Viennese came to know and love Schubert’s music, which itself made its way to their hearts. Like ancient folk songs, passed on from singer to singer, his works gradually gained admirers. These were not regulars of brilliant court salons, representatives of the upper class. Like a forest stream, Schubert's music found its way to the hearts of ordinary residents of Vienna and its suburbs.
A major role was played here by the outstanding singer of that time, Johann Michael Vogl, who performed Schubert's songs to the accompaniment of the composer himself. Insecurity and continuous failures in life had a serious impact on Schubert's health. His body was exhausted. Reconciliation with his father in the last years of his life, a calmer, more balanced home life could no longer change anything. Schubert could not stop composing music; this was the meaning of his life.

But creativity required a huge expenditure of effort and energy, which became less and less every day. At twenty-seven years old, the composer wrote to his friend Schober: “I feel like an unhappy, insignificant person in the world.”
This mood was reflected in the music of the last period. If earlier Schubert created mainly bright, joyful works, then a year before his death he wrote songs, uniting them under the common title “Winter Reise”.
This has never happened to him before. He wrote about suffering and suffered. He wrote about hopeless melancholy and was hopelessly melancholy. He wrote about the excruciating pain of the soul and experienced mental anguish. “Winter Way” is a journey through the torment of both the lyrical hero and the author.

The cycle, written in the blood of the heart, excites the blood and stirs the hearts. A thin thread woven by the artist connected the soul of one person with the souls of millions of people with an invisible but indissoluble connection. She opened their hearts to the flow of feelings rushing from his heart.

In 1828, through the efforts of friends, the only concert of his works during Schubert’s lifetime was organized. The concert was a huge success and brought great joy to the composer. His plans for the future became more rosy. Despite his failing health, he continues to compose. The end came unexpectedly. Schubert fell ill with typhus.
The weakened body could not withstand the serious illness, and on November 19, 1828, Schubert died. The remaining property was valued for pennies. Many works have disappeared.

The famous poet of the time, Grillparzer, who had composed a funeral eulogy for Beethoven a year earlier, wrote on the modest monument to Schubert in the Vienna cemetery:

A stunning, deep and, it seems to me, mysterious melody. Sadness, faith, renunciation.
F. Schubert composed his song Ave Maria in 1825. Initially, this work by F. Schubert had little to do with Ave Maria. The title of the song was "Ellen's Third Song", and the lyrics to which the music was written were taken from Adam Storck's German translation of Walter Scott's poem "The Maid of the Lake".

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 command of his voice helped Schubert enter the Imperial Chapel, and then one of the best schools in 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 a 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 a huge number of masterpieces, which gained popularity after the death of the author. Franz Schubert died on November 19, 1828 from typhus.

The first romantic composer, Schubert is one of the most tragic figures in the history of world musical culture. His life, short and uneventful, was cut short when he was in the prime of his strength and talent. He did not hear most of his compositions. The fate of his music was also tragic in many ways. Priceless manuscripts, partly kept by friends, partly donated to someone, and sometimes simply lost in endless travels, could not be put together for a long time. It is known that the “Unfinished” Symphony waited for its performance for more than 40 years, and the C Major Symphony - 11 years. The paths that Schubert discovered in them remained unknown for a long time.

Schubert was a younger contemporary of Beethoven. Both of them lived in Vienna, their work coincides in time: “Margarita at the Spinning Wheel” and “The Forest King” are the same age as Beethoven’s 7th and 8th symphonies, and his 9th symphony appeared simultaneously with Schubert’s “Unfinished”. Only a year and a half separates the death of Schubert from the day of Beethoven's death. Nevertheless, Schubert is a representative of a completely new generation of artists. If Beethoven's work was formed under the influence of the ideas of the Great French Revolution and embodied its heroism, then Schubert's art was born in an atmosphere of disappointment and fatigue, in an atmosphere of the harshest political reaction. It began with the “Congress of Vienna” of 1814-15. Representatives of the states that won the war with Napoleon then united in the so-called. "Holy Alliance", the main goal of which was the suppression of revolutionary and national liberation movements. The leading role in the “Holy Alliance” belonged to Austria, or more precisely to the head of the Austrian government, Chancellor Metternich. It was he, and not the passive, weak-willed Emperor Franz, who actually ruled the country. It was Metternich who was the true creator of the Austrian autocratic system, the essence of which was to suppress any manifestations of free thought in their infancy.

The fact that Schubert spent the entire period of his creative maturity in Metternich's Vienna greatly determined the nature of his art. In his work there are no works related to the struggle for a happy future for humanity. His music has little heroic mood. In Schubert's time there was no longer any talk about universal human problems, about the reorganization of the world. The fight for it all seemed pointless. The most important thing seemed to be to preserve honesty, spiritual purity, and the values of one’s spiritual world. Thus was born an artistic movement called « romanticism". This is an art in which for the first time the central place was occupied by an individual with his uniqueness, with his quests, doubts, and suffering. Schubert's work is the dawn of musical romanticism. His hero is a hero of modern times: not a public figure, not an orator, not an active transformer of reality. This is an unhappy, lonely person whose hopes for happiness are not allowed to come true.

The fundamental difference between Schubert and Beethoven was content his music, both vocal and instrumental. The ideological core of most of Schubert's works is the clash of the ideal and the real. Every time the collision of dreams and reality receives an individual interpretation, but, as a rule, the conflict does not find a final resolution. It is not the struggle in the name of establishing a positive ideal that is the focus of the composer’s attention, but the more or less clear exposure of contradictions. This is the main evidence of Schubert's belonging to romanticism. Its main topic was theme of deprivation, tragic hopelessness. This topic is not made up, it is taken from life, reflecting the fate of an entire generation, incl. and the fate of the composer himself. As already mentioned, Schubert passed his short career in tragic obscurity. He did not enjoy the success that was natural for a musician of this caliber.

Meanwhile, Schubert's creative legacy is enormous. In terms of the intensity of creativity and the artistic significance of the music, this composer can be compared with Mozart. His compositions include operas (10) and symphonies, chamber instrumental music and cantata-oratorio works. But no matter how outstanding Schubert’s contribution to the development of various musical genres was, in the history of music his name is associated primarily with the genre songs- romance(German) Lied). The song was Schubert's element, in it he achieved something unprecedented. As Asafiev noted, “What Beethoven accomplished in the field of symphony, Schubert accomplished in the field of song-romance...” In the complete collection of Schubert's works, the song series is represented by a huge number - more than 600 works. But it’s not just a matter of quantity: a qualitative leap took place in Schubert’s work, allowing the song to take a completely new place among musical genres. The genre, which clearly played a secondary role in the art of the Viennese classics, became equal in importance to the opera, symphony, and sonata.

Schubert's instrumental work

Schubert's instrumental work includes 9 symphonies, over 25 chamber instrumental works, 15 piano sonatas, and many pieces for piano for 2 and 4 hands. Having grown up in an atmosphere of living exposure to the music of Haydn, Mozart, Beethoven, which for him was not the past, but the present, Schubert surprisingly quickly - by the age of 17-18 - perfectly mastered the traditions of the Viennese classical school. In his first symphonic, quartet and sonata experiments, the echoes of Mozart, in particular the 40th symphony (the favorite composition of the young Schubert), are especially noticeable. Schubert is closely related to Mozart clearly expressed lyrical way of thinking. At the same time, in many ways he acted as an heir to Haydn’s traditions, as evidenced by his closeness to Austro-German folk music. He adopted from the classics the composition of the cycle, its parts, and the basic principles of organizing the material. However, Schubert subordinated the experience of the Viennese classics to new tasks.

Romantic and classical traditions form a single fusion in his art. Schubert's dramaturgy is a consequence of a special plan in which lyrical orientation and songfulness as the main principle of development. Schubert's sonata-symphonic themes are related to songs - both in their intonation structure and in their methods of presentation and development. Viennese classics, especially Haydn, often also created themes based on song melody. However, the impact of songfulness on instrumental dramaturgy as a whole was limited - developmental development among the classics is purely instrumental in nature. Schubert emphasizes in every possible way the song nature of the themes:

often presents them in a closed reprise form, likening them to a finished song (MP of the first movement of the sonata in A major);
develops with the help of varied repetitions, variant transformations, in contrast to the symphonic development traditional for Viennese classics (motivic isolation, sequencing, dissolution in general forms of movement);
The relationship between the parts of the sonata-symphonic cycle also becomes different - the first parts are often presented at a leisurely pace, as a result of which the traditional classical contrast between the fast and energetic first part and the slow lyrical second is significantly smoothed out.

The combination of what seemed incompatible - miniature with large-scale, song with symphonic - gave a completely new type of sonata-symphonic cycle - lyrical-romantic.

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

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

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

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

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

Boring school duties, which distracted him from creating music, became increasingly burdensome for Schubert, and in 1817 he dropped out of school. After that, the father did not want to hear about his son. In Vienna, the composer lives first with one friend, then with another - these artists, poets and musicians were not much richer than himself. Schubert often did not even have money for music paper; he wrote down his musical thoughts on scraps of newspaper. 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 extremely modest; Schubert's sonatas and symphonies did not gain popularity during the author's lifetime, but they found a lively understanding among friends. At friendly meetings, the soul of which was Schubert (they were even called “Schubertiads”), discussions were held about art, politics and philosophy, but dancing was an integral part of such evenings. The music for the dances was improvised by Schubert, and he wrote down the most successful discoveries - this is how Schubert's waltzes, ländlers and ecosaises were born. One of the participants in the Schubertiads, Michael Vogl, often performed Schubert’s songs on 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 turns to the works of Heinrich Heine - along with songs based on poems by other poets, works based on his poems were published posthumously in the form of a collection "".

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

Franz Peter Schubert.
There were and are many talented people in the world who succeeded in some area and became famous. There are many such talented people among composers; in fact, each of them is talented in their own way. One of the most famous composers of all centuries is Schubert.
Franz was born in 1797 in a suburb of Vienna. His family had many children, so his parents paid attention mainly to the younger children. But already from childhood, Schubert showed a talent for music. At the age of 11, the composer thoroughly took up music and entered the court music school, where he began to study this art in more detail and learned to play other musical instruments.
Schubert presented his initial melodies to the people already in 1814, when he was only 17 years old. His style reminded critics of previous authors, so Franz’s early works did not bring much recognition.
Fame came to the future composer suddenly, in 1816, when the ballad “The Forest King” was published, which is still popular in theater and dance performances. Then his career took off, the young musician gained experience, and modern critics often highlight his cycles “The Beautiful Miller's Wife” and “Winter Reise”.
Many of Schubert’s melodies created during this period gained worldwide fame, for example: “Serenade” (collection “Swan Song”), “Shelter”, “By the Sea”.
The composer left behind 600 pieces of music, 400 of which are widely used for dancing. His waltzes are written to be played by 4 hands, which allows performers to work in duets. But despite such an exhaustive number of songs and melodies, I experienced financial problems throughout my short life. Who knows, maybe if he had enough money, he would have become more successful and famous during his lifetime, would have been able to overcome the illness that broke him and would have left behind more works.
Interesting facts about Schubert's life:
All his life the composer loved one girl from a count's family, her name was Caroline Exterhazy. She was his student and was offended by her teacher because he never dedicated a melody to her, to which he said that all his works were about her.
Schubert's Quartet in D minor was initially rejected by the Paris Philharmonic, but 13 years after its composition they finally agreed to perform it. Right at the premiere, the conductor told Franz: “This is bad, don’t get confused with such things.” It happened right in public. The composer collected the sheets of music and left; they never heard from him again for the quartet.
There is a legend that one day he met a well-dressed lady on the street, she called him by name and introduced herself as Destiny. She asked him to choose a path: be a poor teacher and live a long life, or be famous and leave a little after his thirtieth birthday. After that, he left school and devoted himself to music.
Schubert’s biography cannot be told briefly, because like all creative people in his life there were ups and downs, secrets and unsolved mysteries. Franz Peter Schubert died on November 19, 1828, when he was only 32 years old. Typhus, spreading throughout Europe by leaps and bounds, took the life of this talented composer.