Schwartz Schubert biography. Franz Schubert: biography, interesting facts, video, creativity
In Vienna, in the family of a school teacher.
Schubert's exceptional musical abilities were evident in early childhood. From the age of seven he studied playing several instruments, singing, and theoretical disciplines.
At the age of 11, Schubert attended a boarding school for soloists of the court chapel, where, in addition to singing, he studied playing many instruments and music theory under the guidance of Antonio Salieri.
While studying at the chapel in 1810-1813, he wrote many works: an opera, a symphony, piano pieces and songs.
In 1813 he entered the teachers' seminary, and in 1814 he began teaching at the school where his father served. In his spare time, Schubert composed his first mass and set Johann Goethe's poem "Gretchen at the Spinning Wheel" to music.
His numerous songs date back to 1815, including “The Forest King” to words by Johann Goethe, the 2nd and 3rd symphonies, three masses and four singspiels (a comic opera with spoken dialogue).
In 1816, the composer completed the 4th and 5th symphonies and wrote more than 100 songs.
Wanting to devote himself entirely to music, Schubert left his job at school (this led to a break in relations with his father).
In Želiz, the summer residence of Count Johann Esterházy, he served as a music teacher.
At the same time, the young composer became close to the famous Viennese singer Johann Vogl (1768-1840), who became a promoter of Schubert's vocal creativity. During the second half of the 1810s, numerous new songs came from Schubert's pen, including the popular "The Wanderer", "Ganymede", "Forellen", and the 6th Symphony. His singspiel "The Twin Brothers", written in 1820 for Vogl and staged at the Kärntnertor Theater in Vienna, was not particularly successful, but brought Schubert fame. A more serious achievement was the melodrama "The Magic Harp", staged a few months later at the Theater an der Wien.
He enjoyed the patronage of aristocratic families. Schubert's friends published 20 of his songs by private subscription, but the opera Alfonso and Estrella with a libretto by Franz von Schober, which Schubert considered his great success, was rejected.
In the 1820s, the composer created instrumental works: the lyrical-dramatic “Unfinished” symphony (1822) and the epic, life-affirming C major (the last, ninth in a row).
In 1823, he wrote the vocal cycle “The Beautiful Miller's Wife” based on the words of the German poet Wilhelm Müller, the opera “Fiebras”, and the singspiel “The Conspirators”.
In 1824, Schubert created string quartets A minor and D minor (its second part is variations on the theme of Schubert's earlier song "Death and the Maiden") and a six-part Octet for winds and strings.
In the summer of 1825, in Gmunden near Vienna, Schubert made sketches of his last symphony, the so-called “Bolshoi”.
In the second half of the 1820s, Schubert enjoyed a very high reputation in Vienna - his concerts with Vogl attracted large audiences, and publishers willingly published the composer's new songs, as well as plays and sonatas for piano. Among Schubert's works of 1825-1826, the piano sonatas, the last string quartet and some songs, including "The Young Nun" and Ave Maria, stand out.
Schubert's work was actively covered in the press, he was elected a member of the Vienna Society of Friends of Music. On March 26, 1828, the composer gave an author's concert in the society's hall with great success.
This period includes the vocal cycle "Winterreise" (24 songs with words by Müller), two notebooks of impromptu piano, two piano trios and masterpieces of the last months of Schubert's life - the Es-dur Mass, the last three piano sonatas, the String Quintet and 14 songs, published after Schubert's death in the form of a collection entitled "Swan Song".
On November 19, 1828, Franz Schubert died in Vienna of typhus at the age of 31. He was buried in Waring Cemetery (now Schubert Park) in north-west Vienna next to the composer Ludwig van Beethoven, who had died a year earlier. On January 22, 1888, Schubert's ashes were reburied in the Vienna Central Cemetery.
Until the end of the 19th century, a significant part of the composer's extensive legacy remained unpublished. The manuscript of the "Grand" symphony was discovered by composer Robert Schumann in the late 1830s - it was first performed in 1839 in Leipzig under the baton of the German composer and conductor Felix Mendelssohn. The first performance of the String Quintet took place in 1850, and the first performance of the Unfinished Symphony in 1865. The catalog of Schubert's works includes about one thousand items - six masses, eight symphonies, about 160 vocal ensembles, over 20 completed and unfinished piano sonatas and over 600 songs for voice and piano.
The material was prepared based on information from RIA Novosti and open sources
Franz Schubert (1797–1828) - Austrian composer. Born into the family of a school teacher. In 1808–12 he was a choirmaster at 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 based on 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 J. Esterházy, 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 of 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 in Schubert's work is occupied by the song for voice and piano (German Lied, about 600). 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 a new type of song of end-to-end development (with a variable motif uniting into a whole in the piano part), 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 wrote quartets for male and female voices, 6 masses, cantatas, oratorios, etc. Of the music for musical theater, only the overture and dances for the play “Rosamund, Princess of Cyprus” by V. Chezi (1823). In Schubert's instrumental music, based on the traditions of composers of the Viennese classical school, song-type thematics acquired great importance. The composer sought to preserve the melodious lyrical theme as a whole, giving it new light with the help of tonal recoloring, timbre and texture variations. 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 lyrical-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 is an important area of Schubert's work. Having experienced the influence of L. Beethoven, Schubert laid down the tradition of a free romantic interpretation of the piano sonata 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 associated with Austrian folk art and the everyday music of Vienna, although he rarely used genuine folk song themes in his compositions. The composer also incorporated the peculiarities of the musical folklore of the Hungarians and Slavs who lived on the territory of the Austrian Empire. Of great importance in his music are color and brilliance, achieved through orchestration, enrichment of harmony with side 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.; Singspiel (7), 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, including Miriam’s Victory Song (1828); For orchestra - symphonies (1813; 1815; 1815; Tragic, 1816; 1816; Small C-dur, 1818; 1821, unfinished; Unfinished, 1822; Large C-dur, 1828), 8 overtures; intimate-instrumental ensembles - 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.; For 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); For piano V 4 hands - sonatas, overtures, fantasies, Hungarian divertissement (1824), rondos, variations, polonaises, marches, etc.; vocal ensembles for male, female voices and mixed compositions with and without accompaniment; songs For vote With piano, including the cycles The Beautiful Miller's Wife (1823) and Winter's Journey (1827), the collection Swan Song (1828).
Franz Schubert's brief biography is presented 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 a large amount of 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” gained worldwide 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.
The teachers paid tribute to the amazing ease with which the boy mastered musical knowledge. Thanks to his success in learning and good command of his voice, Schubert in 1808 was admitted to the Imperial Chapel and to Konvikt, the best boarding school in Vienna. During 1810–1813 he wrote numerous works: opera, symphony, piano pieces and songs (including Hagars Klage, 1811). A. Salieri became interested in the young musician, and from 1812 to 1817 Schubert studied composition with him.
In 1813 he entered the teachers' seminary and a year later began teaching at the school where his father served. In his spare time, he composed his first mass and set to music Goethe's poem Gretchen at the Spinning Wheel (Gretchen am Spinnrade, October 19, 1813) - this was Schubert's first masterpiece and the first great German song.
The years 1815–1816 are notable for the phenomenal productivity of the young genius. In 1815 he composed two symphonies, two masses, four operettas, several string quartets and about 150 songs. In 1816, two more symphonies appeared - the Tragic and often heard Fifth in B flat major, as well as another mass and over 100 songs. Among the songs of these years are the Wanderer (Der Wanderer) and the famous Forest King (Erlk nig); both songs soon received universal acclaim.
Through his devoted friend J. von Spaun, Schubert met the artist M. von Schwind and the wealthy amateur poet F. von Schober, who arranged a meeting between Schubert and the famous baritone M. Vogl. Thanks to Vogl's inspired performances of Schubert's songs, they gained popularity in Viennese salons. The composer himself continued to work at the school, but eventually left the service in July 1818 and went to Zeliz, the summer residence of Count Johann Esterhazy, where he served as a music teacher. In the spring the Sixth Symphony was completed, and in Gelize Schubert composed Variations on a French Song, op. 10 for two pianos, dedicated to Beethoven.
Upon his return to Vienna, Schubert received an order for an operetta (singspiel) called The Twin Brothers (Die Zwillingsbruder). It was completed by January 1819 and performed at the Kärtnertortheater in June 1820. Schubert spent the summer holidays in 1819 with Vogl in Upper Austria, where he composed the well-known Forel piano quintet (A major).
The following years turned out to be difficult for Schubert, since his character did not know how to achieve the favor of influential Viennese musical figures. Romance The Forest King, published as op. 1 (apparently in 1821), marked the beginning of the regular publication of Schubert's works. In February 1822 he completed the opera Alfonso and Estrella (Alfonso und Estrella); in October the Unfinished Symphony (B minor) was released.
The following year was marked in Schubert's biography by the composer's illness and despondency. His opera was not staged; he composed two more - The Conspirators (Die Verschworenen) and Fierrabras (Fierrabras), but they suffered the same fate. The wonderful vocal cycle “The Beautiful Miller's Wife” (Die sch ne Mullerin) and the music for the dramatic play Rosamunde, which was well received by the audience, indicate that Schubert did not give up. At the beginning of 1824 he worked on string quartets in A minor and D minor (The Girl and Death) and on the octet in F major, but need forced him to again become a teacher in the Esterhazy family. The summer stay in Zheliz had a beneficial effect on Schubert's health. There he composed two opuses for piano four hands - the Grand Duo sonata in C major and Variations on an original theme in A flat major. In 1825, he again went with Vogl to Upper Austria, where his friends received the warmest welcome. Songs with lyrics by W. Scott (including the famous Ave Maria) and a piano sonata in D major reflect the spiritual renewal of their author.
In 1826, Schubert petitioned for the position of conductor in the court chapel, but the petition was not granted. His latest string quartet (in G major) and songs based on Shakespeare's words (among them Morning Serenade) appeared during a summer trip to Wehring, a village near Vienna. In Vienna itself, Schubert's songs were widely known and loved at that time; In private homes, musical evenings were regularly held dedicated exclusively to his music - the so-called. Schubertiades. In 1827, among other things, the vocal cycle Winterreise and cycles of piano pieces (Musical Moments and Impromptu) were written.
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In 1828, alarming signs of an impending illness appeared; the feverish pace of Schubert's compositional activity can be interpreted both as a symptom of the illness and as a cause that accelerated the death. Masterpiece followed masterpiece: the majestic Symphony in C major, a vocal cycle posthumously published as Swan Song, a string quintet in C major and the last three piano sonatas. As before, publishers refused to take Schubert's major works or paid negligibly little; ill health prevented him from going by invitation to give a concert in Pest. Schubert died of typhus on November 19, 1828.
Schubert was buried next to Beethoven, who had died a year earlier. On January 22, 1888, Schubert's ashes were reburied in the Central Cemetery of Vienna.
CREATION
Vocal and choral genres. The song-romance genre as interpreted by Schubert represents such an original contribution to the music of the 19th century that we can talk about the emergence of a special form, which is usually denoted by the German word Lied. Schubert's songs - and there are more than 650 of them - give many variations of this form, so that classification is hardly possible here. In principle, Lied is of two types: strophic, in which all or almost all verses are sung to the same melody; “through” (durchkomponiert), in which each verse can have its own musical solution. Field rose (Haidenroslein) is an example of the first species; The Young Nun (Die junge Nonne) – the second.
Two factors contributed to the rise of the Lied: the ubiquity of the piano and the rise of German lyric poetry. Schubert managed to do what his predecessors could not: by composing on a specific poetic text, he created a context with his music that gave the word a new meaning. This could be a sound-visual context - for example, the gurgle of water in the songs from The Beautiful Miller's Woman or the whirring of the spinning wheel in Gretchen at the Spinning Wheel, or an emotional context - for example, chords conveying the reverent mood of the evening in Sunset (Im Abendroth) or the midnight horror in The Double (Der Doppelgonger). Sometimes, thanks to Schubert’s special gift, a mysterious connection is established between the landscape and the mood of the poem: for example, the imitation of the monotonous hum of an organ grinder in The Organ Grinder (Der Leiermann) wonderfully conveys both the severity of the winter landscape and the despair of a homeless wanderer.
German poetry, which was flourishing at that time, became an invaluable source of inspiration for Schubert. Those who question the composer’s literary taste on the grounds that among the more than six hundred poetic texts he has sounded there are very weak poems are wrong - for example, who would remember the poetic lines of the romances Trout or To Music (An die Musik), if not Schubert's genius? But still, the greatest masterpieces were created by the composer based on the texts of his favorite poets, luminaries of German literature - Goethe, Schiller, Heine. Schubert's songs - no matter who the author of the words are - are characterized by a direct impact on the listener: thanks to the genius of the composer, the listener immediately becomes not an observer, but an accomplice.
Schubert's polyphonic vocal works are somewhat less expressive than the romances. The vocal ensembles contain wonderful pages, but none of them, except perhaps the five-voice No, only he who knew (Nur wer die Sehnsucht kennt, 1819), captures the listener as much as the romances. The unfinished spiritual opera The Raising of Lazarus (Lazarus) is more of an oratorio; the music here is beautiful, and the score contains anticipations of some of Wagner's techniques. (In our time, the opera The Raising of Lazarus was completed by the Russian composer E. Denisov and was successfully performed in several countries.)
Schubert composed six masses. They also have very bright parts, but still in Schubert this genre does not rise to the heights of perfection that were achieved in the masses of Bach, Beethoven, and later Bruckner. Only in the last mass (in E-flat major) does Schubert's musical genius overcome his detached attitude towards Latin texts.
Orchestral music. In his youth, Schubert led and conducted a student orchestra. At the same time, he mastered the skill of instrumentation, but life rarely gave him reasons to write for the orchestra; after six youth symphonies, only a symphony in B minor (Unfinished) and a symphony in C major (1828) were created. In the series of early symphonies, the fifth (B minor) is the most interesting, but only Schubert’s Unfinished introduces us to a new world, far from the classical styles of the composer’s predecessors. Like them, the development of themes and texture in Unfinished is full of intellectual brilliance, but in terms of the strength of its emotional impact, Unfinished is close to Schubert’s songs. In the majestic C major symphony, such qualities appear even more clearly.
The music for Rosamunde contains two intermissions (in B minor and B major) and lovely ballet scenes. Only the first intermission is serious in tone, but all the music for Rosamunde is purely Schubertian in the freshness of its harmonic and melodic language.
Among other orchestral works, the overtures stand out. In two of them (C major and D major), written in 1817, the influence of G. Rossini is felt, and their subtitles (not given by Schubert) indicate: “in the Italian style.” Also of interest are three operatic overtures: Alfonso and Estrella, Rosamond (originally intended for the early composition of The Magic Harp - Die Zauberharfe) and Fierrabras - the most perfect example of this form by Schubert.
Chamber instrumental genres. Chamber works reveal the composer's inner world to the greatest extent; in addition, they clearly reflect the spirit of his beloved Vienna. The tenderness and poetry of Schubert’s nature are captured in the masterpieces that are commonly called the “seven stars” of his chamber heritage.
The Trout Quintet is a harbinger of a new, romantic worldview in the chamber-instrumental genre; Charming melodies and cheerful rhythms brought the composition great popularity. Five years later, two string quartets appeared: the quartet in A minor (op. 29), perceived by many as the composer’s confession, and the quartet The Girl and Death, where melody and poetry are combined with deep tragedy. Schubert's last quartet in G major represents the quintessence of the composer's mastery; The scale of the cycle and the complexity of the forms pose some obstacle to the popularity of this work, but the last quartet, like the Symphony in C major, are the absolute pinnacles of Schubert's work. The lyrical-dramatic character of the early quartets is also characteristic of the Quintet in C major (1828), but it cannot compare in perfection with the Quartet in G major.
The octet is a romantic interpretation of the classical suite genre. The use of additional woodwinds gives the composer a reason to compose touching melodies and create colorful modulations that embody Gemutlichkeit - the good-natured, cozy charm of old Vienna. Both Schubert trios – op. 99, B-flat major and op. 100, E-flat major - have both strengths and weaknesses: the structural organization and beauty of the music of the first two movements captivate the listener, while the finales of both cycles seem too lightweight.
Piano works. Schubert composed many pieces for piano 4 hands. Many of them (marches, polonaises, overtures) are charming music for home use. But among this part of the composer’s heritage there are also more serious works. Such are the Grand Duo Sonata with its symphonic scope (though, as already mentioned, there is no indication that the cycle was originally conceived as a symphony), Variations in A-flat major with their sharp characteristic and Fantasy in F minor Op. 103 is a first-class and widely recognized essay.
About two dozen Schubert piano sonatas are second only to Beethoven's in their significance. Half a dozen youthful sonatas are of interest mainly to admirers of Schubert's art; the rest are known all over the world. The sonatas in A minor, D major and G major (1825–1826) clearly demonstrate the composer’s understanding of the sonata principle: dance and song forms are combined here with classical techniques for developing themes. In the three sonatas, which appeared shortly before the composer's death, the song and dance elements appear in a purified, sublime form; the emotional world of these works is richer than in earlier opuses. The last sonata in B-flat major is the result of Schubert’s work on the thematism and form of the sonata cycle.
Brief biography of Franz Schubert
Schubert Franz Peter - an outstanding Austrian composer; founder of early romanticism; creator of nine famous symphonies. Born on January 31, 1797 in Vienna in the family of an ordinary teacher. At first there were fourteen children in the family, but nine of them died at an early age. During his short life, Schubert wrote about 600 song compositions, many of which are relevant to this day. In creating his own style, he relied primarily on the works of Mozart, Gluck, Haydn and Beethoven.
Since childhood, the boy received a home musical education. In church he learned to play the organ and vocals. Frederick was one of the best singers of the court chapel choir. Salieri himself took him as his student, admiring his beautiful voice and musical gift. At about 13 years old he began to write his first symphony. His first independent works were written in 1814.
By that time he had already been expelled from the choir, as the boy’s voice was breaking. Therefore, young Frederick entered the teachers' seminary, following in his father's footsteps. He devoted all his free time to composing music. The composer's song music was a kind of continuation of Beethoven's style. The year 1815 is considered the most fruitful in his career. During this period he wrote more than a hundred songs, six operas, many symphonies and music for the church.
One of his best songs based on Goethe's poems was written at the end of the same year - “King Earl”. For the cantata “Prometheus” (1816), the composer received his first fee, as it was written to order. Schubert's personal life was unsuccessful. Having met the daughter of a manufacturer, Teresa Grom, who did not stand out in anything remarkable, but loved music very much, young Frederick decided to marry her. However, his income did not allow him to start a family, and Teresa’s mother opposed this marriage.
In 1816, the composer presented to the public a work that brought him long-awaited popularity - “The Forest King”. Subsequently, his famous symphonies appeared one after another. Gradually the composer gained worldwide fame. In the 1820s. he started having health problems. For some time he worked on the estate of Count I. Esterhazy, teaching music to his daughters. The composer spent the last years of his life in Vienna.
He died on November 19, 1828, after a long battle with typhoid fever. The composer has two graves. Initially, in accordance with his last will, he was buried next to his idolized Beethoven at the Wehring cemetery (now Schubert Park), and in 1888 the ashes of both composers were reburied at the Vienna Central Cemetery.
