Post by Franz Schubert short biography. Biography of Schubert: the difficult life of the great composer

SCHUBERT (Schubert) Franz (1797-1828), Austrian composer. Creator of romantic songs and ballads, vocal cycles, piano miniatures, symphonies, and instrumental ensembles. Songfulness permeates works of all genres. Author of about 600 songs (to the words of F. Schiller, J. V. Goethe, G. Heine), including from the cycles “The Beautiful Miller's Wife” (1823), “Winter Reise” (1827, both to the words of W. Müller ); 9 symphonies (including “Unfinished”, 1822), quartets, trios, piano quintet “Trout” (1819); piano sonatas (over 20), impromptu, fantasies, waltzes, landlers.

SCHUBERT (Schubert) Franz (full name Franz Peter) (January 31, 1797, Vienna - November 19, 1828, ibid.), Austrian composer, the largest representative of early romanticism.

Childhood years. Early works

Born into 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. In 1808-12 he sang in the Imperial Court Chapel under the guidance of the outstanding Viennese composer and teacher A. 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. Numerous songs date back to 1814-15 (including such masterpieces as “Margarita at the Spinning Wheel” and “The Forest King” to the words of J.V. Goethe, the 2nd and 3rd symphonies, three masses and four singspiels.

Musician career

At the same time, Schubert's friend J. von Spaun introduced him to the poet I. Mayrhofer and the law student F. von Schober. These and other friends of Schubert - educated representatives of the new Viennese middle class, endowed with a refined musical and poetic taste - regularly gathered at home evenings of Schubert's music, later called "Schubertiads". Communication with this friendly and receptive audience finally convinced the young composer of his calling, and in 1818 Schubert left work at the school. At the same time, the young composer became close to the famous Viennese singer I. M. Vogl (1768-1840), who became a zealous promoter of his vocal creativity. During the second half of the 1810s. from the pen of Schubert came numerous new songs (including the most popular “The Wanderer”, “Ganymede”, “Trout”), piano sonatas, the 4th, 5th and 6th symphonies, elegant overtures in the style of G. Rossini , piano quintet "Trout", including variations on the song of the same name. 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.

Changeability of fortune

The years 1820-21 were successful for Schubert. He enjoyed the patronage of aristocratic families and made a number of acquaintances among influential people in Vienna. Schubert's friends published 20 of his songs by private subscription. Soon, however, a less favorable period began in his life. The opera "Alfonso and Estrella" with a libretto by Schober was rejected (Schubert himself considered it his great success); financial circumstances worsened. In addition, at the end of 1822, Schubert fell seriously ill (apparently, he contracted syphilis). Nevertheless, this complex and difficult year was marked by the creation of outstanding works, including songs, the piano fantasy “The Wanderer” (this is practically Schubert’s only example of a bravura virtuoso piano style) and the “Unfinished Symphony” full of romantic pathos (composing two parts of the symphony and having sketched the third, the composer, for an unknown reason, left the work and never returned to it).

Life cut short in its prime

Soon the vocal cycle “The Beautiful Miller's Wife” (20 songs with lyrics by W. Müller), the singspiel “Conspirators” and the opera “Fierabras” appeared. In 1824, string quartets A-moll and D-moll were written (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, modeled on the very popular Septet Op. 20 L. van Beethoven, but surpassing him in scale and virtuoso brilliance. Apparently, in the summer of 1825 in Gmunden near Vienna, Schubert sketched or partially composed his last symphony (the so-called “Great”, C major). By this time, Schubert already enjoyed a very high reputation in Vienna. His concerts with Vogl attracted large audiences, and publishers eagerly published his new songs, as well as plays and piano sonatas. Among Schubert's works of 1825-26, the piano sonatas A minor, D major, G major, the last string quartet in G major and some songs, including "The Young Nun" and Ave Maria, stand out. In 1827-28, Schubert's work was actively covered in the press, he was elected a member of the Vienna Society of Friends of Music and on March 26, 1828 he gave an author's concert in the Society's hall, which was a 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 called "Swan Song" (the most popular are "Serenade" to the words of L. Relshtab and "Double" to the words of G. Heine). Schubert died of typhus at the age of 31; contemporaries perceived his death as the loss of a genius, who managed to justify only a small part of the hopes placed on him.

Songs of Schubert

For a long time, Schubert was known mainly for his songs for voice and piano. Essentially, a new era in the history of German vocal miniature began with Schubert, prepared by the flowering of German lyric poetry in the late 18th and early 19th centuries. Schubert wrote music based on poems by poets of various levels, from the great J. V. Goethe (about 70 songs), F. Schiller (over 40 songs) and G. Heine (6 songs from “Swan Song”) to relatively little-known writers and amateurs (for example, Schubert composed about 50 songs based on the poems of his friend I. Mayrhofer). In addition to his enormous spontaneous melodic gift, the composer had a unique ability to convey through music both the general atmosphere of a poem and its semantic shades. Beginning with his earliest songs, he inventively used the capabilities of the piano for sound-depicting and expressive purposes; Thus, in “Margarita at the Spinning Wheel,” the continuous figuration of sixteenth notes represents the rotation of the spinning wheel and at the same time sensitively reacts to all changes in emotional tension. Schubert's songs are extremely varied in form, from simple strophic miniatures to freely constructed vocal scenes, which are often composed of contrasting sections. Having discovered Müller's lyrics, which tell of the wanderings, sufferings, hopes and disappointments of a lonely romantic soul, Schubert created the vocal cycles "The Beautiful Miller's Wife" and "Winter Reise" - essentially the first large series of monologue songs in history, connected by a single plot.

In other genres

Schubert spent his whole life striving for success in theatrical genres, but his operas, for all their musical merits, are not dramatic enough. Of all Schubert's music directly related to the theater, only individual numbers for V. von Cesi's play "Rosamund" (1823) gained popularity.

Schubert's church compositions, with the exception of the masses As-dur (1822) and Es-dur (1828), are little known. Meanwhile, Schubert wrote for the church all his life; in his sacred music, contrary to a long tradition, a homophonic texture predominates (polyphonic writing was not one of the strengths of Schubert’s compositional technique, and in 1828 he even intended to take a counterpoint course from the authoritative Viennese teacher S. Sechter). Schubert's only and also unfinished oratorio "Lazarus" is stylistically related to his operas. Among Schubert's secular choral and vocal ensemble works, pieces for amateur performance predominate. “Song of the Spirits over the Waters” for eight male voices and low strings to the words of Goethe (1820) stands out with its serious, sublime character.

Instrumental music

When creating music of instrumental genres, Schubert naturally focused on Viennese classical examples; even the most original of his early symphonies, the 4th (with the author's subtitle "Tragic") and 5th, are still marked by the influence of Haydn. However, already in the Trout Quintet (1819) Schubert appears as an absolutely mature and original master. In his major instrumental opuses, a large role is played by lyrical song themes (including those borrowed from Schubert’s own songs - as in the “Trout” quintet, “Death and the Maiden” quartet, “Wanderer” fantasy), rhythms and intonations of everyday music. Even Schubert's last symphony, the so-called "Grand" symphony, is based primarily on song-and-dance thematics, which it develops on a truly epic scale. Stylistic features, which originate from the practice of everyday music-making, are combined in the mature Schubert with detached prayerful contemplation and sudden tragic pathos. In Schubert's instrumental works, calm tempos predominate; Bearing in mind his penchant for a leisurely presentation of musical thoughts, R. Schumann spoke of his “divine lengths.” The peculiarities of Schubert's instrumental writing were most impressively embodied in his last two major works - the String Quintet and the Piano Sonata in B major. An important area of Schubert's instrumental creativity consists of musical moments and improvisations for piano; The history of romantic piano miniatures actually began with these pieces. Schubert also composed many piano and ensemble dances, marches, and variations for home music playing.

The composer's legacy

Until the end of the 19th century. much of Schubert's vast legacy remained unpublished and even unperformed. Thus, the manuscript of the “Big” Symphony was discovered by Schumann only in 1839 (this symphony was first performed in the same year in Leipzig under the baton of F. 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, compiled by O. E. Deutsch (1951), includes about 1000 items, including 6 masses, 8 symphonies, about 160 vocal ensembles, over 20 completed and unfinished piano sonatas and over 600 songs for voice and piano.

Biography

Childhood

Schubert struggled with mathematics and Latin in his studies, and in 1813 he decided to leave the chapel. Schubert returned home, entered a teachers' seminary, and then got a job as a teacher at the school where his father worked. In his spare time, he composed music. He studied mainly Gluck, Mozart and Beethoven. He wrote his first independent works - the opera "Satan's Pleasure Castle" and the Mass in F major - in 1814.

Maturity

Schubert's work did not correspond to his calling, and he made attempts to establish himself as a composer. But publishers refused to publish his works. In the spring of 1816, he was denied the post of bandmaster in Laibach (now Ljubljana). Soon Joseph von Spaun introduced Schubert to the poet Franz von Schober. Schober arranged for Schubert to meet the famous baritone Johann Michael Vogl. Schubert's songs performed by Vogl began to enjoy great popularity in the Viennese salons. In January 1818, Schubert's first composition was published - the song Erlafsee(as a supplement to the anthology edited by F. Sartori).

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.

Recent years

Schubert's first grave

Creation

Schubert's creative heritage covers a variety of genres. He created 9 symphonies, over 25 chamber instrumental works, 15 piano sonatas, many pieces for piano for two and four hands, 10 operas, 6 masses, a number of works for choir, for vocal ensemble, and finally, about 600 songs. During his lifetime, and for quite a long time after the composer’s death, he was valued mainly as a songwriter. Only from the 19th century did researchers begin to gradually comprehend his achievements in other areas of creativity. Thanks to Schubert, the song for the first time became equal in importance to other genres. Her poetic images reflect almost the entire history of Austrian and German poetry, including some foreign authors.

In 1897, the publishers Breitkopf and Hertel published a critical edition of the composer's works, whose chief editor was Johannes Brahms. Twentieth-century composers such as Benjamin Britten, Richard Strauss, and George Crum were either persistent popularizers of Schubert's music or made allusions to it in their own music. Britten, who was an accomplished pianist, accompanied performances of many of Schubert's songs and often played his solos and duets.

Unfinished Symphony

The exact date of creation of the symphony in B minor (Unfinished) is unknown. It was dedicated to the amateur musical society in Graz, and Schubert presented two parts of it in 1824.

The manuscript was kept for more than 40 years by Schubert's friend Anselm Hüttenbrenner, until the Viennese conductor Johann Herbeck discovered it and performed it at a concert in 1865. The symphony was published in 1866.

It remains a mystery to Schubert himself why he did not complete the “Unfinished” Symphony. It seems that he intended to bring it to its logical conclusion, the first scherzos were completely finished, and the rest were discovered in sketches.

From another point of view, the “Unfinished” symphony is a completely completed work, since the circle of images and their development exhausts itself within two parts. Thus, at one time Beethoven created sonatas in two parts, and later works of this kind became common among romantic composers.

Currently, there are several options for completing the “Unfinished” Symphony (in particular, the options of the English musicologist Brian Newbauld). Brian Newbould) and Russian composer Anton Safronov).

Essays

Octet. Schubert's autograph.

Piano Sonata - Moderato

Piano Sonata - Andante

Piano Sonata - Menuetto

Piano Sonata - Allegretto

Piano Sonata - Moderato

Piano Sonata - Andante

Piano Sonata - Scherzo

Piano Sonata - Allegro

Mass in G, movement 1

Mass in G, movement 2

Mass in G, movement 3

Mass in G, movement 4

Mass in G, movement 5

Mass in G, movement 6

Impromptu in B-flat, movement 1

Impromptu in B-flat, movement 2

Impromptu in B-flat, movement 3

Impromptu in B-flat, movement 4

Impromptu in B-flat, movement 5

Impromptu in B-flat, movement 6

Impromptu in B-flat, movement 7

Impromptu in A-flat, D. 935/2 (Op. 142 No. 2)

Der Hirt auf dem Felsen
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Operas - Alfonso and Estrella (1822; staged 1854, Weimar), Fierrabras (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; staged 1978, Vienna), The Twin Brothers (1820, Vienna), The Conspirators, or Home War (1823; staged 1861 , Frankfurt am Main);
Music for plays - The Magic Harp (1820, Vienna), Rosamund, Princess of Cyprus (1823, ibid.);
For soloists, choir and orchestra - 7 masses (1814-1828), German Requiem (1818), Magnificat (1815), offertories and other spiritual works, oratorios, cantatas, including Miriam's Victory Song (1828);
For orchestra - symphonies (1813; 1815; 1815; Tragic, 1816; 1816; Small C major, 1818; 1821, unfinished; Unfinished, 1822; Major C major, 1828), 8 overtures;
Chamber instrumental ensembles - 4 sonatas (1816-1817), fantasy (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 (1811-1826), Trout piano quintet (1819?), string quintet ( 1828), octet for strings and winds (1824), etc.;
For piano 2 hands - 23 sonatas (including 6 unfinished; 1815-1828), fantasy (Wanderer, 1822, etc.), 11 impromptu (1827-28), 6 musical moments (1823-1828), rondo, variations and other pieces, over 400 dances (waltzes, ländlers, German dances, minuets, ecosaises, gallops, etc.; 1812-1827);
For piano 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 voice and piano, (more than 600) including the cycles “The Beautiful Miller's Wife” (1823) and “Winter Retreat” (1827), the collection “Swan Song” (1828), “The Third Song of Ellen” (“Ellens dritter Gesang” , also known as Schubert's "Ave Maria").

In astronomy

Asteroid (540) Rosamund is named after Franz Schubert's musical play Rosamund (English) Russian , opened in 1904.

Notes

Now part of Alsergrund, Vienna's 9th district.
Schubert Franz. Collier's Encyclopedia. - Open society. 2000.. Archived from the original on May 31, 2012. Retrieved March 24, 2012.
Walther Dürr, Andreas Krause (Hrsg.): Schubert Handbuch, Bärenreiter/Metzler, Kassel u.a. bzw. Stuttgart u.a., 2. Aufl. 2007, S. 68, ISBN 978-3-7618-2041-4
Dietmar Grieser: Der Onkel aus Preßburg. Auf österreichischen Spuren durch die Slowakei, Amalthea-Verlag, Wien 2009, ISBN 978-3-85002-684-0, S. 184
Andreas Otte, Konrad Wink. Kerners Krankheiten großer Musiker. - Schattauer, Stuttgart/New York, 6. Aufl. 2008, S. 169, ISBN 978-3-7945-2601-7
Kreissle von Hellborn, Heinrich (1865). Franz Schubert, pp. 297-332
Gibbs, Christopher H. (2000). The Life Of Schubert. Cambridge University Press, pp. 61-62, ISBN 0-521-59512-6
For example, Kreisl, on page 324, describes the interest in Schubert's work in the 1860s, and Gibbs, on pages 250–251, describes the scale of the celebrations for the composer's centenary in 1897.
Liszt, Franz; Suttoni, Charles (translator, contributor) (1989). An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835-1841. University of Chicago Press, p. 144. ISBN 0-226-48510-2
Newbould, Brian (1999). Schubert: The Music and the Man. University of California Press, pp. 403-404. ISBN 0-520-21957-0
V. Galatskaya. Franz Schubert // Musical literature of foreign countries. Vol. III. - M.: Music. 1983. - P. 155
V. Galatskaya. Franz Schubert // Musical literature of foreign countries. Vol. III. - M.: Music. 1983. - P. 212

Literature

Glazunov A.K. Franz Schubert. App.: Ossovsky A.V. Chronograph, list of works and bibliogr. F. Schubert. - M.: Academia, 1928. - 48 p.
Memories of Franz Schubert. Comp., translation, preface. and note.

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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.

Austria

At the age of eleven, Franz was accepted into the Konvict - the court chapel, where, in addition to singing, he studied playing many instruments and music theory (under the guidance of Antonio Salieri). Leaving the chapel in the city, Schubert got a job as a teacher at a school. He studied mainly Gluck, Mozart and Beethoven. He wrote his first independent works - the opera "Satan's Pleasure Castle" and the Mass in F major - in the city.

Why didn't Schubert complete the symphony?

Sometimes it is difficult for an ordinary person to understand the lifestyle that creative people lead: writers, composers, artists. Their work is of a different kind than that of artisans or accountants.

Franz Schubert, an Austrian composer, lived only 31 years, but wrote more than 600 songs, many beautiful symphonies and sonatas, and a large number of choirs and chamber music. He worked very hard.

But the publishers of his music paid him little. The lack of money haunted him all the time.

The exact date when Schubert composed the Eighth Symphony in B minor (Unfinished) is unknown. It was dedicated to the musical society of Austria, and Schubert presented two parts of it in 1824.

The manuscript lay there for more than 40 years until a Viennese conductor discovered it and performed it at a concert.

It has always remained a mystery to Schubert himself why he did not complete the Eighth Symphony. It seems that he was determined to bring it to its logical conclusion, the first scherzos were completely finished, and the rest were discovered in sketches. From this point of view, the “Unfinished” symphony is a completely finished work, since the circle of images and their development exhausts itself within two parts.

Essays

Octet. Schubert's autograph.

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), The Conspirators, or Home War (1823; production 1861, Frankfurt am Main);
Music for 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 major, 1818; 1821, unfinished; Unfinished, 1822; Major C major, 1828), 8 overtures;
Chamber instrumental ensembles- 4 sonatas (1816-17), fantasy (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 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 others plays, over 400 dances (waltzes, landlers, German dances, minuets, ecosaises, gallops, etc.; 1812-27);
For piano 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 voice and piano, (more than 600) including the cycles The Beautiful Miller's Wife (1823) and Winter's Journey (1827), the collection Swan Song (1828).

Bibliography

Konen V. Schubert. - ed. 2nd, add. - M.: Muzgiz, 1959. - 304 p. (Most suitable for an initial introduction to the life and work of Schubert)
Wulfius P. Franz Schubert: Essays on Life and Work. - M.: Muzyka, 1983. - 447 pp., ill., notes. (Seven essays on the life and work of Schubert. Contains the most detailed index of Schubert’s works in Russian)
Khokhlov Yu. N. Schubert's songs: Features of style. - M.: Music, 1987. - 302 pp., notes. (The creative method of Schubert is explored based on the material of his songs, and a description of his songwriting is given. Contains a list of more than 130 titles of works about Schubert and his songwriting)
Alfred Einstein: Schubert. Ein musikalisches Portrit, Pan-Verlag, Zrich 1952 (als E-Book frei verfügbar bei http://www.musikwissenschaft.tu-berlin.de/wi)
Peter Gülke: Franz Schubert und seine Zeit, Laaber-Verlag, Laaber 2002, ISBN 3-89007-537-1
Peter Härtling: Schubert. 12 moments musicaux und ein Roman, Dtv, Munich 2003, ISBN 3-423-13137-3
Ernst Hilmar: Franz Schubert, Rowohlt, Reinbek 2004, ISBN 3-499-50608-4
Kreissle, "Franz Schubert" (Vienna, 1861);
Von Helborn, "Franz Schubert";
Rissé, "Franz Schubert und seine Lieder" (Hannover, 1871);
Aug. Reissmann, “Franz Schubert, sein Leben und seine Werke” (B., 1873);
H. Barbedette, "F. Schubert, sa vie, ses oeuvres, son temps" (P., 1866);
Mme A. Audley, “Franz Schubert, sa vie et ses oeuvres” (P., 1871).

Links

Schubert's Catalog of Works, Unfinished Eighth Symphony (English)
NOTES (!)118.126MB, PDF format Complete collection of Schubert's vocal works in 7 parts in the Sheet Music Archive of Boris Tarakanov
Franz Schubert: Sheet music of works at the International Music Score Library Project

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Schubert Franz Peter- Franz Peter Schubert Franz Peter Schubert Lithograph by Joseph Kriehuber Date of birth January 31, 1797 Place of birth Vienna Date of death ... Wikipedia

Schubert F.- Franz Peter Schubert Franz Peter Schubert Lithograph by Joseph Kriehuber Date of birth January 31, 1797 Place of birth Vienna Date of death ... Wikipedia

Schubert Franz Peter- Schubert Franz Peter (31.1.1797, Lichtenthal, near Vienna, ‒ 19.11.1828, Vienna), Austrian composer. Genus. in the family of a school teacher. His first musical mentors were his father (violin), older brother Ignaz (piano), regent... ... Great Soviet Encyclopedia

Schubert- (German Schubert, Czech Šubrt, Polish Szubert) surname; Schuberts noble family Famous speakers Schubert, Bernice Guiduz (1913 2000) American botanist. Schubert, Vaclav (1825 1885) Czech Protestant religious... ... Wikipedia