The names of the works of Schubert. Franz Schubert: biography, interesting facts, video, creativity
"Big Symphony" Franz Schubert
Throughout life and long enough after death was the personification of the non-understanding genius, and not achieving recognition. Only friends and loved ones were admired by his music, and most of the works were found and published many years after his untimely death.
Frustrated, ever need Schubert Created Divine Music. Being not very happy, staying alone and feeling isolated from around the world, he wrote wondrous, filled with freshness music. So who was this low, a short-sighted, who lived a short life of the Skitalets, named at birth Franz Peter Schubert?
Junior sons
Schubert family from Austrian Silesia. The composer's father moved to Vienna and after time he became director of the school in the suburb of Lichtental. He married a girl from his village that worked as the cook. The funds in the family lacked, although it is impossible to say that they lived in poverty. 14 children were born in marriage, of which only five survived. The youngest of the sons was Franz Peter Schubert.
Thanks to his ability to play different tools, as well as devotion to music, Schubert Soon received an increase - the post of first violin. He also had to conduct an orchestra if there was no chief conductor.
Irresistible desire
His music sought to go out, but he kept his impulses secret. Nevertheless it was very difficult to resist the impulse to compose. Thoughts covered streams FranzAnd he never had enough note paper to record everything that was torn out.
Almost all life Schubert Lived, if not in need, then with disabilities, but especially acute, he always lacked a tank paper. Already at the age of 13, he wrote incredibly a lot: Sonata, Mass, songs, Opera, Symphonies ... Unfortunately, only some of these early works saw the light.
W. Schubert There was an amazing habit: to mark the exact date on notes when he began to compose the work and when he finished. It is very strange that in 1812 he wrote only one song - "sad" - a small and not the most outstanding work. It is difficult to believe that no song has come out of the composer's feather in one of the most fruitful years of his work. Maybe, Schubert It was so absorbed by instrumental music that it distracted his attention from his beloved genre. But the list of instrumental and religious music, written in the same year, is just huge.
Schubert
1813 is considered to be the final period of early creativity. In connection with the transition age, the voice began to break, and Franz. no more could sing in court chapel. The emperor allowed him to stay at school, but the young genius did not want to learn anymore. He returned home and at the insistence of his father became an assistant teacher at his school. He fell into a class for the smallest, with children who still do not know how and quickly forget everything. It was unbearably for young genius. He often went out of himself, correcting students with pinks and slaps. Despite his desperate efforts, they were always unhappy.
In this period Schubert I met Teresa Thunder. The daughter of the manuff trainer, to put it mildly, was not beautiful - whitening, with faded, like many blond eyebrows, with traces of transferred smallpox on her face. She sang in the church choir, and as soon as the music began to sound - Teresa was transformed from a dug in a note girl, illuminated by the inner light. Schubert I could not stay indifferent and in 1814 I decided to marry. However, material difficulties prevented him from the family. Schubert With a penny salary of the school teacher, Teresa was not arranged, and that, in turn, could not go against the parent will. Puckoo, she married a pastryer.
End of routine
Having devoted himself to tedious work, Schubert Neither for a moment no longer worked on what was given to him from birth. Its performance as a composer just amazes. 1815 is considered the most productive year in life Schubert.
He wrote more than 100 songs, half a dozen operas and operetta, a few symphony, church music and so on. At this time he worked a lot with Salieri. Now it is difficult to even imagine how and where he found time to compose. Many songs written during this period became the best in his work, which is even more amazing, so this is what he wrote sometimes at 5-8 songs per day.
In late 1815 - early 1816 Schubert Posted by one of his best songs "King Earl" on poems Ballades Goethe. He read it twice, and the music just watered out of it. The composer hardly managed to record notes. One of the friends found him in the process, and on the same evening the song was performed. But after that, the work broke down in the table for 6 years while did not fulfill her at the concert at the Opera House. And only then the song received instant recognition.
For 1816, a lot of works are written, although the opera genre is somewhat moved away in front of the songs and cantata. Cantata "Prometheus" was written to order, and for her Schubert I received my first fee, 40 Austrian Florin (very small amount). This composer's work disappeared, but those who listened, noted that Cantata was very good. Self Schubert It was very pleased with this work.
Three years have passed in infinite self-regulations and unprecedented selflessness and finally Schubert Decided to free himself from connecting his position. And even if for this it was necessary to leave Vienna, quarrel with his father, he was ready for everything.
New familiar Franz
Franz von Schever
In December 1815, it was decided to attach musical to normal school in Leiban. Opened the post of teacher with meager, only 500 Viennese Florins, salary. Schubert submits an application, and although it was supported by a very weighty recommendation from Salieri, I was appointed another, and the plan of escape from the house collapsed. However, help came from where they did not wait.
Student Schoberborn in Sweden and who arrived in Germany was so amazed by songs Schubertthat I decided by anything to get acquainted with the author. Seeing as absorbed by the work of the teacher's assistant, the composer corrects the mistakes of small students, Schober I decided to save a young genius from a hated closed circle of everyday duties and offered to take one of the rooms of the apartment, which was removed. So they did, and after a while Schubert Cut with the poet Mayrhofer, many verses of which then put on music. So began friendship and intellectual communication between the two talents. In this friendship there was a third, not a member - , famous performer of the Viennese opera.
Schubert becomes famous
Johann Michael Fogl
Songs Franz More and more attracted the singer, and one day he came to him without an invitation and looked through his work. friendship Schubert from Phogle Has a huge impact on the young composer. Fogl helped him in choosing the poems for songs, recited poems with an expression to music written SchubertMaximum emphasized ideas expressed in verses. Schubert came to K. Foglu In the morning, and they or composed together, or adjusted already written. Schubertvery relied on a friend's opinion, and took most of his comments.
The fact that not all comments improved the work of the composer, it can be seen from the manuscripts of some songs written Schubert. The young and passionate genius does not always captivate the taste and needs of the public, but the practitioner is usually better understanding its requirements. Johan Fogl was not exactly the corrector in which genius needed, but on the other hand, he became those who did Schubert famous.
Vienna - Kingdom of Piano
Starting from 1821 for three years Schubert He wrote mostly dance music. At the same time, the composer was ordered to write two additional parts for the opera Herold "Bell, or Devil-Page", for which he took up with great pleasure, because he really wanted to write something dramatic.
Natural spread of music popularity Schubert It took place through the musical circles that were open to him. Vienna deserved a reputation in the center of the musical world. 
In each house, the piano was an indispensable part of the evening meetings, on which there were a lot of music, dancing, reading and discussions. Schubert It was one of the most famous and desired guests at the congregions of the Bidermeryer Vienna.
Typical "Schubertiada" consisted of music and entertainment, unobtrusive conversation, misguiding guests. As a rule, it all started with the performance of songs Schubert, often only written and under the composer accompaniment, after which Franz. And his friends played piano by duets or with a cheerful vocal accompaniment. Schubertiada was often sponsored by high-ranking officials. It was the happiest time in the life of the composer.
The year 1823 was one of the most productive and important in the musical sense of years in life Schubert. He spent him in Vienna, working tirelessly. As a result, the Drama "Rosamund", Opera "Fjerabras" and "Zingcpil" were written. It was during this period that the delicious cycle of songs "Beautiful Mellenchikha" was written. Many of these songs are created in the hospital, where he was due to a strong disease that developed after Syphilis infection.
Fear of tomorrow
A year later, everything that happened in the life of the composer, it was clearly reflected in his records and obviously demonstrated all signs of depression, and stronger and stronger absorbing Schubert. 
Broken hopes (especially associated with its operations), hopeless poverty, poor health, loneliness, pain and disappointment in love - all this led to despair.
But the most awesome was that this depression was not at all affected its performance. He does not stop writing music, creating a masterpiece for a masterpiece.
In 1826. Schubert I received a letter of gratitude with the hundreds of Florins attached to him from the Committee of Music Lovers Committee for the tireless admiration of the composer's works. In response to this year later Schubert I sent my nine symphony, which, as admitted, is considered one of his best works. However, the company's performers considered work too difficult for them, and rejected it as "unsuitable for execution." It is noteworthy that the same definition was often obtained later Beethoven. And in both cases, only the next generations were able to appreciate the "difficulties" of these works.
End of the path of Franz Schubert
Sometimes he was tormented by headaches, but did not foresee anything serious. By September 1828 Schubert Felt constant dizziness. Doctors advised a calm way of life and spend more time in the fresh air.
On November 3, he overcame a long distance to listen to Latin Requiem, written by his brother, the last work heard Schubert. Returning home, after a 3-hour walk, he complained of exhaustion. Syphilis, who was infected by the composer for 6 years, moved to the last stage. The circumstances of infection are not known for certain. He was treated mercury, which, most likely, was the cause of dizziness and headaches.
the room in which Schubert died
The state of the composer has worsened dramatically. His consciousness began to lose touch with reality. Once he began to demand that he would be allowed to leave the room where he was, because he does not understand where he and why he was here.
he died in 1828, without surviving up to his 32th anniversary. He was buried not far from Beethoven, in front of which he bowed all his short life.
Tragically left this world early, leaving him invaluable heritage. He created amazing music touched by the manifestation of feelings and warming soul. None of the nine symphones of the composer was filled with his life. From the six hundred songs was printed about two hundred, and from two tens of piano sonatas - only three.
FACTS
"When I want to teach him something new, I find out that he already knows it. It turns out that I do not teach him anything, just watching him in a mad delighted, "said the teacher of Choir Mikael Holser. Despite this remark, quite exactly it is known that under his leadership Franz. improved his skills on bass, 
Piano and organ.
The delightful soprano and the skill of possession of the violin could not forget nobody, who at least once heard Franz Schubert.
On holidays Franz. He adored to go to the theater. Most of all he liked the Opera Vajl, Cherubini, glitch. As a result, the boy himself began to write opera.
Schubert He felt deep respect and respect for talent. Once, having fulfilled one of his works, he exclaimed: "I wonder if I can ever write something really worthy." To which one of his friends noticed that he had already written not one very decent job. In response to this, Schubert said: "Sometimes I think who can even hope to write something worthwhile after Beethoven?!».
Updated: April 13, 2019 by the author: Elena
Franz Peter Schubert was a representative of the flow of musical romanticism in Austria. In his works, a long-lasting ideal sounded, which was so lacking in real life. Music Schubert, cardiac and sincere, took a lot from traditional folk art. Its works are distinguished by melodic and harmony, a special emotional attitude.
Franz Peter Schubert (Franz Peter Schubert) He was a representative of the flow of musical romanticism in Austria. In his works, a long-lasting ideal sounded, which was so lacking in real life. Music Schubert, cardiac and sincere, took a lot from traditional folk art. Its works are distinguished by melodic and harmony, a special emotional attitude.
Schubert was born on 01/3/1797, in the family Franz Theodore Schuberta - School teacher and amateur cellist. A boy from an early age loved music and easily mastered musical instruments. Young Schubert sang perfectly - he had a great voice in his childhood - therefore in 1808 he was accepted into the imperial chapel. He received a general education at the School-board of Convict. In the school orchestra, Schubert was a second violin, but Latin and Mathematics were not easy for him.
From Choir Capelet Capeert was expelled in adolescence. In 1810, Schubert began writing music. For 3 years, he composed a few plays for piano, symphony and even opera. Young giving a famous himself Salieri. (He was engaged in Schubert on the composition of 1812-17)
Since 1813, Schubert taught at school. In that year, he composed his first famous masterpiece - the song Gretchen am Spinnrade ("Gretchen for a spicy") on the poems Goethe.
In 1815-16. Schubert wrote many works: more than one and a half hundred songs, several instrumental quartets and symphony, four operetta, two mass. In 1816, his famous fifth symphony "SI BIMOL MAZHOR" was written, the songs of "Forest King" and "Skitalets".
The composer fell good luck to get acquainted with the famous singer Bariton M. Fogl. Fogl began to perform Schubert songs, and they soon gained popularity in all Viennese salons.
In the summer of 1818, Schubert left the service at school and went to the residence of the famous love connoisseur, the patron - graph Johann Estergazi. There he was engaged in teaching and continued to write music. During this period, sixth symphony was created. Returning to Vienna, the composer received a favorable order for the Twin Brothers Operette. The premiere of the musical performance took place in 1820 - she was successful.
The next two years were difficult for the composer financially. He did not know how to seek the favor of patrons of patrons. In 1822, he finished work on the Opera "Alfonso and Estrell", but it was never supplied.
During 1823, the composer pursued heavy diseases. Despite physical weakness, he wrote two more operas. These works also did not see the scenes. The composer did not fall in spirit and continued to create. Music to the Plays Rosamund and a song cycle called "Beautiful Mellenchikha" were perfectly accepted by listeners. Schubert again left to teach in the Estergazy family and there, in the country's princely residence, a little corrected his health.
In 1825, the composer toured a lot with the Vogel in Austria. At that time, a vocal cycle was written to Scott's words, which entered the famous Oda "Ave Maria".
Songs and Schubert's vocal cycles were known and popular in Austria - both among the noble public and among the simple people. In many private houses, evenings were held, devoted to the exclusively creations of the composer - "Schubertiada". In 1827, the composer created the famous cycle "Winter Way".
The health of the composer, meanwhile, was getting worse. In 1828, he felt signs of another severe disease. Instead of paying attention to the health status, Schubert feverly continued to work. At this time, the main masterpieces of the composer saw the light: the famous "Symphony to Major", Quintet "to Major" for string tools, three piano sonates and a vocal cycle with the symbolic name "Swan Song". (This cycle was published and executed after the collapse death).
Not all publishers agreed to publish the writings of Schubert, it happened, he was unreasonably small. He did not give up and worked until recent days.
Schubert died on November 19, 1828. The cause of death was TIP - the body of the composer could not cope with the illness. I buried him next to Beethoven, but later ash was transferred to the central cemetery of Vienna.
The composer lived only 31 years old, but his contribution to the musical heritage of the XIX century is huge. He worked a lot in the song and romance genre; They were written about 650 songs. At that time, German poetry was worried - she became the source of his inspiration. Schubert took poetic texts and with the help of music attached to them their own context, a new meaning. For his songs, it was characterized by direct impact on the listeners - they became not observers, but participants in the plot of the musical composition.
Not only in the song, but and the orchestral genre Schubert managed to do a lot. His symphonies introduce listeners to a new, distinctive musical world, far from the classic style of the XIX century. All its orchestral works are characterized by the brightness of emotions, a huge force of exposure.
The harmonious inner world of Schubert is reflected in his chamber works. The composer often wrote the plays to perform four hands, intended for "home" use. His trio, quartets, quintes conquer frankness and emotional openness. That was Schubert - he had nothing to hide from his listener.
Piano Sonatas Schubert in their emotional heat and skill are inferior only by Beethovensky. In them, traditional songs and dance forms are combined with classic musical techniques.
All works of Schubert are permeated with charm of his beloved city - the old vein. During his life, he did not always have ever accounted for, and Vienna did not always appreciate his talent for dignity. After his death there were many unnecessary manuscripts. Musicians and critics, friends, relatives of the composer put a lot of effort to find, embody and publish a significant amount of its works. The popularization of this wonderful music continued for a century. She led to the world recognition of musical genius - Franz Peter Schubert.
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Franz Schubert was born on January 31, 1797 in the suburb of Vienna - Likhtental. His father, school teacher, took place from the peasant family. Mother was a follower of a locksmith. The development of the musical abilities of Schubert in childhood contributed to the surrounding Music environment of the family. Father played a cello, and brothers on various tools. The house constantly sat down musical evenings.
Having found musical abilities from a little Franz, father and elder brother Ignac began to train his violin and piano. Soon, the boy was able to take part in the home execution of string quartets, playing the party of Alta. France possessed an excellent voice. He sang in church church, performing difficult solo parties.
At eleven years, he was determined in Convict - the school of training church singers, where, besides singing, they studied the game on many tools and the theory of music (under the guidance of the famous court composer Salieri). There he played a violin, in the orchestra, sang in the choir, participated in chamber ensembles.
Already in those years, Franz Schubert began to compose. His first works - fantasy for the piano, a number of songs. On October 28, 1813, he finished his first symphony of re-major. Study begins to interfere with creativity and Schubert decides to leave the convict to completely surrender to music.
In 1814-1818. Schubert works as a teacher's assistant at the Father's school, teaching children by literacy and other initial subjects. But the attraction of it to music, the desire to compose is becoming more stronger. In his free time, he composed his first Mass and put on the music a poem Goethe "Gretchen for a spicy".
The years 1815-1816 are notable for the phenomenal productivity of young genius. In 1815, he composed two symphonies, two masses, four operetta, several string quartets and about 150 songs. In 1816, two more symphonies appeared - the tragic and often sounded SI BIMOL Major, as well as more Mesa and over 100 songs. Among the songs of these years - "Skitalets" and the famous "Forest Tsar" (both soon gained universal recognition).
Father's desire to make a teacher's son with a small, but reliable earnings failed. The young composer firmly decided to devote himself to music and in 1818 left teaching at school, then left the family. For several years (from 1817 to 1822), Schubert lived alternately, then from another of his comrades. Gave music lessons, repeatedly tried to get a permanent musical position, but unsuccessfully.
Material adversity, unfortunately, they prevented him to marry his beloved girl. Teresa coffin sang in church church. One did not shine beauty, but it was worth it to sound music, like a colorless face of the girl was transformed, it lived and turned out.
However, dreams went as shock. The mother of Teresa was intervened, who was not satisfied with a penny salary of an assistant school teacher and she gave her daughter to marry a confectioner.
Around Schubert there was a circle of friends - fans of his creativity, which provided him with fullness of material assistance (official J. Schapown, Poet-amateur F. Schober, Poet I. Mayrhofer, Artist M. Schvind, Poet and Comediographer E. Bauernfeld, composer A. Huittenbrenner and etc.). The singer M. Fogl became the propagandist songs of Schubert. In the circle of friends and acquaintances, the writings of Schubert were fulfilled on their own; Such evenings were called "Schubertiad".
The soul of this mug was Schubert. Little growth, dense, chunky, very short, Schubert possessed a huge charm. Especially good were his radiant eyes, in which, as in the mirror, they reflected the kindness, shyness and softness of character. A gentle, variable complexion and curly brown hair gave it a special appeal to his appearance.
Remembering these evenings, SchubertPisal: "We cozy all together and with the mother's joy demonstrated to a friend of children of their inspiration, not without anxiety, waiting for the sentence dictated by love and justice ... One inspired the other, and the universal desire for the wonderful concurrent." Here were hot and long disputes about modern art and his fate, about the vocation, about the role and responsibility of the artist, about the life of the people and the intelligentsia, about the situation in the country. " Thanks to Schubertiad, his songs began to spread.
Schubert's performance is striking. He worked systematically, day after day. "I compose every morning when I finish one play, I start the other," the composer admitted. On some days, he created up to a dozen songs! Musical thoughts were born continuously, the composer barely managed to put them on paper. Music attended him and in a dream. Awakening, he sought to write it more soon, so he did not part with the glasses even at night. And if the work was not poured immediately into the perfect and finished shape, the composer continued to work on it until he was completely satisfied. So, on some poetic texts Schubert wrote up to seven songs!
In 1818 and 1824. As a Music Teacher, Schubert visited Hungary, where he listened to the People's Hungarian and Gypsy music; In 1819, 1823 and 1825. Was with a fogle in Upper Austria, in 1827 he visited Graz. Schubert songs have gained great fame. In 1823 he was elected an honorary member of the Schini and Larthy Music Unions.
In 1822, Schubert writes one of his best works - the seventh "unfinished symphony", and in the next - masterpiece of vocal lyrics, cycle of 20 songs "Beautiful Mellenchikha". It was in these works that a new direction was expressed with an exhaustive fullness in music - romanticism.
At this time, thanks to the efforts of friends, Schubert came up with his father and returned to the family. But family idyll was short - in two years later, Schubert leaves again to live separately, despite his complete impracticality in everyday life. Calusing and naive, he often became a victim of his publishers who made up on it. The author of a huge number of writings, and in particular songs, which in the Burgers circles still became popular with his life, he barely reduced ends with the ends.
More and more Schubert is immersed in despair and loneliness: the circle collapsed, his friends became people family, with the position in society. "What will happen to me ... - he wrote, - I probably will have to take old age as the hetevsky harness, Walking out of the door to the door and ask for laying on the bread ... ".
He had a lot of life for the last years, disagreened, but his creative activity did not weaken. Even on the contrary - the music of it is getting deeper, large-scale and expressive.
In 1828, the only concerts of his works were organized by the efforts of the friends of Schubert. The concert had a huge success and brought great joy to the composer. His plans for the future became more rainbow. Despite the shameless health, he continues to compose. The end came unexpectedly. Schubert fell ill with a typhoid. The weakened organism could not stand heavily illness, and on November 19, 1828, Schubert died. The remaining property was rated for pennies. Many writings disappeared. The famous poet of that time Grillparter, writing a year earlier by the gravestone Beethoven, wrote on a modest monument to Schubert at the Vienna Cemetery:
"Here the music buried not only the rich treasure, but also implausible hopes."
Schubert lived only thirty-one. He died exhausted physically and soulful, exhausted failures in life. None of the nine symphones of the composer was filled with his life. From the six hundred songs was printed about two hundred, and from two tens of piano sonatas - only three.
Musical Heritage:
Operas: "Bail"(Die Burgschaft, Libretto of an unknown author in Schiller's ballad, neoconated, 1816), Sakuntala(Libretto I. F. Neuman on Ind. Piese Kalidas, sketches 2 acts, 1820), "Alfonso and Estrell"(Libretto F. Schever, 1821-1822), "Fjerabras"(Libretto Y. Kontaudvizer in the eponymous antique French romance and the German legend "Eagingard and Emma", 1823), "Count von Glyahen"(Libretto E. Bauernfeld on the fairy tale I.K.A.Muzeus "Malehzala", not finished, 1827-1828)
Zingshpili: "Knight of the Mirror"(Der Spiegelritter, Libretto A. Ko-Zebu; not finished approx. 1811-1812), "Miscean Castle Satan"(Des Teufels Lustschloss, Libretto Kotsebu, 1814), "Four years as a post" (Der Vierjahrige Posten, Libretto T. Kerner, 1815), "Fernando"(Libretto A. Stadler, 1815), "Claudine von Villa Bella"(Libretto Goethe, 1815, preserved 1st out of 3 acts), "Friends with Salamanca"(Die Freunde Von Salamanka, Libretto I. Mayrhofer, 1815), "Adraist" (Libretto Mayrhofer, not completed, between 1817 and 1819), "Gemini Brothers"(Die ZwillingsBirdder, Libretto of the city of Hofman, 1819), "Conspirators(Die verschworenen), or home war " (Der Hausli-Che Krieg, Libretto I. F. Castelli by Comedy Aristofan "Ecclesiatsuse" and "Lisitrate", 1823), "Magic Harp"(Die Zauberharfe, Piez Hofman with S. music, 1820), "Rosamunda, Princess Cyprus"(Rosamunde, FBRStin Von Zypern, Piez V. Szezi with Schubert music, 1823); duet and Aria to the comic opera Gerold "Magic Bell", German words F. Traychka (1821, executed 1821, Vienna, "KerntertertorTeater")
Works for soloists, choir and orchestra:7 MESS.(1812, Fragments are preserved; 1 - 1814; 2-1815 g.; 1816; 1819-1822; 1828), "German Requiem"(German mourning Mesa, 1818, published in 1826 as writings of Ferdinand Schubert), "German Mass" (1827), 6 Tantum Ergo.(1814; 2 - 1816; 1821; 1822; 1828), 4 Kyrie Eleison.(1812; 3 - 1813), magnificat (1815), 3 Offer Training(1815, 1815, 1828); 2 Stabat Mater.(1815, Latin; 1816, German), etc.
Osoria and Cantata: " Who is great? " (Wer Ist Gross?, 1814), "Name Day F. M. Firtalera, or congratulatory Cantata"(Namensfeier Fur F. M. Vierthaler, Oder Gratulati-Ons-Kantate, 1815), "Offering to the 50th anniversary of Salieri"BEITRAG ZUR FINFZIGJAHRIGEN JUBELFEIER DES HERRN SALIERI, C Piano, 1816), "In honor of Josef Spendou"(Zu Ehren von Josef Spendou, Op. 128, 1816), "Ko birthday singer I. M. Fogl, or Spring Morning"(Zum Geburtstag Des Sangers J. M. Vogl, Oder Der FRHLINGS-MORGEN, with piano, 1819), "Lazar, or a celebration of resurrection" (La-Zarus, Oder Die Feier Der Auterstebung, Scenic Oratorio, is not over, 1820), "To the celebration on the occasion of the recovery of Irena Kizhevetter" (Zur Feier Der Genesung Der Irene Kiesewetter, with piano in 4 hands, 1827), "Victory Song of Miriam"(Mirjams SiegesGesang, Grilled Words, for Soprano Solo, Mixed Choir and Piano, 1828)
Works for orchestra: Symphony: №1 (D-DUR, 1813), № 2 (B-DUR, 1814-1815), № 3 (D-DUR, 1815), № 4 (C-Moll, "Tragic", 1816), № 5 (B-DUR, 1816), № 6 (C-DUR, 1818), E-DUR.(not completed, 1821), h-moll("Neoconated", 1822), № 7 (C-DUR, "Big", 1825-1828); overtures(D-DUR, 1811; 2- D-DUR, 1812; B-DUR, 1816; D-DUR., 1817; overtures "in the Italian style" D-DUR and C-DUR, 1817; E-Moll, 1819)
Tools with orchestra: concertorsteuk for violin(D-DUR, 1816), rondo for violin and string orchestra(A-DUR, 1816), polonais for violin (B-DUR, 1817)
Chamber instrumental ensembles: for violin with piano: 3 Sonata(Sonatine, D-DUR, A-Moll and G-Moll, 18) 6), sonata (duet, a-dur, 1817); introduction and variations for flute and piano(E-Moll, on the topic "Dried Flowers" - "Trockne Blumen" from "Beautiful Melnichi", 1824); sonata for Arpeggion and Piano- (A-Moll, 1824); For the piano trio - Nocturne(ES-DUR, OP. 148 *, approx. 1828), piano Trio (B-DUR, OP. 99, approx. 1828; ES-DUR, OP. 100, 1827); strong trio(B-DUR, 1816; B-DUR, 1817); string quartets(G-Moll - B-DUR, 1810-1811; C-DUR, 1812; B-DUR, 1812-1813; C-DUR, 1813; B-DUR, two parts, 1813 .; D-DUR, 1813; ES-DUR, Op. 125 No. L, 1813: C-Moll, Grave and Allegro, 1814; B-DUR, OP. 168, 1814; G- Moll, 1815; E-DUR, 1816; C-Moll, 1st Part, 1820; A-Moll, Op. 29, 1824; D-Moll, "Girl and Death", 1824-1826: G-DUR, Op. 161, 1826); For string quartet - overture(C-Moll, 1811), menuets and German Dances(1813), piano Quintet. (A-DUR, "Trout", approx. 1819); overture for String Quintet(C-Moll, 1811); string Quintet (C-DUR, or. 163, 1828); ocet for wooden and horn(Menuet and Final F-DUR, 1813); ocet for strings and wind(F-DUR, or. 166, 1824); 6 menuettes for brass nonet(D 2D **, 1811, No. 4-6 - in the piano sketch), nonet for winds(ES-Moll, 1813)
Works for piano in 2 hands: Sonata: E-DUR.(1815), C-DUR(not finished, 1815), E-DUR. (1816, part 1 and 2), e-Moll (fragment, approx. 1817),
a-Moll.(Op. 164, 1817), AS-DUR.(1817), e-Moll (1817), DES-DUR. (1817), ES-DUR.(Op. 122, edition of the previous one, 1817), fis-Moll. (1817), H-dur (Op. 147, 1817), C-DUR(not finished, 1818), f-Moll.(1818; ADAGIO Published as OP. 145 No. L), cis-Moll.(not finished, 1819), A-DUR.(Op. 120, 1819 or 1825), a-Moll. (Op. 143, 1823), a-Moll. (Op. 42, 1825), C-DUR("Relic", not finished, 1825), D-DUR. (or. 53, 1825), G-dur (Op. 78, "Fantasie, Andante, Menuetto und Allegretto", 1826), C-Moll, A-DUR, B-DUR (1828)
Fantasy: C-DUR ("Graz", D 605a, approx. 1817), C-DUR (Fragment, between 1821 and 1823), C-DUR "Skitalets"(Op. 15, 1822)
Express: 4 (Op. 90, approx. 1827), 4 (Op. 142, 1827), 3 (three piano pies, 1828); musical moments: 6 (Op. 94, 1823-1828), 2 pieces (not over., D 916 V and C, approx. 1827), rondo E-DUR(or. 145 №2, 1817), ADAGIO G-DUR (1815), ALLEGRETTO C-MOLL (1827), Andante C-DUR(1812) and A-DUR. (1816 or 1817), "Hungarian melody" (1st editors
3rd "Hungarian divertiment", 1824) and others.
Variations:F-DUR(10, 1815), a-Moll on A. Huittenbrenner (13, 1817), c-Moll on Waltz Diabelli (1821)
Dancing:german -12 (Viennese, around 1812), 17 (1816-1824), 16 (Op. 33, 1823-1824), 12 (or. 171, 1823), 6 (1824) , 6 (6. G.) and others; valsa.- 12 (1815-1821, or. 18), 20 (last valsa. - Letzte Walzer, 1815-1823, Op. 127), 36 (first waltza - Erste Walzer, 1816-1821, Op. 9), 34 Sentimental Waltza(Valses Sentimentales, 1823-1824, Op. 50) 12 grazing waltza(1827, Op. 91), 12 noble Waltza (Valses Nobles, b., Op. 77), etc.; landlera -12 (preserved 8, approx. 1815), 17 of the PR. 18 (1815-1821), 8 (B-DUR, 1816), 16 (Vienna Landlers - Wiener Damen-Landler, until 1826, Op. 67), etc.
Menueta: 20 (1813), 3 (from Trio, 1816), etc.
Ecoles:9 (from or. 18, 1815-1821), 12 (1815), 12 (1823) and others; hairs; 3 or 4 Fugues (D 13 and 24 AA, 1812)
Works for piano in 4 hands: sonata B-DUR (or. 30, approx. 1818), C-DUR(Op. 140, Big Duet - Grand Duo, 1824); Overtures: g-Moll.(1819),
f-Moll / F-DUR(Op. 34, 1819); Fantasy: G-dur (1810), g-Moll.(1811), c-Moll.(Big Sonata, 1813), f-Moll. (Op. 103, 1828); Hungarian Divertisment(Divertissement A La Hongroise G-Moll, Op. 54, 1824), French-style divertiment(Divertis-Sement (A LA FRANZAISE)) e-Moll (Op. 63 and 84, 1825), Allegro A-Moll(Life storms - LebensStrme, Op. 144, 1828); Rondo: D-DUR OP. 138. (1818) and A-DUR OP. 107. (1828); Variations: 8 Variations on French Song(E-Moll, or. 10, 1818), 8 variations on the original topic(AS-DUR, or. 35, 1824), 8 variations on the topic from the opera "Maria"Herold (C-DUR, or. 82 (No. 1, 1827), introduction and variations on the original topic(B-dur, or. 82 № 2 ,?); Polonesa: 4 (or. 75, 1818), 6 (or. 61, 1826); 4 Ledlera (1824); Machi: 3 heroic(Trois Marches Hiriques, Op. 27, 1818 or 1824), 3 military(Trois Mareches Militaires, Op. 51, approx. 1818), 6 large(6 Grandes Marches Et Trios, Op. 40, 1818 or 1824), Big funeral(GRANDE MARCHE FUNIBRE (A L "OCCASION DE LA MORTE DE S. M. Alexander i), C-Moll, Op. 55, 1825), Big heroic(Grande Marche Heroique (and L "Occasion du Sacre de S. M. Nicolas i), A-Moll, Op. 66, 1826), 2 characteristic(Deux Marches Caracteques, C-Dur, Op. 121, approx. 1826), Children's march (for F. Pahler, G-DUR, 1827); fuga E-Moll for piano or organ (op. 152, 1828)
Vocal ensembles:vocal tercets: "Lawyers" (Die Advokaten, for 2 tenors and bass with a sopir. Piano, or. 74, 1812: Previously considered the treatment of the Tereste Tereste A. Fisher), "To the names of my father"(Zur Namensfeier Mei-Nes Vaters, 1813, for 2 tenors and bass with a sopir. Guitar) and others with accompanied and non-escort (also canons)
Vocal quartets for 2 tenors and 2 bass:2 (OR. 16, approx. 1822), 3 ("Village" - Das Dorfchen, Clova Burger, "Solovy" - Die Nachtigall, Slova I. K. Unger, "Spirit of Love" - \u200b\u200bGeist Der Liebe, CLOW Mattison , or. 11, 1817-1822), 4 (Op. 17, approx. 1822), Gondolier(Der Gondelfahrer, MaiRhofer, with the support of the piano, or. 28, 1824), 3 (Op. 64, until the summer of 1826), Song of the boatman(Bootgesang, translation from V. Scott, with the support of the piano, or. 52 No. 3, 1825), Pouring song 16th century(Trinklied Aus Dem XVI. Jahrhundert, Words Latin, Op. 155, 1825), etc.
Vocal quintes:for 2 tenors and 3 bass, including: "The one who suffered will understand" (NUR WER DIE SEHNSUCHT KENNT, CLOV GET, 1819), "Moonlight" (Mondenschein, the words of the Schever, with the support of the piano, or. 102, 1826), etc.
For other male votes: " Song songs over waters "(Gesang der Geister Bher Den Wassern, Cherete, for 4 tenors and 4 bass, accompanied by string instruments, or. 167, 1820-1821; Early sketches and incarnations for other compositions -1816, 1817, 1820 g .), "Night shine"(Nachthelle, words I. G. Zaital, for the tenor Solo, 2 tenors, 2 bass and piano, or. 134, 1826), "Night Song in the Forest" and etc.
For 2 soprano and 2 contrateto:23rd Psalm (translated. M. Mendelssohn, with the support of the piano, or. 132, 1820), "God in nature"(GOTT IN DER NATUR, CLOV E. K. Kleista, accompanied by piano, or. 133, 1822)
For other formulations of female votes: " Crowns " (Coronach, translated from V. Scott, for 2 soprano, viola and piano, or. 52 No. 4, 1825), "Serenade"(Standchen, CLOV F. Grill Shepher, for counterproof solo, 2 soprano, 2 contrateto and piano, or. 135, 1827; 1st editors - for counterproof solo, 2 tenors, 2 bass and piano, 1827) and Dr.
For soprano, viola, tenor, bass and piano: " Prayer" and etc.
For other mixed compositions: " Wedding roast " (Der Hochzeitsbreten, Slov F. Schever, for soprano, tenor, bass and piano, or. 104, 1827), "Vera, Hope and Love" (Glaube, Hoffnung Und Liebe, Clova I. A. F. Rilea, for tenor, bass, mixed choir and wind instruments, 1828)
More than 600 songs for voice and piano: on the words of German poets: I. V. Guete - about 70, including "Gretchen for a busty" (Gretchen am Spinurade, Op. 2), "Facile Song Pasta"(Schafers klagelied, or. 3 No. 1; both -1814), "The proximity of the beloved" (Nahe Des Geliebten, Op. 5 No. 2), "Furious love" (Rastlose Liebe, Op. 5 No. L), "Sea quiet" (Meeres Stille Op. 3 No. 2), "Wild Rose"(Heidenroslein, Op. 3 No. 3), "By the month" (AN DEN MOND, 2nd embodiment; all -1815), "Forest King" (Erl-Konig, Op. L), "King in Foula" (Der Konig in Thule, Op. 5 No. 5), "Evening Song Hunter"(Jagers Abendlied, Op. 3 No. 4), "CHINTER KROMOSU" (An Schwager Kronos, Op. 19 No. L; all -1816), "GAMINED"(Op. 19 No. 3, 1817), "Prometheus" (1819), "The borders of mankind" (Grenzen der Menschheit), "Zulika I"(Op. 14 No. L), "Zulika II" (Op. 31), "Secret"(Geheimes, Op. 14 No. 2: All -1821), "Son MUZ"(Der Musensohn, Op. 92 No. L, 1822), "Night Song of Wanderer II"(Wandrers Nachtlied II, Bber Allen Gipfein ..., Op. 96 No. 3, until 1824), Songs Minions and Arfist from Roman "Years of the teachings of Wilhelm Meister"(1815-1826), including 3 Arfist songs(op. 12, 1816-1822) and 4 songs from Wilhelm Maister(or. 62, 1826); F. Schiller - 41, including "Complaint of the girl"(Des Madchens Klage, 3 incarnations, 1811, 1812, 1816; 2-era 58 No. 3), "Diver"(Der Taucher; 2 edition, 1814-1815), "Bail" (Die BBrg-Schaft, 1815), "Group from Tartar" (Gruppe Aus Dem Tartarus, Op. 24 No. L), "Fight"(Der Kampf, Op. 110; both -1817), "A wish" (Die Sehnsucht, 1813; 2nd embodiment, or. 39, approx. 1821), "Pilgrim"(Der Pilgrim, or. 37 № 1, 1823), "Dithyramb" (Dythyrambe, Op. 60 № 2, 1824); V. Muller-followed cycles "Beautiful Mellenchikha" (Die Schone Mullerin, Op. 25, 20 songs, 1823), "Winter Way" (Die Winterreise, Op. 89, 24 songs, 1827) and others; Gaine - "Atlas"(Der atlas) "Her portrait"(LHR BILD), "Fisherman" (Das Fischer-Madchen), "City"(Die Stadt) "By the sea"(Am Meer), "Double" (Der Doppelganger; All - 1828), as well as on the words I. P. Utsa - 5, including "The Gods of Love" (Die LiebesGotter, 1816); IG Jacobi - 7, including "Litany" (Litanei, 1816);
K.F.D. Shubart - 4, including "To death"(An Den Tod, 1816 or 1817), "Trout"(Die Forelle, Op. 32, approx. 1817); F. G. Klopshtok -13, including "Bonds from roses" (Das Rosenband) and "Infinite"(Dem Unendlichen, Both -1815); F. L. Stolberg - 7, including "Barcarole" (AUF DEM WASSER ZU SINN, OP. 72, 1823); M. Claudius -12, including "Girl and Death"(Der Tod Und Das Madchen, or. 7 No. 3, 1817); L. G. K. Xöltp - 23, including "To the moon"(AN DEN MOND, OR. 57 № 3, 1815) and "Bliss" (Seligkeit, 1816); F. Mattison - 27, including "Adelaide"(1814), "Proceedings" (Vollendung) and "Land"(Die Erde, D 989 and 989 A, approx. 1817);
L.G. Kozhearten - 22, including "To the Coming Sun" (An Die Untergehende Sonne, Op. 44, 1817); IG 3Alisa Zeusis - 14, including "Youth at the source" (Der Jungling An der Quelle, 1816 or 1817); G. F. Schmidt - "Skitalets" (Der Wanderer, or. 4 No. 1, 1816), etc.
Schubert
Creativity Franz Schubert - dawn romantic direction in music.
In their magnificent works, he contrasted everyday reality is the wealth of the inner world of a small man. The most important area in his music is the song.
In his work, darkness and light come into contact all the time, I would like to show this on the example of 2 of his song cycles: "Beautiful Mellenchikha" and "Winter Way".
"Etc. a piece of chalk." 1823 - The cycle is written in poems Muller, attracted the composer with its naivety and purity. Much in them coincided with the experiences and fate of Schubert himself. Unfinished tale about life, love and suffering of a young miller-apprentice.
The cycle is framed by 2 songs - "On the way" and "Lullaby stream", representing entry and conclusion.
There is a narrative of the young man himself about their wanders between the extreme dots of the cycle.
The cycle seems to fall into 2 phases:
1) from 10pene (to "pause" №12) - these are days of light hopes
2) Other motifs: doubt, jealousy, sadness
Development of cycle dramaturgy:
1 Exposure of images №1-3.
2 Tie №4 "Gratitude to the Creek"
3 Development of feelings №5-10
4 Culmination №11
5 Dramaturgical fracture, appearance of opponent №14
6 Interchange number 20.
"Let's hit the road" - reveals the system of thoughts and feelings of a young miller, just stepping on the life road. However, the hero in the "Beautiful Mellenchikha" is not alone. Next to it acts another, no less important hero - stream. He lives a raw, hard-changing life. The feelings of the hero change, changing the stream, because his soul is merged with the soul of Melnik, and the song expresses everything he worries.
Music products 1 songs are extremely simple and closest to the receptions of folk songs.
Culmination number "My" - The concentration of all joyful feelings. This song is closed with a cycle 1 session. Incipitation of textures and fun mobility, rhythm elasticity and a squeezed pattern of the melody, it is similar to the initial song "On the way".
In the songs of 2 Section, Schubert shows how pain is growing and bitter in the soul of a young miller, as it breaks through in the stormy flashes of jealousy, grief. Melnik sees the opponent - a hunter.
№14 "Hunter" , in the outfit of this character, the composer uses techniques familiar to the so-called. "Hunting Music": size 6/8, "empty" 4 and 5 - "golden running of the horn", depicting a hunting horn, also characteristic moves 63 // 63.
3 songs "Jealousy and Pride", "Favorite Color", "Melnik and Creek" - make up a dramatic rod 2 session. An increasing anxiety is poured into confusion of all feelings and thoughts.
"Lullaby stream" - The transfer of the most sentiments with which he finishes his life path. Filled with a feeling of quiet sorrow and melancholy. Monthonic rhythmic swaying and tonicity of harmony, major fluctuations, a calm drawing of a song melody creates the impression of peace, exemplicity.
In conclusion, the Schubert cycle returns us to Major, giving it a light color - this is a story about eternal rest, humility, but not death.
"Winter. Way" 1827 - Also on the poems of Muller, the cycle is contrasting the fact that now the heads of the hero of the joyful and cheerful young men turned into a suffering, disappointed lonely person (now he abandoned by all the challenges)
He is forced to get away from his beloved, because Poor. Without need, he starts off.
The theme of loneliness in the cycle is presented in a variety of shades: from lyrical changes to philosophical reflection.
Differences from "PR Mel" is also that there is no plot here. The songs are combined by the tragic theme.
The complexity of images is an emphasis on the internal psychological side of life, the complication of the music. Yaz. :
1) 3x Form is dramatized (i.e., variational changes in each part appear, the deployed medium. Equipment and reprise varies compared to 1 scene.
2) Melody is enriched with declamination and speech turns (text on bolting)
3) Harmony (sudden modulation, interstoy structure of chords, complex chord combinations)
In the 24 songs cycle: 2 parts of 12pes.
In 2 section (13-24) - the topic of tragic is presented more clearly, and the theme of loneliness is replaced by the theme of death.
First song cycle "Sight" sleep " , as well as "on the road" performs the function of joining - this is a weightless story about the former hopes and love. Hanging it is simple and sad. Melody is minus. And only rhythm and piano accompaniment transmit a dimensional, monotonous movement of a lonely craving person. His non-stop step. The melody is a movement from the top of the source (catabasis - downward movement) - sorrow, suffering. 4 purchases are separated by DR from DR losing with intonation of detention - exacerbation of drama.
In the subsequent songs of 1 Section, Schubert is increasingly inclined to minor, to the use of dissony and alterized chords. The withdrawal of all this: the beautiful is just the illusion of the dream - the typical mood of the composer in the last years of life.
In the 2 section, the theme of loneliness is replaced by the theme of death. Tragic mood is increasingly growing.
Schubert introduces even a forerunner of death №15 "Raven", With a dominant gloomy mood. Sad, full of tuskiy jointing draws non-stop movement and measuring stirmers of wings. Black Raven in the snowy one is haunting their future sacrifice - a traveler. Raven is patient and leisurely. He is waiting for prey. And she will wait for her.
Last number 24 Song "Sharmanwger." It completes the cycle. And completely does not like twenty-three others. Those painted the world as it seemed to be a hero. This depicts the life of what it is. There is no excited tragedy, nor romantic infusion, no bitter irony inherent in the rest of the songs. This is a realistic picture of life, sad and touching, instantly grasped and not captured. It is simple and simple.
The composer here personifies himself with a disadvantaged aqueous musician presented in the song, the cat is built on alternating the vocals of phrases and tool losses. The tonic organ. Point depicts the sound of the scarmer or dooms, monotonous repeats create mood of longing and loneliness.
The collections of Schubert's vocal literature have great importance to the poems of Wilhelm Muller - "Beautiful Mellenchikha" and "Winter Way", which are a continuation of the idea of \u200b\u200bBeethoven, expressed in the Song Collection "Beloved. In all these works, a wonderful melodic talent and a wide variety of sentiments are visible; Later accompaniment, high artistic meaning. Having discovered the lyrics of Muller, telling about the wanders, suffering, hopes and disappointments of a lonely romantic soul, Schubert created vocal cycles - essentially the first in the history of large series of monologues associated with a single plot.
Gulling, frank, incapable of betrayal, sociable, talkative in joyful mood - who knew him to others?
From the memories of friends
F. Schubert is the first great composer-romantic. Poetic love and clean joy of life, despair and cold of loneliness, taking the ideal, thirst for wanderings and the hopelessness of the wanders - all this has found a szvuk in the creativity of the composer, in its natural and ease of inflating melodies. Emotional openness of romantic worldview, the directness of the expression raised the genre of the song to unprecedented until the height: this first minor genre at Schubert became the basis of the artistic world. In the song melody, the composer could express a whole range of senses. His inexhaustible melodic gift allowed to compose several songs per day (all of them more than 600). Song melodies penetrate into instrumental music, for example, the song "Skitaletz" served as a material for the piano fantasy of the same name, and "Trout" - for Queintet, etc.
Schubert was born in the family of school teacher. The boy has a very early discovered outstanding musical abilities and gave him to study in Convict (1808-13). There he sang in the choir, studied the theory of music under the leadership of A. Salieri, played in the student orchestra and conducted.
In the Schubert family (as in general in the German Burgers), music was loved, but allowed only as a passion; The profession of the musician was considered not enough honorary. The novice composer was to go in the footsteps of the Father. For several years (1814-18), school work distracted Schubert from creativity, and yet he composes extremely many. If the instrumental music is still visible dependence on the style of Viennese classics (mainly V. A. Mozart), then in the genre of the song genre the composer has already created works that completely revealed his personality. Poetry I. V. Goethe inspired Schubert on the creation of such masterpieces as "Gretchen for a spicy", "Forest Tsar", songs from Wilhelm Maister and others. Many Schubert songs wrote on the words of another classic of German literature - F. Schiller.
Wanting to completely devote yourself to music, Schubert leaves a job in school (this led to the rupture of relations with his father) and moves to Vienna (1818). Such non-permanent sources of existence remain as private lessons and editions of writings. Not being a virtuoso pianist, Schubert could not easily (like F. Chopin or F. List) to conquer his name in the musical world and thus contribute to the popularity of their music. The character of the composer did not contribute to this, his complete immersion in the composition of music, modesty, and at the same time the highest creative principle that did not allow any compromises. But he found an understanding and support among friends. A circle of creative youth is grouped around Schubert, each of whose members certainly had to have any artistic talent (what could he? "Every newcomer was met by such a question). Participants "Schuberty" became the first listeners, and often co-authors (I. Mayrhofer, I. Zenn, F. Grillparter) of the brilliant songs of the head of their mug. Conversations and hot disputes on art, philosophy, politics alternated with dancing, for whom Schubert wrote a lot of music, and often simply improvised her. Menuets, ecosseza, polonesa, landscape, polka, hairs - such is a circle of dance genres, but waltza rises above all - no longer just dancing, but rather lyrical miniatures. Psychologistizing dance, turning it into a poetic picture of the mood, Schubert anticipates Valsa F. Chopin, M. Glinka, P. Tchaikovsky, S. Prokofiev. A member of a mug, a famous singer M. Fogl promoted Schubert's songs on a concert stage and, together with the author, traveled through the cities of Austria.
Schubert Genius grew up on the basis of long musical traditions of Vienna. The classic school (Haidn, Mozart, Beethoven), a multinational folklore, in which the influences of Hungarians, Slavs, Italians, finally, a special addiction of the vents to dance, homemade music were imposed on the Austro-German basis.
The flourishing of Schubertov creativity is the 20s. At this time, the best instrumental works are created: the lyric-dramatic "unfinished" symphony (1822) and the epic, life-affirming pre-major (the last, nine-time). Both symphonies were unknown for a long time: Du-major was discovered by R. Shuman in 1838, and the "unfinished" was found only in 1865. Both symphonies influenced the composers of the second half of the XIX century, by defining various paths of romantic symphonism. Schubert did not hear any of his symphonies in professional execution.
Many difficulties and failures were with opera productions. Despite this, Schubert constantly wrote for the theater (only about 20 works) - Opera, Zingshpili, music to the spectrum V. Kezei "Rosamund". It creates and spiritual works (including 2 Mass). Wonderful in depth and strength of exposure to music wrote Schubert in chamber genres (22 Sonatas for Piano, 22 Quartet, about 40 other ensembles). Its expression (8) and musical moments (6) marked the beginning of a romantic piano miniature. New arises in song creativity. 2 vocal cycles on V. Muller verses - 2 stages of a person's life path.
The first one is "Beautiful Melnichikha" (1823) - a kind of "novel in songs", embraced by a single plot. A young man full of strength and hopes is going to meet happiness. Spring nature, cheerfully murmur wheels - everything creates a cheerful mood. Confidence will soon be replaced by a romantic issue, the volume of the unknownness: where? But the stream leads the young man to the mill. Love for the daughter of Melnik, her happy moments are replaced by anxious, turbidity and bitterness treason. In the affectionately burning, having streams of streams, the hero finds peace and consolation.
The second cycle is the "Winter Way" (1827) - a number of mournful memories of a lonely skewer about undivided love, tragic meditation, only occasionally intermitted by light gold. In the last song, the "floresman", an image of a stray musician is created, forever and monotonously twist his scarmer and anywhere who has no recall, no outcome. This is the personification of the path of Schubert himself, already seriously ill, exhausted by the permanent need, unbearable work and indifference to his work. The composer himself called the song "Winter Path" "terrible."
The crown of vocal creativity - "Swan Song" - a collection of songs on the words of various poets, including Gaine, who turned out to be a close "late" Schubert, is sharper and painful than the "split of the world". At the same time, Schubert never, even in the last years of life, did not close in the sorrowful tragic sentiments ("the pain honors the thought and harnesses the feelings," he wrote in the diary). The figurative-emotional range of the Schubert lyrics is truly unreasonable - she will respond to everything that worries any person, while the acuity of contrasts in it is constantly increasing (the tragedy monologue "Double" and next to the famous "Serenade"). More and more creative impulses, Schubert finds in the music of Beethoven, who, in turn, met some works of his younger contemporary and was very highly appreciated. But modesty and shyness did not allow Schubert to personally meet her idol (once he turned back at the most doors of the Beethoven house).
The success of the first (and only) copyright concert, organized a few months before death, finally attracted the attention of the musical public. His music, above all songs, begins to quickly spread throughout Europe, finding the shortest path to the hearts of the listeners. It has a huge impact on composers-romantics of the following generations. Without the discoveries made by Schubert, it is impossible to imagine Shumanan, Brahms, Tchaikovsky, Rakhmaninov, Maler. He filled music with the warmth and the immediacy of the song lyrics, revealed the inexhaustible mental world of man.
K. Zenkin
Cubert's creative life is calculated only in seventeen years. Nevertheless, list everything written them is even more difficult than listing the works of Mozart, the creative path of which was longer. Just like Mozart, Schubert did not bypass any field of musical art. Something from his heritage (mainly opera and spiritual works) time itself pushed away. But in a song or symphony, in a piano miniature or chamber ensemble, the best aspects of Schuberes genius, the wonderful viability and fervor of romantic imagination, lyrical warmth and the search for a thoughtful man of the XIX century.
In these spheres of musical creativity, the innovation of Schubert was manifested with the greatest courage and a scope. He is a source of lyrical instrumental miniature, romantic symphony - lyric and dramatic and epic. Schubert in the corner changes the figurative content in large forms of chamber music: in piano sonata, string quartents. Finally, the true brainchild of Schubert - a song, the creation of which is simply inseparable from his very name.
Music Schubert was formed at the Vienna Soil, fertilized Giadna, Mozart, Gluche, Beethoven. But Vienna is not only a classic represented by its cylindaires, but also the rich life of the music of life. The musical culture of the capital of the Multinational Empire has long been exposed to a tangible impact of its heated and multilingual population. The crossed and interpenetration of the Austrian, Hungarian, German, Slavic folklore with centuries, with a unremarkable influx of Italian Melos, led to the formation of a specific Viennese musical color. Lyrical simplicity and lightness, cycling and elegance, cheerful temperament and dynamics of lively street life, the unlobatic humor and the ease of dance movement imposed a characteristic imprint on the household music of Vienna.
The democracy of the Austrian folk music, the music of Vienna was washed and the creativity of Hydena and Mozart, its influence was also Beethoven, in Schubert - the child of this culture. For a commitment to her, he had to even listen to reproaches from friends. Schubert melodies "sometimes sound too domestic, too in Austrian, "Bauernfeld writes," resemble folk songs, a somewhat lowlands and an ugly rhythm of which do not have a sufficient basis for penetration into a poetic song. " On this kind criticism, Schubert answered: "What do you understand? It should be so so! ". And indeed, Schubert speaks the language of genre-household music, thinks by her images; Of these, the works of high forms of art of the most variekteric plan are growing. In a wide generalization of the song lyrical intonations that aging in the musical use of burgherness, in the democratic environment of the city and his intelligence - the nationality of Schubertov creativity. A lyric-dramatic "unfinished" symphony is deployed on a song-dance basis. The transit of genre material can be felt in the epic web of the "big" symphony of C-DUR and in an intimate lyrical miniature or instrumental ensemble.
Element of the song has impaired all the spheres of his work. The song melody is the thematic basis of Schubert instrumental writings. For example, in a piano fantasy on the topic of the song "Skitalets", in the piano quintet "Trout", where the melody of the song of the same name serves the topic for the variations of the final, in the Quarter D-Moll, where the song "Death and Girl" was introduced. But even in other works that are not related to themes of certain songs - in sonatas, in symphony - the song warehouse of thematism determines the characteristics of the structure, methods of development of the material.
Naturally, therefore, although the beginning of the composer route of Schubert was noted by an extraordinary scale of creative designs that encouraged the samples in all areas of musical art, first of all he found himself in the song. It is in it, ahead of everything else, broke the wonderful game of the face of his lyrical dating.
"From the number of music not for the theater, not for the church, not for the concert there is a particularly wonderful department - romances and songs for one vote with piano. From a simple, bus-out form of the song, this genus developed to the entire small single scenes monologues that allow all the passion and the depth of the spiritual drama.
This kind of music was perfectly manifested in Germany, in the genius of Franz Schubert, "A. N. Serov wrote.
Schubert - "Nightingale and Swan Sension" (B. V. Asafiev). The song is all his creative essence. It was the Schubertov song that is a kind of border separating the music of romanticism from the music of classicism. Since the beginning of the 19th century, the era of a song, a romance - a pan-European phenomenon, which "can be called named the greatest master of the city democratic romance Schubert-Schubertianism" (B. V. Asafiev). Song site in the work of Schubert is equivalent to the position of the Fugue at Bach or Sonata at Beethoven. According to B. V. Asafieva, Schubert committed the same as Beethoven in the field of symphony. Beethoven summarized the heroic ideas of his era; Schubert was a singer of "simple natural thoughts and deep humanity." Through the world of lyrical feelings reflected in the song, he expresses his attitude to life, people surrounding.
Lurism is the very essence of Cubert's creative nature. The range of lyrical themes in its work is extremely wide. The theme of love with all the wealth of its poetic shades, then joyful, then sorrowful, intertwined with permanent all romantic art of the theme of the schisma, wealth, loneliness, with the theme of nature. Nature in the work of Schubert is not just a background on which a certain story is deployed or any events occur: it "is thinking", and the radiation of human emotions, depending on their nature, paints images of nature, gives them anyway and the corresponding flavor.