march 2011

Franz Schubert

Pleasures of Music

Allegory On a Composer's Life

‘Thus Was I Divided Between Love and Sorrow’

By Franz Schubert

(Ed. note: Apart from a few poems, this self-analytic tale is the only literary work from Franz Schubert's pen.)

I was one of many brothers and sisters. We had a good father and mother. My love for them all was deep. One day my father took us to a joyous banquet, where my brothers grew very merry; but I was sad. My father then came to me and bide me taste the delicious meats. But I could not, whereat my father in his anger banished me from his sight. I turned on my heel, and with my heart filled with infinite love for those who rejected it, I wandered off into a far country.

For years I was torn between great love and great sorrow. Then came the news of my mother's death. I hastened back to see her, and my father, softened by grief, did not oppose my return. I saw her lying dead. Tears welled from my eyes. I saw her lying there, looking just as she used to, a part of the dear past in which she would have has us remain and share a common life.

Mourning, we followed her to the grave and saw the coffin slowly sink. Henceforth I stayed at home as before. Then one day my father took me once more into his pleasure garden. He asked if I liked it. But the garden looked repulsive to me, and I dared not reply. Whereupon he asked me a second time, more impatiently, if I liked the garden. In fear and trembling I said no.

At this father struck me, and I fled. For the second time I turned away, and my heart being filled with infinite love for those rejected it, I wandered once more into remote climes. Through many long years I sang my song. But when I wanted to sing of love it turned to sorrow and when I wanted to sing of sorrow it was transmuted to love.

Thus was I divided between love and sorrow.

And once I was told of a pure maiden, who had just died. And around her tomb was a circle formed, within which numerous youths and old men revolved as though in a realm of endless bliss. They spoke softly less they wake the maiden. Heavenly thoughts seemed to gush ceaselessly out of the maiden's tomb, like burning sparks, and they fell in a soft, noiseless shower on the young men. I longed to walk there too, but people said one could enter the circle only by a miracle. I went forward all the same, slowly and devoutly, eyes lowered upon the gravestone, and before I knew it I was within the circle, whence arose the sweetest melody. Then I felt, compressed as it were into an instant, the full measure of eternal bliss. I saw my father, loving and reconciled. He folded me in his arms and wept. And even more did I.—DIARY (1822)


Franz Schubert, A 'Seranade' Of the Moment

Franz Schubert, 'Seranade'

Schubert's immortal "Serenade" was written in 1826 upon the inspiration of the moment, and yet is a work of timeless grace and beauty. It was originally composed as an alto solo and male chorus and subsequently rearranged for female voices only. In Franz Schubert, the first of many Schubert biographies, published in Vienna in 1865 (a shorter Schubert sketchby von Hellborn was published in 1861), author Heinrich Kreissle von Hellborn described the moment of “Seranande” conception:

"One Sunday, during the summer of 1826, Schubert with several friends was returning from Potzleinsdorf to the city, and on strolling along through Wahring, he saw his friend Tieze sitting at a table in the garden of the 'Zum Biersack.' The whole party determined on a halt in their journey. Tieze had a book lying open before him, and Schubert soon began to turn over the leaves. Suddenly he stopped, and pointing to a poem, exclaimed, 'such a delicious melody has just come into my head, if I but had a sheet of music paper with me.' Herr Doppler drew a few music lines on the back of a bill of fare, and in the midst of a genuine Sunday hubbub, with fiddlers, skittle players, and waiters running about in different directions with orders, Schubert wrote that lovely song."


Poetry and Music for the Soul

by Madhuri Katti


Austrian Composer Franz Schubert never really got much recognition for huge volume of compositions he left behind in his short life of 31 years when he was alive. Schubert's initiation into music was right from birth for he was born into a musically gifted family. He started composing and performing at a very tender age. The true genius of Schubert lies in his cycle of songs, which are in fact songs woven out of rich poetry.

Schubert always dwelled on the pathos of the soul and this could be the reason he picked up poetry, which was romantic as well dark and tragic. Like true poets he pitted seasons of the soul with the seasons of the Nature. In his music there was mood of the spring and heaviness of the winter. There was chirping of birds and silence of the night. One of the most famous song cycle compositions of Schubert is Winterreise based on the poems of Wilhelm Müller.

Duo Bellevue performs 'Der Leiermann' from Franz Schubert's Winterreise (Winter Journey), a song cycle based on the poems of Wilhelm Müller.

Winterreise is a romantic tragic poetic tale of young man who arrives at a village and falls in love with a young maiden. It is spring, time for the love to blossom. But seasons change and he gets rejected. Winter, with long dark night descends and young man embarks on a journey yet again with heavy heart and longing. If poetry of Wilhelm Müller tugs at the heart, the music woven by Schubert makes the feelings transcend extreme sadness and carries the soul in to the land of melancholia.

'Inesamkeit,' from Schubert's Wintereisse, performed by Hans Hotter (baritone) and Gerald Moore (piano). The song-cycle Winterreise (Winter Journey) is considered one of Schubert’s supreme masterpieces. Settings of a 24-poem cycle by Wilhelm Müller, the songs were among the last works of Schubert's short life and they represent one of the peaks in his development of the lied form. The Winterreise was also the second of Schubert's song-cycles—a form he was developing and which could have reached even greater heights if he had lived. Though the impact of the work is greater when it is considered as a whole—a whole truly greater than the sum of its parts—the individual songs demonstrate the great height to which Schubert had brought the art of setting texts to music.

Schubert had a very difficult life and had to survive with the support of family and friends.  Even his love remained unrequited. He contracted syphilis at the age of 31 and never recovered. In the last couple of years of his life he dwelled on extreme dark thoughts about life, love, rejection and death. The musings of his dark soul are reflected in his composition Doppelganger which is again based on a poem by Heinrich Heine. In the composition slow harmonic progression ends up in a dramatic climax depicting horror and conflict within a mind which sees its own shadow, its own double the death mocking life and tragedy of the soul.

Schubert got his due recognition after his death and now lies at rest beside the other greatest western classical composer Beethoven in Vienna, Austria. His music still finds a place in every dark, sad heart and his classic song Ave Maria brings peace to humanity even during the darkest of times.

(August 22, 2009, posted at The Fiendish)


'The Quintessential Example Of The Romantic Notion Of The Neglected Genius Who Dies In Obscurity': The Life of Franz Schubert

Schubert's life is the quintessential example of the Romantic notion of the neglected genius who dies in obscurity. Even Mozart, who probably had a harsher life and greater obstacles to overcome, was at least accorded a modicum of recognition in his own lifetime. For Schubert, an entire generation had to pass before his most substantial achievements saw the light of day.

portraitFranz Peter Schubert (January 31, 1797-November 19, 1828) is one of the few "Viennese" composers who was truly Viennese born and bred. One of five children out of nine who survived infancy he came from a modest schoolmaster's family living in Vienna's Lichtenthal district His father, Franz Theodor, was a keen amateur musician and quickly detected his son's talent, giving him violin lessons while the oldest brother taught him piano. After a short interlude with a private teacher, Franz was accepted as a choirboy in the Court chapel, which automatically admitted him as a pupil to the Imperial and Royal City College. There he benefited greatly from contact with men such as Antonio Salieri and Phillip Korner, and wrote his first compositions. Schubert achieved satisfactory results in all subjects, but his musical abilities were recognized by all as exceptional. In 1812 his mother died: his father remarried the following year. Always close to his father, Franz grew to love his stepmother Anna, who in later years helped him with loans of money. While at the College Schubert experienced his first opera performances, and also discovered the music of Ludwig van Beethoven and Wolfgang Mozart. He held the latter in the greatest awe: "O Mozart, immortal Mozart!" he wrote in 1816, "what numberless consoling images of a better, brighter world have you engraved upon our souls!"

Deanna Durbin, then 18 years old, performs Franz Schubert's 'Ave Maria' in the 1940 movie It's a Date, directed by William A. Seiter, also starring Kay Francis and Walter Pidgeon. This ‘Ave Maria’ is a simple, moving piece composed in about 1825 when Schubert was twenty-eight years old, only three years before his death at the young age of 31. Part of a setting of several songs Schubert wrote for Sir Walter Scott's ‘Lady of the Lake,’ this cycle contains ‘Ellens dritter Gesang (D. 839),’ a setting of Adam Storck's German translation of Scott's hymn from ‘The Lady of the Lake,’ which is widely, though mistakenly, referred to as ‘Schubert's Ave Maria.’ It opens with the greeting Ave Maria, which recurs in the refrain; the entire Scott/Storck text in Schubert's song is frequently substituted with the complete Latin text of the traditional Ave Maria prayer. According to Schubert, his friends were surprised that his ‘Ave Maria’ has such a deeply devotional character. Said the composer: ‘I think the reason for this is that I never force myself into devotion or compose hymns or prayers unless I am truly overpowered by the feeling; that alone is true devotion.’ A letter from Schubert to his father and stepmother refers to the success of his ‘Ave Maria,’ and says of his friends’ reaction: ‘They also wondered greatly at my piety, which I expressed in a hymn to the Holy Virgin and which, it appears, grips every soul and turns it to devotion.’

When he left the College in 1814, Schubert taught at his father's school, though this had little effect on his enthusiasm for composition. Indeed, that autumn his Mass #7 in F Major was performed to great acclaim, also his first lieder masterpiece, "Gretchen am Spinnrade" (to words from Goethe's Faust); he was just 17. The following year was even more impressive: symphonies, operas (no less than four attempted in one year), chamber music and nearly 150 songs spilled from his pen, all written out of a determination to earn money from his music so that he could escape the need for earning it through his detested teaching. Of the songs, the Goethe setting, "Der Erlkönig", is the most remarkable and most famous. A friend sent this and 30 other Goethe settings to the great man himself in Weimar. They were returned unaccompanied by any offer of help; Goethe did not appreciate Schubert's attempts to heighten the poet's words through his musical commentary.

"Der Erlkönig" was published in all the German-speaking territories and made Schubert famous outside his native city, and this led directly to a meeting with a young law student, Franz von Schober. Schober had come across "Erlkönig" and the song made such a deep impression on him that he determined to meet its creator. He suggested to Schubert that they take lodgings together at Schober's expense. With his father's consent, the 19-year-old Franz moved in to rooms in Schober's mother's house. While there he was introduced to the baritone Johann Michael Vogl, a successful operatic singer, who was so excited by Schubert's songs that within a few weeks the pair were performing concerts for Viennese society.

In 1817 Schubert branched out into piano sonatas and before the end of the year he had also written three more of his most famous songs: "Der Tod und das Mädchen,” "An die Musik" and "Die Forelle.” By then, however, he had been obliged to move back to his family home—the Schober idyll was over and his work rate slackened noticeably when he returned to the hated teaching. The following summer he became music master to the children of Count Johann Esterházy in Zseliz (in Slovakia, hundreds of miles from Vienna), and broke forever his ties with teaching. After a fitful summer at the Zseliz residence, Schubert returned to Vienna with the Esterházy family but took up lodgings with his poet friend Mayrhofer. He continued to teach the Esterházy children while "living out.”


A Schubert Evening at the Home of Josef von Spaun on December 15, 1826 (1868)
The Austrian singer and composer Franz Schubert was blessed with neither public recognition nor a long life (1797-1828). Nonetheless, he was highly productive, delighting a small but influential circle of friends, which included poet Franz Grillparzer and artist Moritz von Schwind, with his music. Apart from one (albeit quite successful) public performance of his work, Schubert's compositions were played mostly for small circles of friends similar to the one shown above. Seated at the piano, the maestro is surrounded by a large and attentive audience, which includes one of his closest friends, the host Josef von Spaun (1788-1865, seated to the left of Schubert) and Johann Michael Vogl (1768-1840, seated to the right of Schubert), a preeminent performer of his songs. Initially building on Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791) and the tradition of Viennese Classicism, Schubert's oeuvre represents the first culmination of Romanticism in German music. Sepia drawing by Moritz von Schwind (1804-1871), 1868.

Schubert's life remained uneventful until the summer of 1819 when he joined Vogl on a trip to the country, spending three of the happiest months of his life discovering countryside which he thought "inconceivably lovely.” This trip had a beneficial effect on his creative juices, the wonderful Trout Quintet being conceived and begun at this time. Inspiration remained with Schubert all through the following autumn and winter in Vienna, compositions coming thick and fast. During his time with Mayrhofer, Schubert would often sleep in his clothes, or leave his glasses on overnight, indulging in typical bachelor behavior and using the time-worn excuse that "it saved time and trouble" when asked why he was so slovenly. He certainly was not lazy when it came to composing, commenting: "I compose every morning, and when one piece is done I begin another.” The spring of 1819 had been spent writing the music for a third-rate one-act libretto, Die Zwillingsbruder, which was staged in 1820 with Vogl taking both twin-brother roles. This relative failure (only five performances) led to a further commission for music for a three-act play, Die Zauberharfe. This was no better than the one-act play that preceded it, but Schubert's music shone out: the overture, for example, was later reused in Rosamunde, and thus gained immortality. Schubert's reputation in Vienna was hardly well served by such failures, and he was never to see another presentation of his theatrical music.

Schubert moved from Mayrhofer's rooms to the house of a new friend, the amateur painter Moritz von Schwind, and was soon at work on one of his most striking Goethe compositions, a setting for four tenors and four basses, with string accompaniment, "Gesang der Geister über den Wassern" (1714), the work's mystical element holding great significance for him. Schubert's songs were now receiving fairly regular performances by his friends and colleagues in Vienna, and it is singular that he consistently failed to have them accepted for publication by local publishers. Frustrated by this intransigence, his supporters funded a sponsored publication of "Erlkönig" by the Viennese firm Caspi et Diabelli. This and seven other sponsored publications did so well that Caspi et Diabelli afterwards published Schubert direct and at their own risk. Schubert also managed to raise some much-needed income by dedicating these pieces to wealthy patrons.

' entire generation had to pass before his most substantial achievements saw the light of day.' Schubert at the piano. Painting by Gustav Klimt.

The ambition to compose weightier material continued to haunt him, and in August 1821 he attempted his Symphony #7 in E Major (D. 729), but this was only completed in full score up to the 110th bar; the rest was left marked down on a single line, accompanied by detailed annotation as to how the missing parts would be completed later which, of course, never happened. In recent years this and the other unfinished symphonies (Schubert only completed one of his many symphonic projects) have been given orchestral "realizations" which enable the music-lover to hear brilliant and exploratory works otherwise condemned to perpetual obscurity.

Schubert had returned to live at Schober's house, but was now immersed in a triangular friendship of great intimacy with Moritz von Schwind and a young playwright, Eduard Bauernfeld. The composer meanwhile persisted with his attempts to mount a successful opera, and in 1822 completed Alfonso und Estrela (D. 732). It was never produced, the libretto (by Schober) falling foul of Vogl's censure and therefore not receiving his influential backing. Three other events made this a pivotal year in Schubert's life. In April he met Beethoven, a meeting achieved by the presentation of his Variations on a French Air, Op. 10 (with a fulsome dedication) to Beethoven by a mutual friend. Accounts of the meeting are unreliable, but there is reason to believe that Beethoven enjoyed the Variations enough to keep the music in his possession. The second event was the writing—and abandonment —of the famous Eighth Symphony (Unfinished), although by now Schubert had a number of unfinished symphonies to his name. The multiplicity of reasons advanced for the abandonment of this sublime two-movement torso tend to prove that no one really knows why Schubert stopped writing it. What is beyond dispute is that he presented the manuscript the following year to his friend Anselm Huttenbrenner. The work disappeared until 1865, when Huttenbrenner allowed it to be performed in one of the Vienna Gesellschaft der Musikfreunde concerts and published the following year. This work was a clear statement from Schubert that he had found his own original approach to symphonic form.

The third event of 1822 was a tragic one: Schubert discovered that he had contracted syphilis. This discovery, and the illness which accompanied its initial onset, forced Schubert to return to the parental home. Until late spring 1823 he was too ill to leave the house, and this frightening collapse in one so young (he was just 25) led to a near-suicidal depression. A spell in Vienna General Hospital seems to have helped, and he composed all through this dark period of suffering, completing the Piano Sonata in A minor (D. 784) and another one-act opera, Die Verschworenen. During the summer he left hospital and traveled to Linz and Steyr, beginning yet another doomed opera, Fierrabras (D. 796), set to yet another poor libretto, and composing the first songs of the immortal cycle, Die schöne Mullerin. His health remained precarious throughout the year, only stabilizing as winter took hold and the Mullerin cycle was completed.

Schubert - Piano Trio No. 1 in B-flat Major D898, Allegro moderato Yehudi Menuhin (violin), Hephzibah Menuhin (piano), Maurice Gendron (violoncello), 1964

It is possible that Schubert felt he had overcome his affliction, but the disease had only entered its second phase. From this time on his previously carefree and sunny disposition became more troubled, his moods unpredictable. The year 1823 closed with yet another theatre-music failure, this time the play Rosamunde, written by Helmina von Chezy. It managed just two performances, then vanished into oblivion. The orchestral music Schubert mustered for this play eventually proved to be some of his most popular. In spring 1824 Schubert turned to chamber music: among the masterpieces to emerge was the quartet Der Tod und das Mädchen, which used variations on the song of the same name. The magnificent Octet in F (D. 803) followed soon after. This, plus the publication of the first part of Die schöne Mullerin, made this a special spring. Yet Schubert's mood was dark. He wrote to a friend at this time: "Think of a man whose health can never be restored and who from sheer despair makes matters worse instead of better. Think of a whom love and friendship are a torture... every night I go to sleep hoping never to wake again...".

Schubert spent much of 1824 once again with the Esterházys in Zseliz; the slow pace of life seems to have been beneficial, although he chafed at having to teach again. The following year was notable for the steady increase in the number of his songs being published and the resultant spread of his reputation beyond Vienna. A summer holiday with Vogl in the country gave him the happiness and peace of mind, which had been so conspicuously absent the previous spring. Here he began work on his Symphony #9 ("The Great") in C Major, the first to be completed in more than six years. His return to Vienna in September initiated a twelve-month period of great conviviality in and around Vienna with the famous musical evenings among his friends and admirers—known as the Schubertiads—standing out in the memory of all who attended them. Schubert and Schwind remained particularly close during this time, sharing lodgings, food, clothes and money. To Schubert, Schwind was "seine Geliebte" (his beloved).

Early 1827 was memorable for Schubert's commencement of the first songs in Die Winterreise and for the death of Beethoven. Schubert had visited the fading genius shortly before his death, and was one of the torchbearers in his funeral procession. Notices of Schubert's numerous lieder publications at this time continued to multiply and spread across the German-speaking countries, yet his major instrumental achievements were hardly known outside his circle of close friends. He completed Winterreise by the end of 1827, the emotional profundity of the music echoing the bleak depths of the verses being set. His health was again poor, with random headaches and dizziness; his moods were clearly reflected in his songs. The complexities of the Impromptus written at around this time are perhaps a prism through which his melancholia can be glimpsed.

Schubert in pop culture: the composer's rousing 'March Militaire' is the musical backdrop for the parade of toys (at the 4:16 mark) in 'Santa's Workshop,' a Silly Symphony released on December 10, 1932, directed by Wilfred Jackson. Schubert's Piano Trio in E flat, op. 100 was employed by director Stanley Kubrick in his 1975 award winning film Barry Lyndon.

In March 1828 a concert was organized in one of the Vienna Gesellschaft's private rooms, which was the first-ever Schubert-only event. It was sold out and filled with Schubert's friends, patrons and admirers. The program was exclusively made up of lieder and chamber music. Schubert completed his Symphony #9 "The Great" in C Major and for a time hoped it would receive a performance in Vienna, but this came to nothing. In September he moved in with his brother Ferdinand. Now suffering from regular headaches and nausea, he composed his last three Piano Sonatas, D. 958, 959 & 960, as well as the famous song "Der Hirt auf dem Felsen" (with clarinet obbligato). By now he was close to exhaustion, and a short walking tour confined him to bed. The syphilis was now claiming him, and on 19 November he died in his brother's bed. The funeral was a modest affair, his coffin borne by students to St. Margaret's Church, and from then on to Währing cemetery.

Ferdinand went to every conceivable effort to see his brother's music published (mostly by Caspi et Diabelli Co), but it was 1835 before a visit by Robert Schumann, by then an influential critic and budding composer, discovered the symphony manuscripts in Ferdinand's house and wrote about Schubert's genius after reading the score of the Ninth Symphony. He then arranged for its world premiere and a complete re-evaluation of Schubert's achievements began that paved the way for his true musical worth to at last reach a wider audience. A complete edition of his works appeared for the first time between 1884 and 1897.

Franz Schubert biography courtesy ClassicalNet, "The Internet's Premier Classical Music Source"

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