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1875 oil painting by Wilhelm August Rieder, after his own 1825 watercolor portrait
Franz Peter Schubert ( or ; January 31, 1797 – November 19, 1828) was an Austrianmarker composer. He wrote some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. He is particularly noted for his original melodic and harmonic writing.

Schubert was born into a musical family, and received formal musical training through much of his childhood.While Schubert had a close circle of friends and associates who admired his work (amongst them the prominent singer Johann Michael Vogl), wide appreciation of his music during his lifetime was limited at best. He was never able to secure adequate permanent employment, and for most of his career he relied on the support of friends and family. He made some money from published works, and occasionally gave private musical instruction. In the last year of his life he began to receive wider acclaim. He died at the age of 31 of typhoid fever.

Interest in Schubert's work increased dramatically in the decades following his death. Composers like Franz Liszt, Robert Schumann and Felix Mendelssohn discovered, collected, and championed his works in the 19th century, as did musicologist Sir George Grove. Franz Schubert is now widely considered to be one of the greatest composers in the Western tradition.


Early life and education

Schubert was born in Viennamarker on January 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's 14 children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtentalmarker, a part of Vienna's 9th districtmarker, was well attended. He was not a famous musician, but he taught his son what he could of music.

At the age of 5, Schubert began receiving regular instruction from his father and a year later was enrolled at his father's Himmelpfortgrund school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin, and his brother Ignaz gave him piano lessons. At 7, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble.

Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart. His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an important Lied composer of the time, which, his friend Joseph von Spaun reported, he "wanted to modernize". Schubert's friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper.

Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to begin training him privately in musical composition and theory in these years. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D. 110, in honor of his father's birthday in 1813), and his first symphony (D. 82).

Teacher at his father's school

At the end of 1813 he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814 he entered his father's school as teacher of the youngest students. For over two years the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817.

In 1814 Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in October 1814. In 1994 musicologist Rita Steblin discovered the marriage petition of Schubert's brother Karl on the attic floor of the Lichtental church. She interpreted this document to show that Schubert had wanted to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In November 1816, after failing to gain a position at Laibachmarker, Schubert sent Grob a collection of songs, which were retained by her family into the 20th century. (Some scholars, such as Maynard Solomon, have suggested that Schubert was erotically attracted to men, a thesis that has at times been heatedly debated.)

Schubert's most prolific year was probably 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder. His schoolfriend Joseph von Spaun once surprised him amid composition of "Erlkönig" (D. 328, published as Op. 1.) In that year he was also introduced to Anselm HĂĽttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814.

Supported by friends

Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibachmarker, and he had also decided not to resume teaching duties at his father's school. By the end of the year he became a guest in Schober's lodgings. For a time he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another." During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.

In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone 20 years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph HĂĽttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving, his work.

In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818 he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praised from the press in Vienna and abroad.

Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their chateau in Zselizmarker, Hungarymarker. His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay relatively good. As a result, he happily continued to compose during this time. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet.

The tight circle of friends that Schubert surrounded himself with was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian secret police, who were suspicious of any type of student gatherings. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently banned from Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language". While Schubert never saw Senn again, he did set some of his poems, "Selige Welt" and "Schwanengesang", to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.

Musical maturity

The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the "Wanderer Fantasy" for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert's operas: Die ZwillingsbrĂĽder (D. 647) appeared at the Theater am Kärntnertormarker on June 14, and Die Zauberharfe (D. 644) appeared at the Theater an der Wienmarker on August 21. Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever accorded to him. The situation improved somewhat in March 1821 when Vogl sang "Der Erlkönig" at a concert that was extremely well received. That month, he composed a variation on a waltz by Anton Diabelli (D. 718), being one of the 50 composers who contributed to Vaterländischer KĂĽnstlerverein.

The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. In 1822, Alfonso und Estrella was refused, partly owing to its libretto. Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe. Die Verschworenen (D. 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822 he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven cordially acknowledged his genius on several occasions, saying, "Truly, the spark of divine genius resides in this Schubert!"

Last years and masterworks

In 1823 Schubert, in addition to Fierrabras, also wrote his first song cycle, Die schöne MĂĽllerin (D. 795), setting poems by Wilhelm MĂĽller. This work, together with the later cycle "Winterreise" (D. 911, also setting texts of MĂĽller in 1827) is widely considered one of the pinnacles of Lieder. He also composed the song Du bist die Ruh ("You are stillness/peace") D. 776 during this year. Also in that year, symptoms of syphilis first appeared.

Schubert in 1825 (watercolor by Wilhelm August Rieder)
In the spring of 1824 he wrote the Octet in F (D. 803), "A Sketch for a Grand Symphony"; and in the summer went back to Zseliz. There he became attracted to Hungarianmarker musical idiom, and wrote the Divertissement Ă  l'Hongroise (D. 818) for piano duet and the String Quartet in A minor (D. 804).

It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his Fantasie in F minor (D. 940) for piano duet. His friend Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:
In love with a Countess of youthful grace,
—A pupil of Galt's; in desperate case
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother

Despite his preoccupation with the stage, and later with his official duties, he found time during these years for a significant amount of composition. He completed the Mass in A flat (D. 678) and, in 1822, began the "Unfinished Symphony" (Symphony No. 8 in B minor, , D. 759). Why the symphony was "unfinished" has been debated endlessly without resolution. In 1824 he wrote the variations for flute and piano on "Trockne Blumen", from the cycle Die schöne MĂĽllerin, and several string quartets. He also wrote the Arpeggione Sonata (D. 821), at a time when there was a minor craze over that instrument.

The setbacks of previous years were compensated for by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; and in the summer he had a pleasant holiday in Upper Austria, where Schubert was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". 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. In 1825 Schubert also wrote the Piano Sonata in A minor (Op. 42, D. 845), and began the "Great" C major Symphony (Symphony No. 9, D. 944), which was completed the following year.

From 1826 to 1828 Schubert resided continuously in Vienna, except for a brief visit to Grazmarker in 1827. The history of his life during these three years was relatively uneventful, and is little more than a record of his compositions. In 1826, he dedicated a symphony (D. 944, that later came to be known as the "Great") to the Gesellschaft der Musikfreunde and received an honorarium in return. In the spring of 1828 he gave, for the first and only time in his career, a public concert of his own works, which was very well received. The compositions themselves are a sufficient biography. The String Quartet in D minor (D. 810), with the variations on Death and the Maiden, was written during the winter of 1825–1826, and first played on January 25, 1826. Later in the year came the String Quartet in G major, , the "Rondeau brilliant" for piano and violin (D. 895, Op. 70,), and the Piano Sonata in G (first published under the title "Fantasia in G"). To these should be added the three Shakespearian songs, of which "Hark! Hark! the Lark" (D. 889) and "An Silvia" (D. 891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening.

In 1827 Schubert wrote the song cycle Winterreise (D. 911), a colossal peak of the art of art song ("remarkable" was the way it was described at the Schubertiades), the Fantasia for piano and violin in C (D. 934), the Impromptus for piano, and the two piano trios (the first in B flat (D. 898), and the second in E flat, D. 929); in 1828 the Mirjams Siegesgesang (Song of Miriam, D. 942) on a text by Franz Grillparzer, the Mass in E-flat (D. 950), the Tantum Ergo (D. 962) in the same key, the String Quintet in C (D. 956), the second Benedictus to the Mass in C, the last three piano sonatas, and the collection of songs published posthumously as Schwanengesang ("Swan-song", D. 957). This collection, while not a true song cycle, retains a unity of style amongst the individual songs, touching unwonted depths of tragedy and the morbidly supernatural. Six of these are to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. The Symphony No. 9 (D. 944) is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–6, and was revised for prospective performance in 1828. This was a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for many of his larger-scale works during his lifetime. In the last weeks of his life he began to sketch three movements for a new Symphony in D (D. 936A).

The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche and human relationships, and with a deeper sense of spiritual awareness and conception of the 'beyond', reaching extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles. For example, the song Der Doppelgänger reaching an extraordinary climax, conveying madness at the realization of rejection and imminent death, and yet able to touch repose and communion with the infinite in the almost timeless ebb and flow of the String Quintet. Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint.

Final illness and death

In the midst of this creative activity, his health deteriorated. The syphilis he had contracted in 1822 was taking its toll. The final illness may have been typhoid fever, though other causes have been proposed; some of his final symptoms match those of mercury poisoning (mercury was then a common treatment for syphilis). His solace in his final illness was reading, and he had become a passionate fan of the writings of James Fenimore Cooper. He died aged 31 on Wednesday November 19, 1828 at the apartment of his brother Ferdinand in Vienna. By his own request, he was buried next to Beethoven, whom he had adored all his life, in the village cemetery of Währingmarker.

In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtparkmarker. In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhofmarker, where they can now be found next to those of Johann Strauss II and Johannes Brahms. The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his old gravesite was marked by a bust.


Schubert wrote almost 1000 works in a remarkably short career. The largest number (over 600) of these are songs. He wrote seven complete symphonies, as well as the two movements of the "Unfinished" Symphony, a complete sketch (with partial orchestration) of a ninth, and arguable fragments of a 10th. There is a large body of music for solo piano, including 21 complete sonatas and many short dances, and a relatively large set of works for piano duet. There are nearly 30 chamber works, including some fragmentary works. His choral output includes six masses. He wrote only five operas, and no concertos.


In July 1947 the twentieth-century composer Ernst Krenek discussed Schubert's style, abashedly admitting that he at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as Bach or Beethoven". Krenek wrote that he reached a completely different assessment after close study of Schubert's songs at the urging of friend and fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition." Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional molds; on the contrary he was a thinking artist with a keen appetite for experimentation."

That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation, as in the second movement of the String Quintet, where he modulates from C major, through E major, to reach the tonic key of C major. It also appears in unusual choices of instrumentation, as in the Arpeggione Sonata or the unconventional scoring of the Trout Quintet. If it not infrequently led Schubert up blind alleys, resulting in fragmentary works, it also enabled him to create music unlike anything that had come before, such as his two song cycles of unprecedented scope.

While he was clearly influenced by the Classical sonata forms of Beethoven and Mozart (his early works, among them notably the 5th Symphony, are particularly Mozartean), his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his 9th Symphony was described by Robert Schumann as running to "heavenly lengths". His harmonic innovations include movements in which the first section ends in the key of the subdominant rather than the dominant (as in the last movement of the Trout Quintet). Schubert's practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end.

It was in the genre of the Lied, however, that Schubert made his most indelible mark. Plantinga remarks, "In his more than six hundred Lieder he explored and expanded the potentialities of the genre as no composer before him." Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities burgeoned by the stirrings of Romantic nationalism. Among Schubert's treatments of the poetry of Goethe, his settings of Gretchen am Spinnrade and Der Erlkönig are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in Gretchen and the furious and ceaseless gallop the right hand in Erlkönig. Also of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. The Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing hear with out being deeply moved". Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated. [...] Schubert created a new epoch with the Lied. [...] All other songwriters have followed in his footsteps."

Schubert's compositional style progressed rapidly throughout his short life. The loss of potential masterpieces caused by his early death at 31 was perhaps best expressed in the epitaph on his tombstone written by the poet Franz Grillparzer, "Here music has buried a treasure, but even fairer hopes."

Posthumous history of Schubert's music

Interior of museum at Schubert's birthplace, Vienna, 1914
Some of his smaller pieces were printed shortly after his death, but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers. Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts. In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major symphony (the "Great", D. 944) and took it back to Leipzigmarker, where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. The most important step towards the recovery of the neglected works was the journey to Vienna which Sir George Grove (widely known for the Grove Dictionary of Music and Musicians) and Arthur Sullivan made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the Rosamunde incidental music, some of the Masses and operas, some of the chamber works, and a vast quantity of miscellaneous pieces and songs. This led to more widespread public interest in Schubert's work.

From the 1830s through the 1870s, Franz Liszt transcribed and arranged a number of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived." Schubert's symphonies were of particular interest to Antonín Dvořák, with Hector Berlioz and Anton Bruckner acknowledging the influence of the "Great" Symphony.

In 1897, the publisher Breitkopf & Härtel released a critical edition of Schubert's works, under the general editing of Johannes Brahms, enabling a wider dissemination of his music. In the 20th century, composers such as Benjamin Britten, Richard Strauss, and George Crumb either championed or paid homage to Schubert in their work. Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.

Numbering of symphonies

Confusion arose quite early over the numbering of Schubert's symphonies, in particular the "Great" C Major Symphony. George Grove, who rediscovered many of Schubert's symphonies, assigned the following numbering after his 1867 visit to Vienna:
  • Number 7: E major D. 729 (completely sketched but not completely scored by Schubert, with multiple historic and modern completions)
  • Number 8: B minor Unfinished D. 759
  • Number 9: C major Great D. 944
Breitkopf & Härtel, when preparing the 1897 complete works publication, originally planned to only publish complete works (which would have given the Great number 7), with "fragments", including the Unfinished and the D. 729 sketch, receiving no number at all. When Johannes Brahms became general editor of that project, he assigned the following numbers:
  • Number 7: C major Great
  • Number 8: B minor Unfinished
  • no number: E major D. 729

Some of the disagreement continued into the 20th century. George Grove in his 1908 Dictionary of Music and Musicians, assigned the Great as number 10, and the Unfinished as number 9. (It is unclear from his article which symphonies, fragmentary or otherwise, are numbers 7 and 8.) However, the Unfinished is now generally referred to as number 8 in the English-speaking world, with the Great at number 9. Number 10 is generally acknowledged to be the D. 936a fragment, for which a completion by Brian Newbould exists. The 1978 revision to the Deutsch catalog leaves D. 827 without a number (in spite of numerous completions), and assigns number 7 to the Unfinished and number 8 to the Great. As a consequence, generally-available scores for the later symphonies may be published using conflicting numbers.

Grove and Sullivan also suggested that there may have been a "lost" symphony. Immediately before Schubert's death, his friend Eduard von Bauernfeld recorded the existence of an additional symphony, dated 1828 (although this does not necessarily indicate the year of composition) named the "Letzte" or "Last" symphony. Brian Newbould believes that the "Last" symphony refers to a sketch in D major (D. 936A), identified by Ernst Hilmar in 1977, and which was realised by Newbould as the Tenth Symphony. The fragment was bound with other symphony fragments (D. 615 and D. 708a) that Schubert had apparently intended to combine.


In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognizing Schubert as the creator of the art song, and one of Austria's favorite sons.Karlsruhemarker saw the first production of his opera Fierrabras.

In 1928, Schubert week was held in Europe and the United states to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory". The winning entry was Kurt Atterberg's sixth symphony.

In 1977, the German electronic band Kraftwerk recorded a tribute song called "Franz Schubert", which can be found on the album Trans-Europe Express.


Since relatively few of his works were published in Schubert's lifetime, only a small number of them have opus numbers assigned, and, even in those cases, the sequence of the numbers does not give a good indication of the order of composition. In 1951, musicologist Otto Erich Deutsch published a "thematic catalogue" of Schubert's works that lists his compositions numerically by their composition date.


  1. Rita Steblin, "Franz Schubert – das dreizehnte Kind", Wiener Geschichtsblätter, 3/2001, pp. 245–265.
  2. Wilberforce , p. 2 "the school was much frequented"
  3. Duncan , p. 3
  4. Gibbs , p. 25
  5. Maurice J. E. Brown, The New Grove Schubert, ISBN 0-393-30087-0, pp. 2–3
  6. Wilberforce , p. 3
  7. Gibbs , p. 26
  8. Duncan , pp. 5–7
  9. Gibbs , p. 29
  10. Duncan , p. 7
  11. Duncan , p. 9
  12. Frost, p. 9
  13. Duncan , p. 10
  14. Duncan , pp. 13–14
  15. Steblin
  16. Gibbs , p. 39
  17. Newbould , p. 64
  18. Solomon, M. (1989) Franz Schubert and the peacocks of Benvenuto Cellini. '19th-Century Music,' 12:193–206.
  19. Schubert: Music, Sexuality, Culture. '19th-Century Music', 1993, 17:3–101.
  20. Newbould , p. 40
  21. Duncan , p. 138
  22. Gibbs , p. 108
  23. Duncan , p. 26
  24. McKay, p. 56
  25. Gibbs , p. 44
  26. Newbould , p. 66
  27. Duncan , pp. 90–93
  28. Gibbs , p. 59
  29. Newbould pp. 69–72
  30. Newbould , p. 235
  31. Gibbs , p. 67
  32. Gibbs , p. 68
  33. Austin , pp. 46–47
  34. Wilberforce , pp. 90–92
  35. Wilberforce , p. 25
  36. Newbould , p. 173
  37. Gibbs , p. 228
  38. Gibbs , p. 111
  39. Thayer, pp. 299–300
  40. Newbould , p. 215
  41. Newbould , p. 210
  42. Newbould , p. 218
  43. Duncan , p. 99
  44. Newbould , pp. 221–225
  45. Emmons, p. 38
  46. Newbould , p. 228
  47. Newbould , p. 254
  48. Newbould , pp. 265–266
  49. Smith & Carlson, p. 78
  50. Newbould pp. 261–263
  51. Newbould pp. 270–274
  52. Gibbs , p. 202
  53. Newbould , p. 385
  54. Schonberg, p. 130
  55. Gibbs , pp. 168–169
  56. Duncan , p. 75
  57. Duncan , pp. 79–80
  58. Gibbs , p. 197
  59. Ewen, p. 384
  60. Lev.
  61. Gammond , p. 117
  62. Gammond , pp. 76–81
  63. Brown, p. 630
  64. Plantinga, pp. 107–117
  65. Swafford, p. 211
  66. Gammond , pp. 153–156
  67. Dvořák, Century Illustrated, July 1894, pp. 344–345
  68. Gammond , p. 143, discussing in particular his chamber music
  69. Duncan , p. 80
  70. Gibbs , pp. 61–62
  71. Kreissle, pp. 297–332, in which Grove recounts his visit to Vienna.
  72. See e.g. Kreissle, p. 324, where Grove describes current (1860s) interest in Schubert's work, and Gibbs , pp. 250–251, describing the size and scope of the 1897 Schubert centennial commemorations.
  73. Liszt , p. 144
  74. Newbould , pp. 403–404
  75. Lindmayr, p. 56
  76. Grove , pp. 320–328
  77. 1978 Deutsch Catalog
  78. See references below for citations containing different numbers for the Unfinished Symphony.
  79. Rodenberg, p. 118
  80. Musical Times, February 1897, p. 113
  81. Gibbs , p. 318
  82. Trans-Europe Express track listing


  • The first significant biography of Schubert. This edition is available at German Google Books. English translations and abridgements of this biography from the 1860s are available at Google Books. The second volume is notable in that it contains Sir George Grove's description of the trip to Vienna in which he recovered a number of Schubert's works.
  • (roughly, volume 1 of Kreissle)
  • (roughly, volume 2 of Kreissle)

Nineteenth and early 20th-century scholarship

Modern scholarship

Symphony numbers

The following citations illustrate the confusion around the numbering of Schubert's late symphonies. The B minor Unfinished Symphony is variously published as Number 7 and Number 8, in both German and English. All of these editions appeared to be in print (or at least somewhat readily available) in 2008.

  • German-language publication of the Unfinished Symphony score as Number 7.
  • English-language publication of the Unfinished Symphony score as Number 7.
  • English-language publication of the Unfinished Symphony score as Number 8.

Further reading

Otto Erich Deutsch, working in the first half of the 20th century, was probably the preeminent scholar of Schubert's life and music. In addition to the catalog of Schubert's works, he collected and organized a great deal of material about Schubert, some of which is still in print.

Elizabeth Norman McKay and Brian Newbould have done a great deal of research on the life and music of Schubert in recent years, including scholarly journal articles and books. Newbould made a completion Schubert's fragmentary 10th symphony.

Additional readings (sources from German Wikipedia article):

  • Walther DĂĽrr, Andreas Krause (Hrsg.): Schubert-Handbuch. Metzler, Stuttgart 1997, ISBN 3-476-01418-5
  • Ernst Hilmar: Verzeichnis der Schubert-Handschriften in der Musiksammlung der Wiener Stadt- und Landesbibliothek. Kassel u. a. 1978 (Catalogus Musicus 8).
  • Ernst Hilmar, Margret Jestremski (Hrsg.): Schubert-Enzyklopädie. 2 Bände. Hans Schneider, Tutzing 2004, ISBN 3-7952-1155-7
  • H.-J. Hinrichsen: Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmu­sik Franz Schuberts. Tutzing 1994
  • Elizabeth Norman McKay: Franz Schubert's Music for the Theatre. Foreword by Claudio Abbado. (Veröffentlichungen des IFSI, 5), Tutzing 1991
  • Christian Pollack (ed.): Franz Schubert: BĂĽhnenwerke. Kritische Gesamtausgabe der Texte. Tutzing 1988
  • Ernst Hilmar, Otto Brusatti (Hrsg., mit einer Einleitung von Walter Obermaier): Franz Schubert. Ausstellung der Wiener Stadt- und Landesbibliothek zum 150. Todestag des Komponisten. Katalog. Wien 1978.
  • Ernst Hilmar: Schubert. Graz 1989
  • Till Gerrit Waidelich (ed., together with R. Hilmar-Voit, A. Mayer): Franz Schubert. Dokumente 1817–1830. Erster Band: Texte. Programme, Rezensionen, Anzeigen, Nekrologe, Musikbeilagen und andere gedruckte Quellen (Veröffentlichungen des IFSI, 10/1), Tutzing 1993
  • Ernst Hilmar (Hrsg.): Franz Schubert. Dokumente 1801–1830. Erster Band. Addenda und Kommentar. (Veröffentlichungen des IFSI, 10/2), Tutzing 2003
  • Ernst Hilmar (ed.): Schubert durch die Brille. Mitteilungen des Internationalen Franz Schubert Instituts. Wien/Tutzing 1988–2003
  • Hans-Joachim Hinrichsen, Till Gerrit Waidelich (ed.): Schubert:Perspektiven Stuttgart 2001ff. ( content since 2001)

External links

Recordings and MIDI files

Sheet music

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