Franz Schubert

Full Name and Titles

Franz Peter Schubert. Often referred to as the “Prince of Song” (Fürst des Liedes) for his extraordinary contributions to the art song (Lied).

Vital Statistics

• Born: January 31, 1797, Himmelpfortgrund, Vienna, Austria
• Died: November 19, 1828, Vienna, Austria (age 31)
• Cause of Death: Complications from syphilis and typhoid fever
• Resting Place: Währinger Ortsfriedhof (moved to Zentralfriedhof in 1888)
• Parents: Franz Theodor Florian Schubert (father), Elisabeth Katharina Vietz (mother)
• Siblings: 13 siblings (four survived infancy)

Nationality and Background

Franz Schubert was born in a suburb of Vienna during the twilight of the Holy Roman Empire. His father was a schoolmaster, providing the family with modest but stable means. Vienna was the musical capital of Europe, home to the legacy of Mozart and Haydn and the towering presence of Beethoven, who was still alive during Schubert’s youth.

The Schubert household was musical - his father played cello, his brothers violin - and young Franz showed extraordinary musical talent from an early age. The family represented the Viennese petite bourgeoisie: educated, cultured, but not wealthy or aristocratic.

Occupations and Roles

• Composer
• Schoolteacher (briefly)
• Freelance musician
• Private music tutor
• Church musician
• Salonnier (participant in Viennese musical gatherings)

Era

Schubert lived during the transition from the Classical to Romantic periods: - The Napoleonic Wars (ended 1815) - The Congress of Vienna (1814-1815) - The Biedermeier period in Austria - The late works of Beethoven - The emergence of Romanticism in music and literature - The early 19th-century flowering of German literature (Goethe, Schiller, Heine)

Introduction

Franz Schubert stands as one of the greatest composers in Western music history, despite dying at only 31 years of age. In his brief lifetime, he composed over 600 lieder (art songs), nine symphonies, numerous chamber works, piano pieces, and sacred music that defined the Romantic era and remain central to the classical repertoire.

Schubert’s music is characterized by an extraordinary melodic gift, harmonic innovation, and emotional depth that seemed to flow effortlessly from his pen. While Beethoven struggled over his compositions, revising and refining, Schubert often produced masterpieces at remarkable speed, sometimes writing several songs in a single day. His friends marveled at his ability to compose while playing games or socializing, seemingly without effort.

Yet Schubert’s life was marked by obscurity and struggle. He never achieved the fame of Beethoven or Mozart during his lifetime. His music was performed primarily in private gatherings known as Schubertiads, where his friends would sing his songs and play his chamber music. Only a handful of his works were published while he lived, and he relied on the support of friends and patrons for survival.

His early death was tragic - he contracted syphilis in his mid-20s and suffered from the disease’s progression, combined with typhoid fever. His final years were marked by illness, poverty, and increasing isolation, yet produced some of his greatest works, including the “Unfinished” Symphony, the “Great” C Major Symphony, the String Quintet in C Major, and the song cycle Winterreise.

Schubert’s posthumous reputation grew steadily throughout the 19th century. Schumann, Liszt, Brahms, and Mendelssohn championed his music. Today, he is recognized as a transitional figure between Classical and Romantic music, combining Classical forms with Romantic emotional expression. His songs, in particular, established the Lied as a major art form and influenced every subsequent composer of vocal music.

What makes Schubert’s achievement extraordinary is not just the quantity of his output (over 1,500 works) but its consistent quality and innovation. From the simplicity of “Der Erlkönig” to the profound depths of Winterreise, from the classical perfection of his early symphonies to the bold experiments of his late works, Schubert’s music continues to move listeners nearly two centuries after his death.

Early Life of Franz Schubert

Family Background

Franz Peter Schubert was born on January 31, 1797, in Himmelpfortgrund, a suburb of Vienna. His father, Franz Theodor Florian Schubert (1763-1830), was a schoolmaster from Moravia who had come to Vienna to teach. His mother, Elisabeth Katharina Vietz (1756-1812), was a cook in a Viennese household before marriage. They married in 1785.

The Schuberts had 14 children, of whom only five survived infancy: - Ignaz (1785-1844) - Ferdinand (1794-1859) - Karl (1795-1855) - Franz (1797-1828) - Maria Theresia (1801-1878)

Childhood and Musical Beginnings (1797-1808)

Early Musical Education

Franz showed musical talent almost immediately: - Father taught him violin basics - Brother Ignaz gave piano lessons - Learned viola as well - Could play easy duets competently by age five

By age seven, Franz was studying with his father in preparation for entrance to the Imperial Seminary (Convict).

The Imperial Seminary (1808-1813)

In October 1808, Schubert won a scholarship to the Imperial Seminary (Stadtkonvikt), a boarding school for choirboys: - Scholarship covered tuition, room, and board - Boys sang in the Imperial Chapel choir - Excellent musical education - Academic curriculum as well

Musical Training: - Piano lessons from Wenzel Ruzicka - Theory and composition from Antonio Salieri (famous composer and teacher) - Sang in choir (until voice changed) - Played violin in orchestra - Composed first works

Early Compositions: - “Hagars Klage” (1811) - first surviving song - String Quartet No. 1 (1812) - Fantasy for Piano Duet (1813) - Over 100 compositions before leaving school

Salieri’s Influence

Antonio Salieri (1750-1825) was Schubert’s composition teacher: - Taught counterpoint and theory - Recognized Schubert’s genius - Remained supportive throughout Schubert’s life - Defended against charges of poisoning Mozart (unfounded rumor)

The Schoolteacher Years (1813-1818)

Return Home (1813)

In 1813, Schubert left the Seminary: - Voice changed, no longer choirboy - Returned home to follow father’s footsteps - Trained as schoolteacher - Began teaching at father’s school (1814)

Teaching and Composing

For five years, Schubert combined teaching and composing: - Taught young children (difficult, unrewarding work) - Composed in spare time - Produced remarkable output despite demands

Major Works 1814-1818: - “Gretchen am Spinnrade” (1814) - breakthrough song - Symphony No. 1 (1813) - Symphony No. 2 (1815) - Symphony No. 3 (1815) - Mass in F (1814) - Erlkönig (1815) - written in single day - Hundreds of songs

The “Miracle Year” (1815)

In 1815, Schubert’s productivity was extraordinary: - Composed over 140 songs - Two symphonies - Masses and chamber music - While teaching full-time - Often composing in school hours

This output demonstrated both his genius and his desperation to create despite his circumstances.

The Decision to Leave Teaching (1818)

Frustration with Teaching

Schubert grew increasingly dissatisfied: - Teaching interfered with composing - No time for serious creative work - Limited financial rewards - Desire for independence

The Break with Father

In 1818, Schubert decided to leave teaching: - Father strongly opposed - Argument about career and stability - Schubert moved out - Brief reconciliation later

First Professional Opportunity

Summer 1818 brought first professional engagement: - Employed by Count Johann Karl Esterházy - Taught music to his daughters - At Zseliz estate in Hungary - Liberating experience

This employment, though temporary, showed Schubert that he could earn a living through music.

Vienna and the Circle of Friends (1818-1820s)

The “Schubertiads”

Schubert gathered around himself a circle of friends: - Artists, poets, musicians, students - Gathered regularly to perform his music - Called “Schubertiads” - Played his songs, chamber music, piano works - Celebrated his genius

Key Friends

Franz von Schober (1796-1882): - Poet and dilettante - Closest friend - Provided emotional support - Introduced Schubert to Goethe’s poetry

Johann Mayrhofer (1787-1836): - Poet and censor - Wrote texts for many songs - Depressive personality - Committed suicide 1836

Moritz von Schwind (1804-1871): - Painter - Drew portraits of Schubert - Depicted Schubertiads

Michael Vogl (1788-1840): - Baritone singer - Championed Schubert’s songs - Performed in Vienna salons - Established Schubert’s reputation in limited circles

Personal Life

Romantic Life

Schubert’s romantic life remains mysterious: - No evidence of sustained relationships with women - Some songs suggest romantic longing - Close friendships with men - May have been homosexual (debated by scholars) - Focused on music rather than romance

Health

Schubert suffered from health problems throughout life: - Mercury treatment for syphilis (1822-1823) - Symptoms suggest early syphilis infection - Recurring illnesses - Depression associated with illness - Final decline from 1823 onward

Summary of Early Life

Schubert’s early life established patterns: - Musical genius apparent early: Seminary training refined talent - Teaching burden: Five years of schoolteaching while composing masterpieces - Circle of friends: Supportive community enabled creativity - Economic struggle: Never achieved financial security - Health problems: Syphilis affected final decade - Isolation from mainstream: Music performed in private circles, not public

By age 25, Schubert had composed hundreds of masterpieces but remained virtually unknown to the wider musical world. His final years would bring some recognition but also deepening illness and poverty.

Career of Franz Schubert

The Freelance Composer (1818-1828)

Early Professional Years (1818-1822)

After leaving teaching, Schubert survived through: - Occasional teaching positions (summer employment) - Gifts from friends - Small payments for publications - Income from private performances

This period saw remarkable creativity: - Trout Quintet (1819) - Wanderer Fantasy (1822) - Unfinished Symphony (1822) - Mass in A-flat (1822)

The Unfinished Symphony (1822)

Symphony No. 8 in B minor, “Unfinished”: - Only two complete movements - Third movement sketches - Why unfinished remains mystery - Perhaps dissatisfaction or interruption - One of his most beloved works

Illness and Late Works (1823-1828)

The Crisis of 1823

In 1823, Schubert suffered serious illness: - Hospitalized for syphilis treatment - Mercury therapy (standard but toxic) - Depression and isolation - Composed less than usual

But even this year produced: - Die schöne Müllerin song cycle - Rosamunde incidental music

The Final Years (1824-1828)

Despite declining health, these years produced some of Schubert’s greatest works:

1824: - Octet in F Major - String Quartet No. 13 (“Rosamunde”) - A minor String Quartet

1825: - Great C Major Symphony - “Wanderer” Fantasy published - Improved health temporarily - Trip to Upper Austria

1826: - String Quartet in G Major - Piano Sonata in A Minor - Last Quartets

1827: - Winterreise song cycle - Impromptus for piano - 2nd and 3rd Trios - Beethoven’s death (March) deeply affected Schubert

1828: - String Quintet in C Major (masterpiece) - Last three piano sonatas (D. 958-960) - Schwanengesang song collection - Final string quartet - Mass in E-flat

The Schubertiad Performances

Private Musical Gatherings

Schubert’s music was performed primarily in private: - Evening gatherings at friends’ homes - Singing of lieder - Chamber music performances - Piano works - Informal, intimate atmosphere

Limited Public Performance

Only a few public concerts featured Schubert’s music during his lifetime: - March 1828: Only public concert devoted entirely to his music - Performed in Vienna Musikverein - Mixed success - Financially unsuccessful

Most performances were in private salons.

Publication Struggles

Publishers

Schubert had difficulty finding publishers: - Artaria published some early works - Diabelli, Haslinger, others published songs - Often received minimal payment - Many works remained unpublished at death

Posthumous Fame

Most of Schubert’s fame came after his death: - Robert Schumann discovered Great C Major Symphony (1839) - Mendelssohn performed it - Brahms, Liszt championed his music - Edition of complete works began 1884 - Today recognized as one of greatest composers

Major Works by Genre

Lieder (Over 600 Songs)

Schubert virtually invented the art song: - Perfect marriage of poetry and music - Piano as equal partner to voice - Psychological depth - Goethe settings supreme achievement

Masterpieces: - “Der Erlkönig” (Goethe) - “Gretchen am Spinnrade” (Goethe) - “Heidenröslein” (Goethe) - Die schöne Müllerin cycle (Müller) - Winterreise cycle (Müller) - Schwanengesang (Heine, Rellstab)

Symphonies (9 Completed)

• No. 1-3: Classical style, Haydn/Mozart influence
• No. 4 (“Tragic”): Darker, Romantic
• No. 5: Classical clarity
• No. 6: Cheerful
• No. 8 (“Unfinished”): Revolutionary, emotional depth
• No. 9 (“Great C Major”): Epic, Beethoven’s heir

Chamber Music

• Trout Quintet: Most popular chamber work
• Death and the Maiden Quartet: Intensity
• String Quintet in C Major: Sublime late masterpiece
• Piano Trios: Major works
• Octet: Large-scale chamber music

Piano Music

• Impromptus and Moments Musicaux: Lyric miniatures
• Piano Sonatas: Underrated, major achievement
• Wanderer Fantasy: Virtuoso showpiece
• Dances: Hundreds of waltzes, ländler

Sacred Music

• Masses in G, A-flat, E-flat: Major works
• Stabat Mater
• Deutsche Messe: Popular liturgical work

Stage Works

Schubert attempted opera repeatedly without success: - Alfonso und Estrella - Fierrabras - Des Teufels Lustschloss - Only incidental music (Rosamunde) successful

His genius lay in intimate forms, not dramatic theater.

Death (November 1828)

Final Illness

Schubert’s health declined rapidly in fall 1828: - Fever and weakness - Unable to eat - Possibly typhoid fever complicated by syphilis - Confined to bed

Final Days

• Corrected proofs of Schwanengesang
• Studied Beethoven string quartets
• Instructions for burial near Beethoven
• Died November 19, 1828
• Age 31

Burial

Buried at Währinger Ortsfriedhof: - Near Beethoven’s grave (as requested) - Simple funeral - Friends and musicians attended - Grave moved to Zentralfriedhof in 1888 - Now buried near Beethoven, Brahms, Strauss

Summary of Career

Schubert’s career was brief but extraordinarily productive: - Quantity: Over 1,500 works in 31 years - Quality: Consistently high, many masterpieces - Innovation: Transformed every genre he touched - Lieder: Virtually created the art song - Chamber music: Major contributions - Symphonies: Bridged Classical and Romantic - Recognition: Minimal during life, enormous posthumous fame

He composed more masterpieces by age 31 than most composers produce in long lifetimes. His music continues to be performed and loved worldwide, nearly two centuries after his death.

Major Achievements of Franz Schubert

The Art Song (Lied)

Schubert’s supreme achievement was the transformation of the Lied into a major art form.

Innovation in Song

Before Schubert, the song was relatively simple: - Vocal melody dominant - Piano accompaniment subordinate - Strophic form (same music for each verse)

Schubert transformed the genre: - Piano as equal partner to voice - Through-composed forms (continuous development) - Psychological characterization - Dramatic narrative - Harmonic innovation

Goethe Settings

Schubert set 71 poems by Johann Wolfgang von Goethe, creating masterpieces: - “Der Erlkönig” (1815): Dramatic ballad, voice of four characters - “Gretchen am Spinnrade” (1814): Psychological realism - “Heidenröslein” (1815): Simple perfection - “Wandrers Nachtlied”: Sublime stillness

These settings established the standard for musical interpretation of poetry.

Song Cycles

Schubert invented the song cycle - connected songs telling a story:

Die schöne Müllerin (1823): - 20 songs to poems by Wilhelm Müller - Story of miller apprentice and unrequited love - Narrative progression - Psychological depth

Winterreise (1827): - 24 songs to Müller poems - Winter journey of rejected lover - Bleak, profound, harrowing - Among greatest song cycles ever written

Schwanengesang (1828): - Collection published posthumously - Poems by Heine and Rellstab - Final masterpieces

These cycles influenced every subsequent composer of song.

Harmonic Innovation

Chromatic Harmony

Schubert expanded harmonic language: - Unexpected modulations - Chromatic voice leading - Remote key relationships - Harmonic color for emotional expression

Examples of Innovation

“Der Doppelgänger” (Schwanengesang): - Extreme chromaticism - Psychological terror expressed through harmony

String Quintet in C Major: - Radical key relationships - Subdominant emphasis - Harmonic exploration unprecedented

These innovations influenced later Romantic composers and even Wagner.

Melodic Genius

Unforgettable Tunes

Schubert possessed supreme melodic gift: - Hundreds of memorable themes - Natural, song-like quality - Classical balance with Romantic expression - Effortless flow

Examples

• Trout Quintet theme
• “Ave Maria” (Ellens Gesang III)
• “Serenade” (Ständchen from Schwanengesang)
• Unfinished Symphony first theme
• Wanderer Fantasy theme

His melodies are among the most beloved in classical music.

Chamber Music Masterpieces

String Quintet in C Major (D. 956, 1828)

Often called greatest chamber work ever written: - Two cellos (instead of usual two violas) - Epic scope - Profound emotion - Perfect construction - Written weeks before death

Death and the Maiden Quartet (D. 810, 1824-1826)

Based on his own song: - Variations on “Der Tod und das Mädchen” - Obsession with death - Intense, driven character - Masterful variation technique

Trout Quintet (D. 667, 1819)

Most popular chamber work: - Piano, violin, viola, cello, bass - Based on song “Die Forelle” - Variations on song theme - Lightness and charm

Piano Trios (D. 898, D. 929)

Major contributions to piano trio literature: - No. 1 in B-flat: Classical perfection - No. 2 in E-flat: Darker, profound - Both among greatest piano trios

Late Piano Sonatas

Final Three Sonatas (D. 958-960, 1828)

Written in final months of life: - C minor: Beethoven homage, dramatic - A major: Lyric, songful - B-flat major: Epic, heavenly length

These sonatas: - Established Schubert as major piano composer - Influenced 19th-century sonata form - Remained relatively unknown until 20th century - Now recognized as masterpieces

The “Great” C Major Symphony

Symphony No. 9 in C Major (D. 944, 1825-1828)

Schubert’s symphonic masterpiece: - “Great” to distinguish from earlier C major symphony - Length and ambition unprecedented - Cyclic thematic treatment - Influenced by Beethoven’s 9th - Schumann discovered and championed it

Characteristics: - Expansive first movement - Andante con moto: Ländler rhythms - Scherzo: Energy and drive - Finale: Triumph through struggle

Established Schubert as Beethoven’s successor in symphony.

Sacred Music

Masses

Despite personal distance from church, wrote important sacred works:

Mass in A-flat Major (D. 678, 1819-1822): - Most performed Schubert mass - Lyric, intimate - Influenced by Beethoven’s Missa Solemnis

Mass in E-flat Major (D. 950, 1828): - Last major work - Symphonic scope - Personal, almost heretical - Expresses his own spirituality

Other Sacred Works

• Stabat Mater (D. 175, 1815): Early work
• Deutsche Messe (D. 872, 1827): German-language service
• Many smaller sacred pieces

Summary of Achievements

Schubert’s major achievements include: - Lieder: Transformed the art song, wrote over 600 masterpieces - Song cycles: Invented the genre, created unsurpassed examples - Harmonic language: Expanded possibilities for future composers - Melody: Composed hundreds of unforgettable tunes - Chamber music: Quintet, quartets, trios of highest quality - Piano music: Sonatas, impromptus, major contribution - Symphonies: Unfinished and Great C Major among finest ever written - Sacred music: Important masses despite personal skepticism

In only 31 years, Schubert composed more masterpieces than most creators produce in long lifetimes. His influence extends through the entire subsequent history of Western music.

Personal Life

Overview

Beyond their public achievements, Franz Schubert’s personal life reveals a complex and multifaceted individual whose private experiences have shaped their public persona.

Key Points

The details of this aspect of Franz Schubert’s story reveal important dimensions of their character, achievements, and impact. Understanding these elements provides a more complete picture of Franz Schubert’s significance.

Significance

This dimension of Franz Schubert’s life and work contributes to the larger narrative of their enduring importance and continuing relevance in the modern world.

Contemporaries and Relationships

Overview

Franz Schubert’s relationships with contemporaries provide insight into the social and intellectual networks that shaped their era. These connections influenced their work and legacy.

Key Points

The details of this aspect of Franz Schubert’s story reveal important dimensions of their character, achievements, and impact. Understanding these elements provides a more complete picture of Franz Schubert’s significance.

Significance

This dimension of Franz Schubert’s life and work contributes to the larger narrative of their enduring importance and continuing relevance in the modern world.

Legacy of Franz Schubert

Posthumous Recognition

Early Champions

After Schubert’s death, composers championed his music: - Robert Schumann: Discovered Great C Major Symphony (1839) - Felix Mendelssohn: Performed Unfinished Symphony - Franz Liszt: Transcribed songs for piano, performed music - Johannes Brahms: Edited works, performed chamber music - Gustav Mahler: Orchestrated songs

Publication

Complete works edition (Gesamtausgabe) began 1884: - First scholarly complete edition - Many works published for first time - Established canon of Schubert’s music

Influence on Music

The Lied

Schubert established the art song as major genre: - Influenced Schumann, Brahms, Wolf, Mahler - Standard repertoire for singers - Required study for vocal students - Basis for French mélodie tradition

Romantic Music

Schubert influenced Romantic era: - Expansion of harmonic language - Cyclic form in symphonies and sonatas - Piano miniature (Impromptus, Moments Musicaux) - Chamber music as personal expression

Later Composers

Direct influence on: - Schumann: Song cycles, piano music - Brahms: Chamber music, lieder - Bruckner: Harmonic language - Mahler: Orchestral song, tonality - Wolf: Song composition - Debussy: Harmonic innovation

Performance Tradition

Schubertiads Today

Modern musicians recreate Schubertiads: - Intimate performances - Lieder recitals - Chamber music series - Academic conferences

Standard Repertoire

Schubert’s works are universally performed: - Lieder: Essential vocal repertoire - Symphonies: Standard orchestral works - Chamber music: Core repertoire - Piano music: Required study - Sacred music: Church and concert repertoire

Cultural Impact

Popular Adaptations

Schubert’s melodies entered popular culture: - “Ave Maria” (Ellens Gesang III) in films, ceremonies - Trout Quintet in film, television - Unfinished Symphony as cultural reference - Lieder in films, commercials

Literature and Art

Schubert depicted in: - Paintings by Moritz von Schwind - Biographical films - Novels and plays - Musical theater

Memorials

Vienna

• Grave at Zentralfriedhof
• Schubert birthplace museum (now apartment)
• Schubert Park (former Währinger Friedhof site)
• Street names, monuments

International

• Schubert societies worldwide
• Competitions and festivals
• Music schools named for him
• Statues in various cities

Historical Assessment

Ranking Among Composers

Schubert is universally ranked among greatest: - Top 10 in virtually all polls - Supreme master of song - Major symphonist and chamber composer - Underrated piano composer (reassessed in 20th century)

Comparison to Mozart

Often compared to Mozart: - Both died young (31 and 35) - Both composed with apparent ease - Both masses of masterpieces in short time - Different personalities (Mozart more extroverted) - Both transformed their genres

Contemporary Relevance

Why Schubert Still Matters

1. Melodic beauty: Timeless tunes
2. Emotional depth: Profound human expression
3. Innovation: Expanded musical language
4. Intimacy: Personal expression in public art
5. Accessibility: Immediate appeal, lasting depth

Modern Performance

Contemporary interest in: - Historical performance practice - Late piano sonatas (once neglected) - Complete lieder cycles - Chamber music revival

Conclusion

Franz Schubert’s legacy is extraordinary for one who died at 31: - Quantity: 1,500+ works - Quality: Hundreds of masterpieces - Innovation: Transformed every genre he touched - Influence: Shaped all subsequent music - Love: Music continues to move listeners deeply

He transformed the Lied from minor genre to major art form, composed symphonies that influenced Brahms and Mahler, and created chamber music of unsurpassed beauty. His late works, written in illness and poverty, achieve depths of expression that place him among the greatest artists in Western civilization.

Schubert proved that quantity of life is less important than quality of achievement. In his brief 31 years, he gave the world music that will be performed and cherished as long as civilization values beauty, truth, and emotional depth.