Franz Peter Schubert (born January 31, 1797 in the municipality of Himmelpfortgrund , today a district of Vienna in the Alsergrund district ; † November 19, 1828 in Wieden , today a district of Vienna) was an Austrian composer . Although he died at the age of 31, he left behind a rich and varied work. He composed around 600 songs , secular and sacred choral music , seven complete and five unfinished symphonies , overtures , stage works, piano music and chamber music .
During his lifetime the number of his admirers was limited. Mendelssohn , Schumann , Liszt , Brahms and other composers of the Romantic period discovered and praised the work of their predecessor. Today Schubert's position as an outstanding representative of early Romanticism is undisputed.
Franz Peter Schubert was born the thirteenth of sixteen children. Of these sixteen children, only five lived to be older than a year and four reached adulthood. Schubert's father Franz Theodor (* 1763 in Neudorf in North Moravia , today Vysoká ; † July 9, 1830) was a teacher and headmaster. His mother Elisabeth Vietz (* 1756 in Zuckmantel, Austrian Silesia , today Zlaté Hory ; † May 28, 1812) was a cook in a Viennese family before the wedding.
At the age of five, Schubert received his first regular musical lessons: his father taught him to play the violin. At the age of six he went to school in the Viennese suburb of Lichtental . At the age of seven he was already receiving organ lessons from Michael Holzer, the Kapellmeister of the Lichtental parish church .
Because of his beautiful voice, he was accepted as a choirboy in the Viennese court music band and in the imperial Konvikt in October 1808 . It was there that Schubert met many of his long-term friends - such as Joseph von Spaun , Albert Stadler and Anton Holzapfel. In addition to taking composition lessons from Wenzel Ruzicka and later Antonio Salieri, he enjoyed a variety of musical stimuli in the Konvikt . He not only worked as a soloist in singing, but also got to know the instrumental works of Joseph Haydn and Wolfgang Amadeus Mozart , since he was the second violinist in the Konviktorchester.
Soon his talent for composition showed. A piano fantasy in G major for four hands is dated April 8th - May 1st, 1810. A string quartet , another fantasy in G minor, songs and other pieces followed the next year . String quartet evenings were regularly held in the family on Sundays and public holidays, with his father playing the cello, he himself the viola and his brothers the violin.
While his school performance was good at first, he got worse over time, especially in mathematics and Latin. He turned down the possibility of extending his foundation and returned to his parents' house in October 1813. At this time he was composing his Symphony No. 1 in D major .
After attending a teacher training college, he became his father's school assistant at the end of 1814, an office that he held for two years and again for a short time at the end of 1817 / beginning of 1818. In addition, he received lessons from Antonio Salieri until 1816 and composed productively: his first opera Des Teufels Lustschloß and his Mass No. 1 in F major (the premiere on September 25, 1814 in the Lichtentaler parish church was the first public performance of one of his works ) both date from 1814, as do several string quartets, shorter instrumental works, the first movement of his Symphony No. 2 in B flat major and more than twenty songs, including masterpieces such as Gretchen am Spinnrade (from Goethe's Faust ) and interesting experiments such as the ballad Der Divers (after Schiller ).
He composed an even larger number of works in 1815. Despite his work as a teacher, he finished two symphonies (No. 2 in B flat major, No. 3 in D major ), two masses ( No. 2 in G major , No. 3 in B flat ) Major ), the operas The Four Year Old Post , Fernando and Claudine von Villa Bella and two other unfinished operas . There were also the string quartet in G minor, four sonatas and a few other compositions for piano, as well as almost 150 songs, some of which were considerable, of which he sometimes wrote several per day.
In view of the increasing incompatibility of his teaching post with composing, Schubert made numerous attempts to establish himself as a composer. But the publishers refused to publish his works. In the spring of 1816 he applied unsuccessfully for the post of Kapellmeister in Laibach / Ljubljana . Through his friend Joseph von Spaun he came into contact with Franz von Schober in Vienna . At his suggestion, Schubert left his teaching position and moved into Schober's apartment for eight months in order to spend more time composing. Of the compositions from this year, only the Goethe ballad Erlkönig , the Prometheus cantata , the two symphonies No. 4 in C minor (the “tragic”) and No. 5 in B flat major and the Mass No. 4 in C major mentioned.
All this time, his circle of friends grew steadily. The poet Johann Mayrhofer , whom he met in December 1814, wrote him two librettos . Schober introduced him to the baritone Johann Michael Vogl , one of the most important singers at the Vienna Court Opera , who soon sang his songs in literary salons and thus presented him to the public. The pianist Josef von Gahy played his sonatas and fantasies. The musical bourgeois family Sonnleithner, especially their eldest son, Leopold von Sonnleithner , organized musical gatherings in his honor, which were called Schubertiads from 1821 (and which still take place in a similar but also completely different form).
Schubert had no real income, because he had given up his teaching post, public appearances brought nothing, the publishers were not yet interested in his music. Some of his friends had to provide for his livelihood. In a so-called nonsense society of young artists, he maintained close contacts with the Kupelwieser brothers, his later librettist Joseph Kupelwieser and the painter Leopold Kupelwieser , who - as one of the few - painted authentic contemporary portraits of Schubert, alongside Wilhelm August Rieder (watercolor 1825) and Anton Depauly (whose portrait from 1828 was originally and erroneously attributed to Joseph Willibrord Mähler or Franz Eybl ). When Schubert was exempted from teaching for the first time in 1817, he devoted himself in particular to the piano sonata (A minor D 537, A flat major D 557, E minor D 566, D flat major D 567, F sharp minor D 570, B- Major D 575). Some of his most famous songs were also composed during this period (such as Ganymede , Death and the Maiden and The Trout ).
In January 1818, Schubert's song Erlafsee (D 586) appeared in print (as a supplement to the anthology published by Franz Sartori , "Mahler's pocket book for friends of interesting regions. Natural and artistic curiosities of the Austrian monarchy").
From the beginning of July to mid-November 1818 (and also in the summer of 1824) he was with the family of Count Johann Carl Esterházy , whom he had already looked after musically in his city palace in Vienna, as singing and piano master on their estate in Zselíz / Zelis in Hungary (now Slovakia ) committed. He wrote four-hand pieces and songs for Countess Marie and Caroline, the count's daughters. In the same year he composed his Symphony No. 6 in C major .
When he returned to Vienna in the late autumn of 1818, Schubert could no longer stay with Schober and lived with Johann Mayrhofer for two years. His life now went back to normal: every morning after getting up he started composing, ate at two o'clock, went for a walk and then turned back to composing or visited friends. His decision against the teaching profession was now final.
He had his first appearance as a song composer on February 28, 1819 in the hall of the hotel "Zum Roman Kaiser" ( Freyung No. 145, today Renngasse 1) with Schäfer's lament . In the summer of the same year he went on vacation with Vogl in Upper Austria . In autumn he sent three of his songs to Goethe , but - as far as is known - without success.
In the following years, Schubert's work declined quantitatively, but the compositions of 1820 show a further development of his style. In February he began with the unfinished oratorio Lazarus , later he wrote, in addition to smaller pieces, a setting of the 23rd Psalm for choir with piano accompaniment, the song of the spirits and the quartet in C minor.
Two of Schubert's operas were performed for the first time this year: the one-act singspiel Die Zwillingsbrüder on June 14th at the Theater am Kärntnertor and Die Zauberharfe on August 19th in the Theater an der Wien . Until then, his larger compositions - with the exception of the masses - had not gotten beyond the amateur orchestra in the Gundelhof , which had emerged from the local quartet events. Since both pieces were passable successes, he could now address a wider public. But it was not until Vogl had sung the Erlkönig in a public concert that the publisher Anton Diabelli could be persuaded to publish some of Schubert's works on commission.
The friendship with Moritz von Schwind began in 1821 . Schubert lived temporarily again with his friend Franz von Schober , around 1822 in the Göttweiger Hof, where, among other things, the Unfinished and the Wanderer Fantasy were created. Schubertiaden took place in the Freundeskreis, including in Atzenbrugg Castle in Lower Austria , where Schober's uncle was the estate manager. Several poetry settings, such as Jäger's love song , relate to his friendship with Schober.
Similar to Schubert's relationship with Mayrhofer, Schubert's homosexuality was later stated.
In 1821/22 Schubert earned around 800 florins convention coin for the publication of Opus 1–7 and 10–12 . As a school assistant, he received only 80 florins a year from his father in addition to board and lodging. Otto Erich Deutsch estimated Schubert's further income from publications, fees and gifts between 1822 and 1828 at around 7,000 florins convention coin.
Encouraged by his success, Schubert tried to establish himself as a stage composer, but was disappointed in his hopes. Both Alfonso and Estrella - composed between September 1821 and February 1822 - and The Conspirators According to Ignaz Franz Castelli (April 1823) were rejected by the theater, Fierrabras (autumn 1823) removed after the first rehearsals. The incidental music to Helmina von Chézys Rosamunde was well received, but the piece itself was canceled after two evenings.
Schubert's state of health gave rise to speculation. With age, he became more corpulent and prone to alcoholic excesses. The first authentically transmitted disease attacked him in December 1822. A hospital stay in the autumn of 1823 brought some improvement, but by the next spring the illness seems to have put the composer under particularly severe psychological stress ("I feel like the most unhappy, most miserable person in the world" he wrote to Leopold Kupelwieser ). According to the common view of Schubert research, Schubert had contracted a venereal disease at that time , probably syphilis , because he was in January (January) 1823 for inpatient treatment at the Vienna General Hospital for syphilitic ulcers.
Various legends circulate about Schubert's way of life at that time. It is said that Schubert spent most of the money he earned for school service or sold compositions on evenings with friends in old Viennese inns, which was not exactly beneficial to his reputation. According to an unsecured anecdote, the landlord even took a song in payment every now and then, which Schubert often composed right at the pub when he couldn't pay the bill in cash. It is also said of Schubert's zeal for work that he always kept his usual glasses on at night so that he could start composing in the morning without wasting time.
Despite his preoccupation with the stage and later with his official duties, he found time for many other compositions during these years. In 1822 Mass No. 5 in A flat major was finished and the symphony in B minor began. His first famous cycle of songs, Die Schöne Müllerin , dates from 1823, the Variations on Dry Flowers and two string quartets in A minor ( Rosamunde ) and D minor ( Death and the Maiden ) date from 1824.
In the spring of 1824 he wrote his octet in F major . From late May to mid-October 1824 he was engaged in Zelis for the second time. He dedicated the three songs "Impatience", "Morning Greeting" and "The Miller's Flowers" from the beautiful miller's wife to the 19-year-old Countess Caroline Esterházy . There Schubert also noted the two-handed Mélodie hongroise D 817 and worked it out in the finale of the four-handed divertissement à la Hongroise D 818, which was probably made after returning from Zelis. The four-hand piano sonata D 812, the Grand Duo , was also composed in Zelis . At the suggestion of Countess Rosine Esterházy, he set Friedrich de la Motte Fouqué's “Prayer” to music as a vocal quartet.
In 1825 Schubert had another happier phase when he traveled to Upper Austria . There he worked on the Great Symphony in C major and wrote his piano sonata in D major (D 850); The Piano Sonata in A minor (D 845), which he was able to publish at a rather high price, had probably already been written shortly before. He became friends with Eduard von Bauernfeld . Furthermore, he maintained his contacts with Anselm Hüttenbrenner and Johann Baptist Jenger , the friends in Styria.
Jenger, Hüttenbrenner and Schubert, lithograph by Josef Teltscher , 1827
The last few years
From 1826 to 1828 Schubert stayed - apart from a short stay in Graz in the house of Marie Pachler-Koschak - in Vienna and its suburbs. The position of vice conductor at the imperial court orchestra, for which he applied in 1826, was not awarded to him, but to Joseph Weigl . On March 26, 1828, he gave the only public concert of his career, which earned him 800 gulden Viennese currency (320 fl. Convention coin). Numerous songs and piano works had meanwhile been printed.
He wrote the final version of the string quartet in D minor with the variations on Death and the Maiden during the winter of 1825/1826. The string quartet in G major, the Rondeau brilliant for piano and violin, the piano sonata in G major and Schubert's most famous sacred work, the Deutsche Messe, followed in 1826 .
In 1827 he composed the song cycle Winterreise , the Impromptus , the Fantasia for piano and violin and the two piano trios in B flat major and E flat major . In 1828 he wrote the Mass No. 6 in E flat major , the string quintet in C major (D 956), the last three piano sonatas (D 958–960) and a collection of songs that was published after his death and called Schwanengesang . He also sketched three movements for a symphony in D major.
After two weeks of continuous fever, Franz Schubert died on November 19, 1828 at 3 pm in the apartment of his brother Ferdinand Schubert in the house "Auf der neue Wieden N ° 694" (today Kettenbrückengasse 6 in the Wieden district ). He still suffered from unhealed syphilis , but the cause of death was probably an acute infectious disease, probably typhoid . This disease was then called "nerve fever".
Reception and aftermath
In literature, Schubert is traditionally portrayed as a misunderstood genius who created his masterpieces unnoticed by the public. It is true that Schubert's major works - such as his symphonies - did not have a great impact and that his operas did not make the breakthrough he had longed for. One of the main reasons for this was that he did not seek publicity himself and, unlike Mozart and Beethoven, could not be persuaded by his friends to give his own concert until 1827, which was also a great success.
On the other hand, Schubert was well known nationwide. As a singer, Vogl in particular ensured the distribution of his songs, and towards the end of his life the publishers also began to take an interest in them. Around 100 of his works were published in print during his lifetime - only a small proportion of the total of around 600 songs, but more than many of his contemporaries published.
After Schubert's death, Diabelli published numerous songs and other small compositions in the years that followed. However, it took a long time before the symphonies, masses and operas were also made available to the public. During a stay in Vienna, Robert Schumann visited Ferdinand Schubert , who showed him some compositions from the estate. Schumann was immediately enthusiastic about the Great Symphony in C major and stood up for it. It was premiered on March 21, 1839 under Felix Mendelssohn Bartholdy in the Leipzig Gewandhaus . The unfinished symphony did not come from the possession of Anselm Hüttenbrenner until 1865 into the hands of the conductor Johann von Herbeck , who premiered it on December 17th in Vienna.
Despite his short life, Schubert created extraordinary things in all genres of his time and is seen in today's musicology, alongside Beethoven, as the founder of romantic music in German-speaking countries. In contrast to the composers of the Viennese classical period , in whose tradition he worked, he also gave the smaller forms (piano pieces such as Deutsche Tänze, Moments musicaux or Impromptus) a large space in his work, which continued in the oeuvres of many romantic composers, starting with Mendelssohn and Schumann and up to the 20th century ( Hugo Wolf , Skrjabin ).
Musicological research agrees that Schubert's most significant contribution to European music history is his lied work. The genre of art song in its binding new form is actually only created through him. “Franz Schubert transformed a world from poetry into music. He took the art song to an unprecedented level. ”This is how Dietrich Fischer-Dieskau , one of the most important song interpreters in the second half of the 20th century, begins his material and knowledgeable book on Schubert's songs. Schubert's predecessors in the Viennese classical music Haydn , Mozart and Beethoven (as well as the numerous small masters) did not have a particularly pronounced relationship with the song, even if they composed songs from time to time. The special thing about Schubert's songs is something that was alien to them: Schubert actually composes “A World of Poetry”, more precisely: the language of over 600 poems in music. This means that it is not a musical idea that is decisive (as is shown, for example, in the compositional eloquence of Mozart's arias or ensembles in the operas), but the linguistic specification.
In doing so, Schubert succeeds in finding the best musical means with which he can understand the given linguistic-lyrical form of a poem. He is so sure of this that among his around 600 songs, mistakes are very rare, even in his early work. His means of musically following the given melodic and metrical-rhythmic form of speech are also external means such as deliberate repetitions of text (or precisely the omission of an expected repetition, e.g. in the end of the last song of the winter journey , the lyre man ), frequent Changing the tone gender in a song, dominant - tonic cadences in fortissimo as rhetorical confirmations and - this is precisely what Schubert does amazingly well - the piano imitation of real sound phenomena such as B. splashing water, barking dogs, the turning movement of a spinning wheel, weather events, the sound of other musical instruments, especially the lute, etc. Also the increasing turning away from the verse song in favor of the well-composed song is striking, since the individual stanzas of a poem are in theirs Messages can be so different that the same music doesn't always go with them.
Schubert's song work differs not only from the songs of his predecessors such as Zelter's , but also from his contemporaries and successors. Already Robert Schumann , the comparable commitment dedicated to the art song, Schubert does not share linguistic approach in the strict sense. Even in justifiably famous songs by Schumann, such as the Eichendorff songs, it is less the lyrical and lyrical specifications that are represented musically than the special “mood” created by the poem. The music created for this mood dominates, not the linguistic specifications that created this mood. This becomes even clearer in later song compositions such as those by Brahms or Richard Strauss . While Schubert conveys poetry to us musically, Schumann, Brahms, Loewe or Strauss convey musical ideas to us through poetry.
Similar to Mozart's case, the particularly extensive biographical literature on Schubert does not discuss this fundamental issue expressis verbis, but comes from a strong emotional bond that this composer has, which in turn echoes the particularly linguistically obligatory form of Schubert's lied compositions.
While the 19th century in Schubert admired the actual creator of the art song, in the 20th century his instrumental music also gained central importance in the concert repertoire. The instrumental compositions of Schubert, especially the chamber music ones, reflect his special method and therefore often appear like “songs without words”. The chants of the Deutsche Messe are very widespread and popular in everyday church life, especially in Austria, to this day. Only his operas are still in the shadows , mainly because of the often confused and theatrically unproductive textbooks .
In 1869 Moritz von Schwind created a Schubert lunette with motifs from works by Schubert in the new kk Hofoper Vienna . In 1872, a monument designed by Carl Kundmann was erected in Vienna's Stadtpark in memory of Schubert .
The Schubert year 1928 was celebrated in Austria; Countless monuments, memorial plaques and Schubert linden trees were unveiled in cities, markets and villages in Austria, mostly with the inscription “Dem Deutschen Liederfürsten Franz Schubert”.
Due to Schubert's great popularity, numerous traffic areas were named after him. In Vienna it is still today the Schubertring in the 1st district ( Inner City ), the Schubertgasse in the 9th district ( Alsergrund ), the Franz-Schubert-Straße in the 14th district ( Penzing ) and the Franz-Schubert-Weg in the 18th district. District ( Währing ). Before each incorporation to Vienna (1890/1892 and 1938) there was also Schubert streets in Ottakring (now Turkish alley ) Atzgersdorf (now Vertex alley ) Erlaa (now Welingergasse ) and Liesing (now Josef-Bühl-Gasse ) as well as Schubertstrasse in Oberlaa (today: Hasenöhrlstrasse ) and Essling (today: Ibachstrasse ). There are also Schubertgassen , Schubertstraßen , Schubertplatz , Schubertweg , Schubertalleen and Schubertringe in many Austrian and German communities.
The Austrian Academy of Sciences announced in November 2015 that it had compiled more than 1000 handwritten and printed sources from Schubert. It is said to be the largest digital Schubert collection in the world; it is available free of charge at www.schubert-online.at.
The numbering of Schubert's works according to the German directory is denoted by the abbreviation D. The first complete edition of Schubert's works was published by Breitkopf & Härtel from 1884 . Work on the New Schubert Edition, which was published by Bärenreiter-Verlag , began in 1965.
- Six Latin masses
- German fair
- Two stabat mater
- Four offers
- Offertory in C major for soprano (tenor) and orchestra (1815 (?), D 136)
- Offertory in A minor for choir and orchestra (1815, D 181)
- Offertory in F major (Salve Regina) for soprano and orchestra (1815, D 223)
- Offertory in B flat major for tenor, choir and orchestra (1828, D 963)
- Smaller church compositions (including a large Hallelujah , an eight-part hymn for male choir with accompaniment of wind instruments, a Magnificat , the Tantum ergo for vocal soloist quartet, choir and large orchestra)
- Der Spiegelritter (around 1811, D 11): Singspiel , August von Kotzebue . Fragment (not listed)
- Des Teufels Lustschloß (1813/14, D 84): Natural Magic Opera, August von Kotzebue (premiered at Hans Otto Theater Potsdam 1978)
- The four-year-old post (1815, D 190): Singspiel, Theodor Körner (UA Hofoper Dresden 1896)
- Fernando (1815, D 220): Singspiel, Albert Stadler (not listed)
- Claudine von Villa Bella (1815, D 239): Singspiel, Johann Wolfgang Goethe . Incomplete (UA Vienna 1913)
- The Friends of Salamanka (1815, D 326): Singspiel, Johann Mayrhofer (UA Stadttheater Halle 1928)
- Die Bürgschaft (1816, D 435): Opera based on Friedrich Schiller's ballad Die Bürgschaft , lyricist unknown. Fragment (WP in concert: Vienna 1908, scenic: Friedrich Schiller University Jena 2005)
- Adrast (1819/1820, D 137): Opera, Johann Mayrhofer . Unfinished and preserved in fragments (UA Vienna 2010)
- The Twin Brothers (1818/1820, D 647): Posse with singing, Georg von Hofmann (UA Hofoper Vienna 1820)
- The Magic Harp (1820, D 644): Magic game with music ( melodrama ), Georg von Hofmann (UA Theater an der Wien 1820)
- Lazarus (1820, D 689): Musical drama , August Hermann Niemeyer . Incomplete (UA Stadttheater Essen 1928)
- Sakontala (1820, D 701): Opera in 3 acts, Johann Philipp Neumann after Kalidasa . Fragment, for the 1st and 2nd act only drafts (staged world premiere: Saarländisches Staatstheater , March 27, 2010)
- Alfonso and Estrella (1821/22, D 732): Great heroic-romantic opera, Franz von Schober (WP Hoftheater Weimar 1854)
- The Conspirators (1823, D 787): Singspiel, Ignaz Franz Castelli (Premiere Stadttheater Frankfurt in the Comoedienhaus am Roßmarkt 1861)
- Fierrabras (1823, D 796): heroic-romantic opera, Josef Kupelwieser (premiered at the Grand Ducal Court Theater Karlsruhe 1897)
- Rosamunde (1823, D 797): Great romantic drama with choirs, musical accompaniment and dances, Helmina von Chézy (premier at Theater an der Wien 1823)
- The Count of Gleichen (1827/1828, D 918): Romantic opera, Eduard von Bauernfeld . Unfinished (premiere at Meiningen State Theater 1996)
Choral songs and chants
- Numerous choral songs and polyphonic chants for women, men or mixed voices, some a cappella, but mainly with piano accompaniment, sometimes with other instruments. A setting of Schiller's An die Freude (D 189), Nachtgesang im Walde (D 913, with horn quartet), the 8-part setting of Goethe's Gesang der Geister über den Wassern (D 714, with strings), Mirjam's victory song are just a few examples (D 942, with solo soprano) or Die Nacht (D 983c). A Prometheus cantata for soli, choir and orchestra (D 451) composed in 1816 has been lost.
- On the occasion of his father's name day, Schubert wrote a trio for two tenors, bass and guitar in 1813.
About 600 songs, including
- Setting of poems by Claudius , Collin , Goethe , Heine , Hölty , Jacobi , Klopstock , Körner , Kosegarten , Leitner , Macpherson , Matthisson , Mayrhofer , Müller , Rückert , Salis-Seewis , Schiller , Schlegel brothers , Schober , Schubart , Schulze , Seidl , Shakespeare , Stolberg , Uz and many others
- the cycles Die Schöne Müllerin and Winterreise (based on poems by Wilhelm Müller ; in the latter, among others, the song Der Lindenbaum , also known as Am Brunnen vor dem Tore )
- the song collection Schwanengesang
- the cycle Fräulein vom See (after Walter Scott's The Lady of the Lake ), in it Ellen's third song
- Im Abendrot , Erlkönig , Der Fischer , Die Forelle , Das Lied im Grünen , Heidenröslein , The Shepherd on the Rock (a three-part commissioned composition with an obligatory clarinet), Chants of the Harper (3 parts), The Young Man by the Stream , An den Mond ( 6 settings of several texts), The Treasure Digger , Death and the Maiden , The Wanderer , Wanderer to the Moon , Train Bells ; various versions of spring, autumn, winter, May, morning, evening, love, longing, lament and drinking songs as well as serenades
- Some songs have text in Italian, such as the four canzons (including “Guarda, che bianca luna” by Iacopo Vittorelli ) D 688 and The Three Chants for bass part D 902, or arias based on texts from Italian operas, including “Pensa che questo istante “D 76 after a text by Pietro Metastasio .
Among the numerous complete recordings of Schubert's lied works, there are two that can be emphasized. An older recording, however, only of the explicitly male songs, appeared in 1969/1970 with Dietrich Fischer-Dieskau (baritone) and piano accompanist Gerald Moore on the Deutsche Grammophongesellschaft label , first on LPs, now on 18 CDs. A recording with various international singers and with piano accompanist Graham Johnson , supplemented by the express female songs , was released between 1987 and 2005 on the British label Hyperion Records on a total of 37 CDs.
Beginning during Schubert's lifetime, numerous arrangements of his songs with guitar accompaniment appeared.
12 symphonies (five of which are unfinished)
- Symphony Fragment D major D 2B (1811)
- 1st Symphony in D major, D 82 (1813)
- 2nd Symphony in B flat major, D 125 (1814–15)
- 3rd Symphony in D major, D 200 (1815)
- 4th Symphony in C minor, D 417 "Tragic" (1816)
- 5th Symphony in B flat major, D 485 (1816)
- 6th Symphony in C major, D 589 "Little Symphony in C major" (1817–18)
- Draft symphony in D major, D 615 (1818)
- Draft symphony in D major, D 708A (after 1820)
- Symphony Fragment in E major, D 729 (1821)
- [7.] Symphony in B minor, D 759 "Unfinished" (1822)
- [8.] Symphony in C major D 944 “Great Symphony in C major” (1825, score dated 1828); according to Ernst Hilmar identical to the Gmunden-Gastein Symphony D 849
- D major symphony , D 936A (1828), reconstructed for concert use and arranged by Peter Gülke and Brian Newbould
The counting of the symphonies has changed several times and therefore occasionally leads to confusion. The first six completed symphonies are indisputable. A symphony occasionally counted as No. 7, the so-called Gmunden-Gasteiner , was considered lost. According to current research, however, it has been proven that it is identical to the “Great Symphony in C major”. The so-called “ unfinished ” was previously called the 8th, now the 7th . The “ Great Symphony in C major ” was originally counted as the 7th, later as the 9th symphony; According to current research, it counts as his 8th symphony. In order to cause less confusion, the two works are now mostly referred to as “Unfinished” (or “B minor symphony”) and “Great Symphony in C major” (or “Great C major” for short).
The fragments are very different in scope. In the meantime, however, they have all been brought into a performable condition and recorded on record or CD.
- 9 overtures (including 2 "in the Italian style")
- Several overtures to stage works, a. a. Magic harp / Rosamunde , Fierrabras and Alfonso and Estrella
Other orchestral works
- Orchestral pieces (fragments) D 71c and D 94a
- Concert piece (“Concerto”) for violin and orchestra in D major, D 345
- Rondo for violin and string orchestra (string quartet) in A major, D 438
- Polonaise for violin and orchestra in B flat major, D 580
- Quartet for flute, guitar, viola and violoncello, D 96 (arrangement of a Notturno for flute, viola and guitar, Opus 21, by Wenzel Matiegka )
- Trout Quintet in A major for piano, violin, viola, cello and double bass, D 667 (1819, first printed in 1829).
- String quintet in C major, D 956 (op.posth. 163)
- 15 extant string quartets , plus some missing ones (D 19, D19A, D 40) and one preserved in fragments
- Piano Trio No. 1 in B flat major, D 898
- Piano Trio No. 2 in E flat major, D 929
- 2 single movements for piano trio
- 2 string trios (D 471, unfinished; D 581)
- 2 large duos (Fantasie D 934 and Rondo D 895), 3 smaller sonatas (sonatinas) and a sonata D 574 for piano and violin
- Octet for strings and wind instruments D 803
- Sonata for arpeggione and piano D 821
- Variations for flute and piano on the song "Trockene Blumen", D 802
- 21 sonatas , of which 12 were completed, outstanding, especially the unfinished relic in C major (D 840) and A minor (D 845), D major (D 850), G major (D 894) and the last ones written in the year of death three in C minor, A major, B major (D 958-960), see Piano Sonatas No. 19 to 21 (Schubert)
- Eight Impromptus in two cycles (D 899 and D 935), six Moments musicaux , the “Five Piano Pieces” (published in 1843, actually an unfinished piano sonata in E major D 459 and three piano pieces D 459A) and “Three Piano Pieces” (D 946)
- the pianistically very demanding " Wanderer Fantasy " (D 760)
- numerous works for piano four hands, including the Fantasia in F minor (D 940) and the famous (D 733)
- 13 variations on a theme by Anselm Hüttenbrenner in A minor (D 576)
- 12 Lander (D 790)
- many smaller pieces for piano solo such as the Allegretto in C (D 915) or the “Grazer Galopp” (D 925), including several unfinished works and fragments
- Werner Aderhold, Walther Dürr , Walburga Litschauer (Eds.): Franz Schubert - Years of Crisis 1818 to 1823. (Festschrift Arnold Feil .) Bärenreiter, Kassel 1985, ISBN 3-7618-0758-9 .
- Manfred Wagner , Franz Schubert - Work and Life, Verlag Holzhausen, Vienna 1996, online
- Veronika Beci : Franz Schubert. I moved in as a stranger . Artemis & Winkler, Düsseldorf 2003, ISBN 3-538-07151-9 .
- Werner Bodendorff : The smaller church works of Franz Schubert. Augsburg: Wißner 1997. ISBN 3-89639-089-9
- Otto Erich Deutsch , Werner Aderhold, Walther Dürr, Arnold Feil (eds.): Franz Schubert catalog raisonné. The little German . dtv / Bärenreiter, 1983. ISBN 3-423-03261-8
- Friedrich Dieckmann : Franz Schubert. An approximation . Insel, Frankfurt am Main and Leipzig 1996, ISBN 3-458-16804-4
- Walther Dürr, Arnold Feil: Reclam's music guide Franz Schubert . Reclam, 1991 and 2002 with an updated list of references. ISBN 3-379-20049-2
- Alfred Einstein : Schubert. A musical portrait , Zurich 1952
- Herbert Eulenberg : Schubert and the women . Drei Eulen Verlag Düsseldorf 1946
- Hans-Jürgen Fröhlich : Schubert , Munich [u. a.] Carl Hanser Verlag, Munich 1978
- Harry Goldschmidt : Franz Schubert - A picture of life , 7th edition, Deutscher Verlag für Musik, Leipzig 1980
- Gernot Gruber : Schubert. Schubert? Life and Music , Kassel 2010 ISBN 978-3-7618-2123-7
- Peter Gülke : Franz Schubert and his time , Laaber-Verlag, Laaber 2002, ISBN 3-89007-537-1
- Peter Härtling : Schubert. 12 moments musicaux and a novel . dtv, Munich 2003, ISBN 3-423-13137-3
- Ernst Hilmar : Franz Schubert . Reinbek 1997.
- Hans-Joachim Hinrichsen: Franz Schubert . Verlag CH Beck, Munich 2011, ISBN 978-3-406-62135-2 .
- Ernst Křenek : Franz Schubert - A portrait, annual edition of the International Franz Schubert Institute, Vienna and the German Schubert Society e. V., Duisburg, Verlag Hans Schneider , 1990, ISBN 978-3-7952-0623-9
- Andrea Lindmayr-Brandl: Franz Schubert. The fragmentary work . (= Schubert: Perspektiven - Studien , Vol. 2) Steiner, Stuttgart 2003, ISBN 3-515-08250-6
- Frieder Reininghaus : Schubert and the tavern . Music under Metternich, Berlin 1980
- Christoph Schwandt : Inexpressible, uncomprehended. Evidence and arguments from life and work for the probable homosexuality of Franz Peter Schubert. In: Franz Schubert "Todesmusik" , publisher edition text + kritik, 1997 (= Musik-Konzept 97/98), pp. 112–194.
- Rita Steblin : The nonsense society: Franz Schubert, Leopold Kupelwieser and their circle of friends. Böhlau 1998, ISBN 3-205-98820-5
- Rita Steblin: Franz Schubert - the thirteenth child. In: Wiener Geschichtsblätter , Vienna 2001, issue 3, pp. 245–265
- Paul Stefan : Franz Schubert . Berlin 1928
- Walther Vetter : The classic Schubert . 2 volumes. Leipzig 1953
- Elmar Worgull : A representative youth portrait of Schubert. Schubert's external appearance in contemporary documents as the basis for an isoproportional analysis of the portrait . In: Schubert through glasses. Announcements / International Franz Schubert Institute Vienna. Hans Schneider, Tutzing. 12: 55-89 (1994).
- Elmar Worgull : Two misspellings in Schubert's iconography . In: Schubert through glasses. Communications / International Franz Schubert Institute. Vienna. Hans Schneider, Tutzing. 16/17 (1996), pp. 158-171.
- Elmar Worgull : Ferdinand Georg Waldmüller sketched Franz Schubert in the circle of friends . In: Schubert through glasses. Announcements / International Franz Schubert Institute Vienna. Hans Schneider, Tutzing. 18 (1997), pp. 103-124.
- Elmar Worgull : Schubert without glasses. Schubert's face mask as a model for the painting in the Gesellschaft der Musikfreunde in Vienna . In: Schubert through glasses. Announcements / International Franz Schubert Institute Vienna. Hans Schneider, Tutzing. 20 (1998), pp. 133-149.
- Elmar Worgull : Franz Schubert's face mask and its role model function in Moritz von Schwind's drawings . In: Biblos: Contributions to books, libraries and writing / Austrian National Library Vienna. ( Dedicated to Werner König on the occasion of his 65th birthday ). Böhlau Verlag Wien u. a. 1997, pp. 345-388.
- Elmar Worgull : Schubert's unknown neighbor in Kupelwieser's watercolor The Fall of Man . In: Schubert through glasses. Announcements / International Franz Schubert Institute Vienna . Hans Schneider, Tutzing. 26 (2001), pp. 101-108.
- Elmar Worgull : Franz Schubert in photo documents of his friends and contemporaries. Art-historical considerations on Schubert's iconography . Wernersche Verlagsgesellschaft, Worms 2018, ISBN 978-3-88462-388-6 .
Basic scientific works
- Otto Erich German : Franz Schubert. Thematic index of his works in chronological order. New edition in German edited and edited by the editor of the Neue Schubert-Ausgabe and Werner Aderhold . Bärenreiter, Kassel u. a. 1978.
- Walther Dürr , Andreas Krause (eds.): Schubert manual . Metzler, Stuttgart 1997, ISBN 3-476-01418-5 .
- Schubert Lied Lexicon , ed. by Walther Dürr, Michael Kube, Uwe Schweikert, Michael Kohlhäufl and Stefanie Steiner, Kassel: Bärenreiter-Verlag, 2012, ISBN 978-3-7618-1506-9 .
- Thrasybulus Georgiades : Schubert. Music and poetry . Göttingen, Vandenhoeck and Ruprecht 1967
- Ernst Hilmar: Directory of Schubert manuscripts in the music collection of the Vienna City and State Library . Kassel u. a. 1978 (Catalogus Musicus 8).
- Ernst Hilmar, Margret Jestremski (ed.): Schubert encyclopedia . 2 volumes. Hans Schneider, Tutzing 2004, ISBN 3-7952-1155-7 .
- Hans-Joachim Hinrichsen : Investigations into the development of the sonata form in the instrumental music of Franz Schubert . Tutzing 1994
- Elizabeth Norman McKay: Franz Schubert's Music for the Theater . Foreword by Claudio Abbado. (IFSI publications, 5), Tutzing 1991
- Christian Pollack (Ed.): Franz Schubert: Bühnenwerke. Critical complete edition of the texts . Tutzing 1988
- Reinhard Fiedler: Studies on the melody of the late Schubert: aesthetic requirements and analytical findings (= Are Edition , Volume 2255; Music in the Focus of Science, Volume 2). Are Musik Verlag, Mainz 2014, ISBN 978-3-924522-55-1 (Dissertation University of Frankfurt am Main 2014, 485 pages).
- Christian Jungblut: Compositional reception of Schubert in the second half of the 20th century. Königshausen & Neumann, Würzburg 2011, ISBN 978-3-8260-4506-6 (Dissertation State University for Music and Performing Arts Mannheim 2010, 274 pages).
- Astrid Tschense-Oesterle: Goethe poems in Schubert's settings: composition as text interpretation. von Bockel, Hamburg 2004, ISBN 978-3-932696-54-1 (Dissertation University of Bonn 2003, 547 pages).
- Ira Schulze-Ardey: The composer as a producing reader: on the relationship between text and music structure in the piano-accompanied solo song using the example of Friedrich von Matthisson's poetry in the settings of Franz Schubert (= Europäische Hochschulschriften , series 36; musicology , volume 233), Lang, Frankfurt am Main u. a. 2003, ISBN 3-631-51119-1 (Dissertation University of Bochum 2002, 361 pages).
- Christian Strehk: On the way to becoming a quintet: Studies on Franz Schubert's mature strings 2000, (Dissertation University of Kiel 2000, 477 pages).
- Werner Bodendorff: Franz Schubert - the texts of his unanimously and polyphonically composed songs and their poets (total and critical ed., Vol. 3), Hildesheim 2006 ISBN 3-487-10330-3
- Otto Erich Deutsch (Ed.): Schubert. The documents of his life. Collected and explained . Bärenreiter, Kassel u. a. 1964 (NGA VIII, 5)
- Otto Erich Deutsch (Ed.): Schubert. The memories of his friends. Collected and explained . Leipzig 1957 a. 1966
- Ernst Hilmar, Otto Brusatti (ed., With an introduction by Walter Obermaier ): Franz Schubert. Exhibition by the Vienna City and State Library on the 150th anniversary of the composer's death. Catalog . Vienna 1978.
- Ernst Hilmar: Schubert . Graz 1989 (picture biography)
- Ernst Hilmar (Ed.): Franz Schubert. Documents 1801-1830. First volume. Addenda and comment . (IFSI publications, 10/2), Tutzing 2003
- Maximilian and Lilly Schochow: Franz Schubert: the texts of his unanimously composed songs and their poets completely collected . Hildesheim: Georg Olms, 1974
- Till Gerrit Waidelich (ed., Preliminary work by Renate Hilmar-Voit and Andreas Mayer ): Franz Schubert. Documents 1817-1830. First volume: texts. Programs, reviews, advertisements, necrologist, music supplements, and other printed sources (IFSI publications, 10/1), Tutzing 1993
- Willi Kahl: Directory of the literature about Franz Schubert 1828–1928 , Regensburg 1938.
- Ernst Hilmar (collaboration with Werner Bodendorff): Building blocks for a new Schubert bibliography, primarily of the writings from 1929 to 2000. Part I: Alphabetical order by authors. In: Schubert durch die Brille No. 25 (2000), pp. 95–303; Additions and indices in Schubert through glasses nos. 26, 27.
Entries in reference books
- Walburga Litschauer: Schubert, brothers. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, ISBN 3-7001-3046-5 .
- Ernst Hilmar: New German Biography (NDB). Volume 23, Duncker & Humblot, Berlin 2007, ISBN 978-3-428-11204-3 , pp. 609-612 ( version ). In:
- Ernst Hilmar (Ed.): Schubert through the glasses. Announcements from the International Franz Schubert Institute . Vienna / Tutzing 1988–2003
- Hans-Joachim Hinrichsen , Till Gerrit Waidelich (ed.): Schubert: Perspektiven (magazine and book series). Stuttgart 2001 ff. ( complete contents from 2001 )
Schubert can often be seen in pictures as a handsome young man. In the fiction literature and in screenplays for films he was often depicted in an unauthentic, clumsy and sentimental way. Many of the writings about Schubert's travels etc. are hardly consistent with the documentary evidence. Most of the stories are fictitious and only adapted to Schubert's real life with a few basic data, such as the names of his friends etc.
- Franz Schubert , feature film, 1917, Aarfilm-Ges. (Hamburg)
- Das Dreimäderlhaus , feature film, 1918, directed by Richard Oswald , Julius Spielmann as Franz Schubert.
- Franz Schubert's Last Love , feature film, 1926, directed by Alfred Deutsch-German , Philipp von Zeska as Franz Schubert
- Seven Faces , feature film, 1929, directed by Berthold Viertel , Paul Muni as Franz Schubert.
- Two hearts in three-quarter time , feature film, 1930, directed by Géza von Bolváry , Gert Bloem as Franz Schubert.
- Schubert's Spring Dream , feature film, 1931, directed by Richard Oswald , Carl Jöken as Franz Schubert, Gretl Theimer as Maria Esterhazy.
- My songs plead quietly ( Schubert's unfinished symphony ), feature film, 1933, directed by Willi Forst , Hans Jaray as Franz Schubert, Martha Eggerth as Countess Esterhazy - other actors are Hans Moser and Luise Ullrich .
- The Unfinished Symphony , feature film, 1934, English version of Leise plead my songs , directors: Willi Forst and Anthony Asquith ; Hans Jaray and Marta Eggerth played their roles again.
- Your is my heart (Blossom Time) , feature film, 1934, directed by Paul L. Stein , Richard Tauber as Franz Schubert.
- Love Time , feature film, 1934, directed by James Tinling , Nils Asther as Franz Schubert.
- Horch ', horch', die Lerch 'in the ether blue , short film, 1936, directed by Jürgen von Alten , Eduard Bornträger as Franz Schubert. Josefine Dora as Mrs. Kneidlinger.
- Drei Mäderl around Schubert , feature film 1936, directed by EW Emo , Paul Hörbiger as Franz Schubert.
- Beethoven's great love , feature film, 1937, directed by Abel Gance , Dalméras as Franz Schubert.
- Franz Schubert and his homeland , Germany 1938, short documentary
- Serenade (Sérénade), feature film, 1940, directed by Jean Boyer , Bernard Lancret as Franz Schubert.
- The Unfinished (New Wine) , feature film, 1941, directed by Reinhold Schünzel , Alan Curtis as Franz Schubert.
- His only love , feature film, 1947, directed by Emmerich Hanus , Franz Böheim as Franz Schubert. Julius Brandt as Diabelli.
- Die Schöne Müllerin , feature film, 1948, directed by Marcel Pagnol , Tino Rossi as Franz Schubert.
- Franz Schubert - A Life in Two Sentences , feature film, 1953, director: Walter Kolm-Veltée , with Aglaja Schmid and Heinrich Schweiger as Franz Schubert.
- Your is my heart - Schubert's great love (Sinfonia d'amore), directed by Glauco Pellegrini , Claude Laydu as Franz Schubert.
- Franz Schubert , short documentary, Federal Republic of Germany 1957, directed by Walter Kolm-Veltée
- Das Dreimäderlhaus , feature film, 1958, directed by Ernst Marischka , Karlheinz Böhm as Franz Schubert, Johanna Matz as Hannerl.
- Jomfruburet , Danish feature film, 1959, directed by Torben Anton Svendsen , Hans Kurt as Franz Schubert.
- Du holde Kunst - scenes around songs by Franz Schubert , feature film, 1961, directed by Arthur Maria Rabenalt , Kurt Heintel as Franz Schubert.
- Angeli senza paradiso , Romance, 1970, directed by Ettore Maria Fizzarotti , Albano Carrisi as Franz Schubert.
- The Lively Arts ( Schubert: A Winter's Journey ) TV series, 1978, directed by Colin Nears , Adam Godley Franz Schubert as a boy, David Wood Franz Schubert (older).
- Quietly begging my songs , TV feature film, 1978, directed by Horst Hawemann , Jan Bitterlich as Franz Schubert, Christian Steyer as Franz Schubert.
- I moved in as a stranger , experimental film, 1978, directed by Titus Leber , Axel Schwanda as Franz Schubert, August Schuschnigg as a young Schubert
- With my hot tears , feature film in three parts, 1986, written and directed by Fritz Lehner , with Gabriel Barylli , Monica Bleibtreu and Udo Samel as Franz Schubert (1. Der Wanderer 2. Im Reiche des Garten 3. Winterreise).
- Zenés , TV episodes, 1988, János Bándi as Franz Schubert.
- Composers on the Track (Franz Schubert), TV series, 1994, directed by Guntmar Lasnig , Stefan Puntigam as Franz Schubert.
- The Temptation of Franz Schubert , feature film, 1997, directed by Peter Webber , Simon Russell Beale as Franz Schubert.
- Schumann, Schubert and the Snow , feature film, 2006, directed by Enrique Sánchez Lansch , Ludwig Blochberger as Franz Schubert.
Schubert societies, associations and institutions
- Schubertiade Vorarlberg
- Schubertiade in Ettlinger Schloss
- Wiener Schubertbund
- Graz Schubert Association
- German Schubert Society
- International Schubert Competition Dortmund
- International Franz Schubert Institute
- International Schubert Society
- Schubert Society Vienna-Lichtental
- Franz Schubert Institute Baden
- Franz Schubert Society Regensburg e. V. (1991) - Artistic director: Thomas Schubert
- Franz Schubert Society Wienerwald - Artistic director: Thomas Schubert
- Schubert Institute United Kingdom
- Societé Franz Schubert
- Franz Schubert Stichting Amsterdam
- Franz Schubert Selskabet Danmark
- Entry on Franz Schubert in the Austria Forum (in the AEIOU Austria Lexicon )
- Works by and about Franz Schubert in the German Digital Library
Literature by and about Schubert
- Works by and about Franz Schubert in the catalog of the German National Library
- Literature about Franz Schubert in the bibliography of music literature
- Bart Berman : Notes on Franz Schubert
- Virtual library with an extensive collection of Schubert autographs
- Otto Erich German: Franz Schubert. Thematic directory of his works in chronological order - Internet Archive ("German Directory") German-language edition, 1978
- Two historical Schubert biographies, extensive catalog raisonné
- RO de Clercq: Franz Schubert's ancestors in Moravian Silesia . (PDF) In: Sborník prací Filozofické fakulty brněnské univerzity , 35, 2000, pp. 97–117
- Piano songs - recordings of all songs (under construction), audible via the homepage; Download only against donation.
- Schubert. Piano Society - Free Recordings
- Trout quintet, 4th movement Video from the Schubertiade 2006 in Schwarzenberg
- Sheet music in the public domain by Franz Schubert in the Choral Public Domain Library - ChoralWiki (English)
- Sheet music and audio files by Franz Schubert in the International Music Score Library Project
- Free digital scores by Franz Schubert in the OpenScore Lieder Corpus
- www.kreusch-sheet-music.net Collection of Schubert's piano works
- www.schubert-ausgabe.de - New Schubert edition
- Numerous Schubert manuscripts
- Complete edition (1884–1897)
- Catalog of works , optionally sorted according to German index, title, year of creation, opus number, text incipit
- Schubert portraits
- Schubert places of remembrance: series of postcards from the “Cottage” publishing house
- W. Dürr, A. Feil: Franz Schubert . Music guide, Leipzig: Reclam 2002, p. 20
- Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 624–628.
- s. on this: Elmar Worgull : Schubert without glasses in the bibliography
- Walther Dürr, Andreas Krause (eds.): Schubert Handbook , Bärenreiter / Metzler, Kassel a. a. or Stuttgart u. a., 2nd edition 2007, ISBN 978-3-7618-2041-4 , p. 68
- Dietmar Grieser: The uncle from Pressburg. On Austrian tracks through Slovakia , Amalthea-Verlag, Vienna 2009, ISBN 978-3-85002-684-0 , p. 184
- s. this Elmar Worgull : Ferdinand Georg Waldmüller outlined Franz Schubert with friends in the bibliography and Schubert 200 years [for the exhibition Schubert 200 in the castle Achberg and at the City Museum Lindau, May 3 to September 7 1997],: Illja Dürhammer, Gerrit Waidelich (scientific . Processing). Ed .: Landratsamt Ravensburg, Kulturamt der Stadt Lindau: Exhibition catalog. Edition Braus, Heidelberg 1997. ISBN 3-89466-193-3 . P. 159 ff.
- s. on this Elmar Worgull : Schubert's unknown neighbor in Kupelwieser's watercolor The Fall of Man (2001 ) in the bibliography.
- Steblin , Rita (2001): Schubert's Problematic Relationship with Johann Mayrhofer: New Documentary Evidence . Barbara Haggh (ed.): Essays on Music and Culture in Honor of Herbert Kellman . Paris-Tours: Minerve, pp. 465–495.
- See Schwandt, Christoph (1997): "Inexpressible, ungracious". Evidence and arguments from life and work for the probable homosexuality of Franz Schubert . In: Music Concepts, H. 97/98 (Franz Schubert Todesmusik), pp. 112–194.
- srf.ch: The great taboo around Franz Schubert
- NMZ.de: enjoyment love and ignorance of the world
- Zeit.de: Myths become people
- Andreas Otte, Konrad Wink: Kerner's Diseases of Great Musicians , Schattauer, Stuttgart / New York, 6th edition 2008, ISBN 978-3-7945-2601-7 , p. 169
- Walther Dürr, Andreas Krause (eds.): Schubert Handbook , Bärenreiter / Metzler, Kassel a. a. or Stuttgart u. a., 2nd edition 2007, ISBN 978-3-7618-2041-4 , p. 31
- Otte / Wink, p. 165
- Richard Gerlach: Time avarice . In: Bergland, Heft 12 (1935), p. 55
- Grieser, p. 186
- Grieser, p. 189
Elmar Worgull : Franz Schubert's face mask and its role model function in Moritz von Schwind's drawings . In: Elmar Worgull: Franz Schubert in image documents of his friends and contemporaries. Art-historical considerations on Schubert's iconography . Wernersche Verlagsgesellschaft, Worms 2018, ISBN 978-3-88462-388-6 . Pp. 55-79.
Peter Gülke: Franz Schubert and his time . Laaber, Laaber-Verlag, 1991, ISBN 3-89007-266-6 .
- s. on this: Elmar Worgull : Franz Schubert's face mask and its role model function in Moritz von Schwind's drawings (1997) in the bibliography.
- s. on this: Elmar Worgull : Schubert without glasses in the bibliography.
- Otte / Wink, p. 176 f.
- In the list of the dead of the Wiener Zeitung for November 19, 1828 in the November 25, 1828 edition , “nerve fever” was given as the cause of death (right column above).
- Dietrich Fischer-Dieskau, On the trail of the Schubert songs. Becoming - beings - worlds , dtv / Bärenreiter Munich 1976, p. 9.
- See the basic work on Schubert's song compositions by Thrasybulos Georgiades , Schubert - Musik und Lyrik , Vandenhoeck & Ruprecht, Göttingen 1967, in numerous references in the introduction to the work, pp. 17–45. Walter Jelinek (Vienna 1939) and Erdmute Schwarmath (Tutzing 1969) also devote themselves intensively to this question.
- Georgiades, ibid., P. 38: "It is not the substance itself [of the linguistic and lyric model] that is realized musically, it does not appear as music, but the mere mood, the mere feeling that triggers the poem."
- Not only musicologists, but also outspoken writers like Annette Kolb (Erlenbach / Zurich 1947) participated in monographs on Franz Schubert.
- Franz Schubert in the Gazetteer of Planetary Nomenclature of the IAU (WGPSN) / USGS
- Report from the daily newspaper Salzburger Nachrichten , Salzburg, November 18, 2015, p. 8, and on the website of the paper
- Information on the New Schubert Edition ( Memento from April 26, 2009 in the Internet Archive )
- Jürgen Libbert : An unknown work by the Bohemian guitarist Wenzel Matiegka. With a historical-biographical outline and a catalog raisonné. In: Guitar & Laute 1, 1979, 5, , pp. 14-24; here: p. 22.
- Abel Nagytothy-Toth: Franz Schubert: songs with guitar accompaniment. In: Guitar & Laute 6, 1984, Issue 2, pp. 57-61.
- Edition status , New Schubert Edition , V / 3: Symphony No. 7 in h, Kassel: Bärenreiter 1997 (BA 5542)
|ALTERNATIVE NAMES||Schubert, Franz Peter (full name)|
|BRIEF DESCRIPTION||Austrian composer|
|DATE OF BIRTH||January 31, 1797|
|PLACE OF BIRTH||Himmelpfortgrund , Vienna|
|DATE OF DEATH||November 19, 1828|
|Place of death||Vienna|