Franz Peter Schubert was born in Vienna, Austria, on January 31, 1797.
He was extraordinarily precocious in music and was early trained to play
the violin, viola and organ. From 1808 to 1813 he attended the Imperial
Chapel School where he received a thorough musical background while
preparing to be a chorister in the Chapel Choir. He showed such
remarkable and natural gifts for music that one of his teachers, the
renowned Antonio Salieri, did not hesitate to call him a “genius.” When
the breaking of his voice compelled him to leave the school in 1813,
Schubert was encouraged by his father, a schoolmaster, to enter the
field of education. For two years, from 1814 on, Schubert taught in the
school owned and directed by his father. During this period he
demonstrated phenomenal fertility as a composer by producing operas,
symphonies, masses, sonatas, string quartets, piano pieces, and almost
150 songs including his first masterpiece, _The Erlking_ (_Der
Erlkoenig_). After 1817, Schubert devoted himself completely to
composition. He remained singularly productive even though recognition
failed to come. Few of his works were either published or performed—and
those that were heard proved dismal failures. He managed to survive
these difficult years only through the kindness and generosity of his
intimate friends who loved him and were in awe of his genius. Combined
with the frustration in failing to attract public notice with his
music—and the humiliation of living on the bounty of friends—was the
further tragedy of sickness brought on by a venereal disease. A concert
of his works in Vienna on March 26, 1828 seemed to promise a turn in his
fortunes. But it came too late. He died in Vienna on November 19,
1828—still an unrecognized composer. So completely obscure was his
reputation that for many years some of his crowning master works lay
forgotten and neglected in closets of friends and associates, none of
whom seemed to realize that they were in the possession of treasures.
Schubert was undoubtedly one of the greatest creators of song the world
has known. His almost five hundred art songs (_Lieder_) is an
inexhaustible source of some of the most beautiful, most expressive,
most poetic melodies ever put down on paper. He created beauty as easily
as he breathed. The most inspired musical thoughts came to him so
spontaneously that he was always reaching for quill and paper to get
them down—whether at his home, or at the houses of his friends, in
restaurants, café-houses, and even while walking through the country.
“The striking characteristics of Schubert’s best songs,” wrote Philip
Hale, “are spontaneous, haunting melody, a natural birthright mastery
over modulation, a singular good fortune in finding the one inevitable
phrase for the prevailing sentiment of the poem, and in finding the
fitting descriptive figure for salient detail. His best songs have an
atmosphere which cannot be passed unnoticed, which cannot be
misunderstood.” But far and beyond his natural gift at lyricism was his
genius in translating the slightest nuances and suggestions of a line of
poetry into tones. It is for this very reason that he is often described
as the father of the _Lied_, or art song.
Because Schubert’s melodies come from the heart and go to the heart they
have been staples in semi-classical literature by way of orchestral
transcription. Thus though they are as lofty and as noble a musical
expression as can be found anywhere, Schubert’s songs have such
universality that they are as popular as they are inspired. These are a
few of the Schubert songs that have profited from instrumental
adaptations:
“_Am Meer_” (“By the Sea”), poem by Heinrich Heine. This stately melody
seems to catch some of the vastness and mystery of the sea. This is the
twelfth song from the song cycle _Schwanengesang_ (1828).
“_An die Musik_” (“To Music”), poem by Franz von Schober (1817). The
glowing melody has caught the composer’s wonder and awe at the magic of
music.
“_Auf dem Wasser zu singen_” (“To Be Sung on the Water”) poem by
Stolberg. This gay, heartfelt tune expresses the composer’s delight in
floating on the water.
“_Ave Maria_,” based on a poem by Sir Walter Scott (1825). This is a
melody of exalted spiritual character touched with serenity and
radiance. August Wilhelmj’s transcription for violin and piano is a
staple in the violin repertory.
“_Du bist die Ruh’_” (“You are Peace”), poem by Rueckert. An atmosphere
of serenity is magically created by a melody of wondrous beauty.
“_Der Erlkoenig_” (“The Erlking”), poem by Goethe (1815). This is one of
Schubert’s most dramatic songs, describing the death of a child at the
hands of the Erlking, symbol of death.
“_Die Forelle_” (“The Trout”), poem by Schubert (1817). This gay tune
gives a lively picture of a trout leaping happily in and out of the
water. Schubert used this melody for a set of variations in his piano
quintet in A major, op. 114 (1819).
“_Gretchen am Spinnrade_” (“Marguerite at the Spinning Wheel”), poem by
Goethe (1814). Against an accompaniment suggesting the whirr of the
spinning wheel, comes Marguerite’s haunting song as she thinks of her
loved one.
“Hark, Hark, the Lark” (“_Horch, Horch, die Lerch_”), poem by
Shakespeare (1826). The melody reflects the light-hearted mood of the
famous Shakespeare verse from _Cymbeline_.
“_Der Lindenbaum_” (“The Linden Tree”), poem by Mueller is a poignant
poem of unhappy love. It is the fifth song in the cycle _Die
Winterreise_ (1827).
“_Staendchen_” (“Serenade”), poem by Rellstab. This is probably one of
the most famous love songs ever written. It is the fourth song in the
cycle _Schwanengesang_ (1828).
“_Der Tod und das Maedchen_” (“Death and the Maiden”), poem by Claudius
(1817). This dramatic song consists of a dialogue between a young girl
and Death, the words of death appearing in a solemn melody while that of
the girl in a breathless entreaty. Schubert used this melody for a set
of variations in his string quartet in D minor (1824).
Like Beethoven and Mozart Schubert wrote a considerable amount of
popular dance music for solo piano, and also for orchestra: German
Dances, Laendler, and Waltzes. All have a vigorous peasant rhythm and
with melodies reminiscent of Austrian folk music. Schubert’s waltzes are
of particular interest since he was one of the first composers to unite
several different waltz tunes into a single integrated composition. The
Schubert waltzes, each a delight, are found in _Valses sentimentales_,
op. 50 (1825) and _Valses nobles_, op. 77 (1827). Liszt adapted nine of
the more popular of these waltz melodies in _Soirées de Vienne_ for solo
piano. The 20th-century French Impressionist composer, Maurice Ravel,
was inspired by these Schubert waltzes to write in 1910 the _Valses
nobles et sentimentales_ in two versions, for solo piano, and for
orchestra.
_Marche militaire_ (_Militaermarsch_) is a popular little march in D
major originally for piano four hands, the first of a set of three
marches gathered in op. 41. This is one of Schubert’s most popular
instrumental numbers. Karl Tausig transcribed it for solo piano, and it
has received many other adaptations including several for orchestra, in
which form it is undoubtedly best known.
_Moment Musical_ is a brief composition for the piano. It is in song
form and of an improvisational character, and is a _genre_ of
instrumental composition created and made famous by Schubert. He wrote
many such pieces, but the one always considered when this form is
designated is No. 3 in F minor, a graceful and lovable melody, the very
essence of Viennese _Gemuetlichkeit_, although it is subtitled “Russian
Air” (_Air Russe_). Fritz Kreisler transcribed it for violin and piano
and it is, to be sure, familiar in orchestral adaptations including one
by Stokowski, as well as versions for cello and piano, string quartet,
clarinet quartet, four pianos, and so forth.
The incidental music to _Rosamunde_ (1823) includes an often played
overture and another of Schubert’s universally loved instrumental
numbers, the _Ballet Music_. When _Rosamunde_ was introduced in Vienna
on December 20, 1823 it was a failure, but this was due more to the
insipid play of Helmina von Chézy than to Schubert’s music. The overture
heard upon that occasion is not the overture now known as _Rosamunde_.
The latter is one which Schubert had written for an earlier operetta,
_Die Zauberharfe_. A dignified introduction is dominated by a soaring
melody for oboe and clarinet. The tempo changes, and a brisk little
melody is given by the violins; a contrast is offered by a lyric subject
for the woodwind.
The Entr’acte No. 2 in B-flat major from _Rosamunde_ is one of
Schubert’s most inspired melodies, whose beauty tempted H. L. Mencken
once to point to it as the proof that God existed. Schubert himself was
fond of the melody for he used it twice more, in his String Quartet in A
minor (1824) and for a piano Impromptu in B-flat major (1827).
There are two musical episodes in _Rosamunde_ designated as _Ballet
Music_. The famous one is the second in G major, a melody so sparkling,
infectious and graceful—and so full of the joy of life—that once again
like the _Moment Musical_ in F minor it embodies the best of what today
we characterize as Viennese. Fritz Kreisler’s transcription for violin
and piano is famous.