There is a draft of the third, “Scherzo” movement in piano form, and some speculate that Schubert wanted one of the orchestra pieces from the incidental music written for a play named “Rosamund” as the fourth, final movement. There is still debates on the circumstances of which this Symphony was composed, and why it was set aside with only two movements finished. This is one of the most famous and well-loved pieces by Schubert and not only that, one of the best known in the history of classical music. Concert goers of symphony and chamber music are now often met with Symphonies such as the 5th, 8th (“Unfinished”) and 9th (“The Great”) regularly performed by the greatest orchestras, and chamber ensembles have the piano trios, String Quartets and quintets as part of their regular repertoire. His piano music, mostly neglected up until the 1920s, was revived by musicians such as Artur Schnabel and Edwin Fischer, who can be partially credited for injecting it to the regular piano repertoire – pieces such as the late piano sonatas, impromptus, Moment Musicaux and the difficult “Wanderer fantasie”. This is the reason most of Schubert’s pieces are marked by a “D.” number. This is why it took a dedicated musicologist named Otto Erich Deutsch (1883–1967) to chronologically catalog all the known pieces, a project he completed in the 1950s. Because only a few of Schubert’s pieces were published during his lifetime, many of them lack an opus number. It took many great characters to revive Schubert’s music, among them figures such as Brahms, Schumann and Mendelssohn. After the composer’s death in 1828, aged 31, we were lucky to have many of his close admirers keeping many of Schubert’s manuscripts, letters and drafts. This came with the advancement of incurable illness and hard, burdensome poverty. The final few years of Schubert’s life saw a flow of masterpieces, some of which the world took many years to appreciate. This didn’t come easy many of his early attempts in the Symphony, Sonata and String Quartet genres are not as successful as his later works, even if some of which are a joy to listen to, such as the early Symphonies No. From the classical composers who preceded him, mainly Beethoven and Haydn, he continually learned and perfected his management of structure within a musical form. And indeed, many musicologists and performers recognize that a basis of many (if not all) of Schubert’s musical aspiration comes from the human voice and lyrical melody. In this field, Schubert reached artistic heights that combined special sensitivity to word, voice and musical combinations, making nothing short of a breakthrough in the genre. One of which was the Baritone Johann Michael Vogl, who recognized the young composer’s uncanny ability with the German Lied. His melodic inventiveness, the scope of his artistic vision and his concentrated output put him among the greats of all classical music composers.Ĭontrary to other composers which we covered on our ” Classical Music Beginners Guides” series, Schubert was not well known during his lifetime outside of an intimate circle of admirers. Franz Schubert (1797-1828) is perhaps the clearest representation of a bridge between the classical and romantic era in classical music.
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