Please listen to Sonata in A minor for arpeggione and piano, D 821 performed by Hans Goldstein (cello) and Clinton Adams (piano) Schubert’s practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end. While he was clearly influenced by the Classical sonata forms of Beethoven and Mozart (his early works, among them notably the 5th Symphony, are particularly Mozartean), his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his Great C majorSymphony was described by Robert Schumann as running to “heavenly lengths.” His harmonic innovations include movements in which the first section ends in the key of the subdominant rather than the dominant (as in the last movement of the Trout Quintet). Perhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation, as in the second movement of the String Quintet (D 956), where he modulates from E major, through F minor, to reach the tonic key of E major. It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano (D 821), or the unconventional scoring of the Trout Quintet (D 667). That “appetite for experimentation” manifests itself repeatedly in Schubert’s output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works. Krenek pointed to the piano sonatas as giving “ample evidence that was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition.” Each sonata then in print, according to Krenek, exhibited “a great wealth of technical finesse” and revealed Schubert as “far from satisfied with pouring his charming ideas into conventional molds on the contrary he was a thinking artist with a keen appetite for experimentation.”
Bach or Beethoven.” Krenek wrote that he reached a completely different assessment after close study of Schubert’s pieces at the urging of friend and fellow composer Eduard Erdmann. In July 1947 the 20th-century composer Ernst Krenek discussed Schubert’s style, abashedly admitting that he had at first “shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes … lacking the dramatic power and searching intelligence which distinguished such ‘real’ masters as J.S. Franz Schubert Memorial by Carl Kundmann in Vienna’s Stadtpark His sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions. He completed only eleven of his twenty stage works. There are over fifty chamber works, including some fragmentary works. There is also a relatively large set of works for piano duet. There is a large body of music for solo piano, including fourteen complete sonatas, numerous miscellaneous works and many short dances. While he composed no concertos, he did write three concertante works for violin and orchestra. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. He also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. The largest number of these are songs for solo voice and piano (over 600). Schubert was remarkably prolific, writing over 1,500 works in his short career. Today, Schubert is ranked among the greatest composers of the late Classical era and early Romantic era and is one of the most frequently performed composers of the early nineteenth century. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works.
Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Schubert died at 31 but was extremely prolific during his lifetime. Oil painting of Franz Schubert by Wilhelm August Rieder (1875), made from his own 1825 watercolor portrait.įranz Peter Schubert (31 January 1797 – 19 November 1828) was an Austrian composer.
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