Franz Schubert

"Schubert" redirects here. For another composer with a similar name, seeFrançois Schubert.For other uses, seeSchubert (disambiguation).

Franz Schubert byWilhelm August Rieder(posthumous, 1875, after an 1825 watercolour done from life)

Signature written in ink in a flowing script

Franz Peter Schubert(German:[fʁantsˈpeːtɐˈʃuːbɐt];31 January 1797 – 19 November 1828) was an Austrian composer of the lateClassicaland earlyRomanticeras. Despite his short life, Schubert left behind avastoeuvre,including more than 600secularvocal works (mainlyLieder), seven completesymphonies,sacred music,operas,incidental music,and a large body of piano andchamber music.His major works include the art songs "Erlkönig","Gretchen am Spinnrade",and"Ave Maria";theTroutQuintet;theSymphony No. 8 in B minor(Unfinished); theSymphony No. 9 in C major(Great); theString Quartet No. 14 in D minor(Death and the Maiden); theString Quintet in C major;theImpromptusfor solo piano; thelast three piano sonatas;theFantasia in F minorforpiano four hands;the operaFierrabras;the incidental music to the playRosamunde;and thesong cyclesDie schöne Müllerin,WinterreiseandSchwanengesang.

Born in theHimmelpfortgrundsuburb ofVienna,Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music ofJoseph Haydn,Wolfgang Amadeus Mozart,andLudwig van Beethoven.He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition withAntonio Salieriand still composed prolifically. In 1821, Schubert was admitted to theGesellschaft der Musikfreundeas a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed totyphoid fever,but believed by some historians to besyphilis.

Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death.Felix Mendelssohn,Robert Schumann,Franz Liszt,Johannes Brahmsand other 19th-century composers discovered and championed his works. Today, Schubert is considered one of the greatest composers in the history ofWestern classical musicand his music continues to be widely performed.

Life and career

Early life and education

Franz Peter Schubert was born inHimmelpfortgrund(now a part ofAlsergrund), Vienna,Archduchy of Austria,on 31 January 1797, and baptized in the Catholic Church the following day.He was the twelfth child of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812).Schubert's immediate ancestors came originally from the province ofZuckmantelinAustrian Silesia.His father, the son of aMoravianpeasant, was a well-known parishschoolmaster,and his school inLichtental(in Vienna'sninth district) had numerous students in attendance.He came to Vienna from Zukmantel in 1784 and was appointed schoolmaster two years later.His mother was the daughter of aSilesianmasterlocksmithand had been a housemaid for a Viennese family before marriage. Of Franz Theodor and Elisabeth's fourteen children (one of them illegitimate, born in 1783),nine died in infancy.

The house in which Schubert was born,today Nußdorfer Straße 54

At the age of five, Schubert began to receive regular lessons from his father, and a year later he was enrolled at his father's school.Although it is not known exactly when he received his first musical instruction, he was given piano lessons by his brother Ignaz, but they lasted for a very short time as Schubert excelled him within a few months.Ignaz later recalled:

I was amazed when Franz told me, a few months after we began, that he had no need of any further instruction from me, and that for the future he would make his own way. And in truth his progress in a short period was so great that I was forced to acknowledge in him a master who had completely distanced and outstripped me, and whom I despaired of overtaking.

His father gave him his firstviolinlessons when he was eight years old, training him to the point where he could play easy duets proficiently.Soon after, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental. Holzer would often assure Schubert's father, with tears in his eyes, that he had never had such a pupil as Schubert,and the lessons may have largely consisted of conversations and expressions of admiration.Holzer gave the young Schubert instruction in piano and organ as well as infigured bass.According to Holzer, however, he did not give him any real instruction as Schubert would already know anything that he tried to teach him; rather, he looked upon Schubert with "astonishment and silence".The boy seemed to gain more from an acquaintance with a friendly apprenticejoinerwho took him to a neighbouringpianofortewarehouse where Schubert could practise on better instruments.He also playedviolain the family string quartet, with his brothersFerdinandand Ignaz on first and second violin and his father on thecello.Schubert wrote his earliest string quartets for this ensemble.

Young Schubert first came to the attention ofAntonio Salieri,then Vienna's leading musical authority, in 1804, when his vocal talent was recognized.In November 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship. At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, the symphonies of Joseph Haydn and his younger brotherMichael Haydn,and the overtures and symphonies ofBeethoven,a composer for whom he developed admiration.His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education.One important musical influence came from the songs byJohann Rudolf Zumsteeg,an important composer ofLieder.The precocious young student "wanted to modernize" Zumsteeg's songs, as reported byJoseph von Spaun,Schubert's friend.Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper.

In the meantime, Schubert's talent began to show in his compositions; Salieri decided to start training him privately inmusic theoryand composition. According to Ferdinand, the boy's first composition for piano was aFantasy for four hands;his first song,Klagegesang der Hagar,was written a year later.Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra,the first orchestra he wrote for. He devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a "Salve Regina" (D 27), a "Kyrie" (D 31), in addition to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother),thecantataWer ist groß?for male voices and orchestra (D 110, for his father's birthday in 1813), and hisfirst symphony(D 82).

Teacher at his father's school

Possible portrait of the young Franz Schubertc. 1814,attributed toJosef Abel

At the end of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule.In 1814, he entered his father's school as the teacher of the youngest pupils. For over two years, young Schubert endured severe drudgery.However, he found compensatory interests during this time. For example, Schubert continued to take private lessons in composition from Salieri, who provided him with more technical training than any of his other teachers, until they parted ways in 1817.

In 1814, Schubert met a young soprano namedTherese Grob,daughter of a local silk manufacturer, and wrote several of hisliturgical works(including a "Salve Regina" and a "Tantum Ergo" ) for her; she was also a soloist in the premiere of hisMass No. 1(D. 105) in September1814.Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815requiring an aspiring bridegroom to show he had the means to support a family.In November 1816, after failing to gain a musical post in Laibach (nowLjubljana,Slovenia), Schubert sent Ms. Grob's brother Heinrich a collection of songs, which was retained by the family into the twentieth century.

One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works (although he was anagnostic),a symphony, and about 140 Lieder.In that year, he was also introduced toAnselm HüttenbrennerandFranz von Schober,who would become his lifelong friends. Another friend,Johann Mayrhofer,was introduced to him by Spaun in 1815.

Throughout 1815, Schubert lived at home with his father. He continued to teach at the school and give private musical instruction, earning enough money for his basic needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries.Spaun was well aware that Schubert was discontented with his life at the schoolhouse, and was concerned for Schubert's development intellectually and musically. In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in theLandstraßesuburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him. This was probably Schubert's first visit away from home or school.Schubert's unhappiness during his years as a schoolteacher possibly showed early signs ofdepression,and it is virtually certain that Schubert suffered fromcyclothymiathroughout his life.

In 1989, the musicologistMaynard Solomonsuggested that Schubert was erotically attracted to men,a thesis that has been heatedly debated.The musicologist and Schubert expertRita Steblinhas said that he was "chasing women".The theory of Schubert's sexuality or "Schubert as Other" has continued to influence current scholarship.Biographer Lorraine Byrne Bodley is sceptical "...of Solomon’s" outing "of Schubert, saying this misunderstands the passionate" homosocial "friendships of 19th-century Europe."

Support from friends

Caricature of Johann Michael Vogl and Franz Schubert byFranz von Schober(1825)

Significant changes occurred in Schubert's life in 1816 when Schober, a student from an affluent family, invited him to lodge at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post ofKapellmeisterat Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings.For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition."I compose every morning, and when one piece is done, I begin another."During this year, he focused on orchestral and choral works, although he also continued to write Lieder.Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.

In early 1817, Schober introduced Schubert toJohann Michael Vogl,a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music.These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work.Heinrich Anschützwrote in his memoirs that Schubert was an active member of the 1817–1818Unsinnsgesellschaft(Nonsenses Society), and various scholars agree with this.

DasKaleidoskopund dieDraisine,Leopold Kupelwieser’s Caricature of himself and Franz Schubert for theUnsinnsgesellschaft(16 July 1818).

In late 1817, Schubert's father gained a new position at a school inRossau,not far from Lichtental. Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he applied for membership in the prestigiousGesellschaft der Musikfreunde,intending to gain admission as an accompanist, but also so that his music, especially the songs, could be performed in the evening concerts. He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and there were professional musicians already among the society's membership.However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.

Schubert spent the summer of 1818 as a music teacher to the family of Count Johann KarlEsterházyat their château in Zselíz (nowŽeliezovce,Slovakia). The pay was relatively good, and his duties teaching piano and singing to the two daughters, Marie andCaroline,were relatively light, allowing him to compose happily. Schubert may have written hisMarches Militaire in D major(D. 733 no. 1) for Marie and Caroline, in addition to other piano duets.On his return from Zselíz, he took up residence with his friend Mayrhofer.

During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known asSchubertiads.Many of them took place inIgnaz von Sonnleithner's large apartment in the Gundelhof (Brandstätte 5, Vienna). The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police who, in the aftermath of theFrench RevolutionandNapoleonic Wars,were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends,Johann Senn,was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language".While Schubert never saw Senn again, he did set some of his poems,Selige Welt(D. 743) andSchwanengesang(D 744), to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.

Schubert, who was only a little more than five feet tall,was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom"."Schwamm" is "mushroom" in the Austrian and Bavarian dialects of German; the ending "-erl" makes it a diminutive. Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert's heavy drinking "... come not only in later accounts, but also in documents dating from his lifetime."

Musical maturity

Schubert's compositions of 1819 and 1820 show a marked advance in development and maturity of style.He began the ultimately unfinishedoratorioLazarus(D. 689) in February 1820. This was later followed by the hymn "Der 23. Psalm" (D. 706), the octet "Gesang der Geister über den Wassern"(D. 714), theQuartettsatzin C minor (D. 703), theWanderer Fantasyin C major for piano (D. 760), and additional smaller works. In 1820, two of Schubert's operas were staged:Die Zwillingsbrüder(D. 647) appeared at theTheater am Kärntnertoron 14 June, andDie Zauberharfe(D. 644) appeared at theTheater an der Wienon 21 August.Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof (Brandstätte 5, Vienna), a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public.Publishers, however, remained distant, withAnton Diabellihesitantly agreeing to print some of his works on commission.The first seven opus numbers, all songs, appeared on these terms; then the commission ceased, and he began to receive parsimonious royalties.The situation improved somewhat in March 1821 when Vogl performed the song "Erlkönig"(D. 328) at a concert that was extremely well received.That month, Schubert composed a Variation on a Waltz by Diabelli (D 718), being one of the fifty composers who contributed to theVaterländischer Künstlervereinpublication.

Watercolour of Franz Schubert byWilhelm August Rieder(1825)

The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he embarked on twenty stage projects, each of them failures that were quickly forgotten. In 1822,Alfonso und Estrellawas rejected, partly owing to its libretto, written by Schubert's friendFranz von Schober.In 1823,Fierrabras(D 796) was rejected:Domenico Barbaia,impresariofor the court theatres, largely lost interest in new German opera due to the popularity ofRossiniand the Italian operatic style, and the failure ofCarl Maria von Weber'sEuryanthe.Die Verschworenen(The Conspirators,D 787) was prohibited by the censor, apparently because of its title,and the playRosamunde, Fürstin von Zypern,for which Schubert had written incidental music (D 797), was withdrawn after two nights, due to the play's poor quality.

Despite his operatic failures, Schubert's reputation was growing steadily on other fronts. In 1821, the Gesellschaft der Musikfreunde finally accepted him as a performing member, and the number of performances of his music grew remarkably.These performances helped Schubert's reputation grow rapidly among the members of the Gesellschaftand established his name.Some of the members of the Gesellschaft, most notablyIgnaz von Sonnleithnerand his sonLeopold von Sonnleithner,had a sizeable influence on the affairs of the society, and as a result of that and of Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821. In April, one of his male-voice quartets was performed, and in November, his Overture in E minor (D. 648) received its first public performance;at a different concert on the same day as the premiere of the Overture, his songDer Wanderer(D. 489) was performed.

In 1822, Schubert made the acquaintance of both Weber andBeethovenbut little came of it in either case;however, Beethoven is said to have acknowledged the younger man's gifts on a few occasions. On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed: "Truly, the spark of divine genius resides in this Schubert!" Beethoven also reportedly predicted that Schubert "would make a great sensation in the world," and regretted that he had not been more familiar with him earlier; he wished to see his operas and works for piano, but his severe illness prevented him from doing so.

Last years and masterworks

Franz Schubert byJosef Kriehuber(1846)

Despite his preoccupation with the stage and subsequent official duties, Schubert wrote a significant amount of music during these years.He completed theMass in A-flat major,(D. 678) in 1822, and later that year embarked suddenly on a work which, more decisively than almost any other in those years, showed his maturing personal vision, theSymphony in B minor,known as theUnfinishedSymphony (D. 759).The reason he left it unfinished – after writing two movements and sketches some way into a third – continues to be discussed and written about, and it is also remarkable that he did not mention it to any of his friends, even though, asBrian Newbouldnotes, he must have felt thrilled by what he was achieving.In 1823, Schubert wrote his first large-scalesong cycle,Die schöne Müllerin(D. 795), setting poems byWilhelm Müller.This series, together with the later cycleWinterreise(D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder.He also composed the songDu bist die Ruh'(You are rest and peace,D. 776) during this year. Also in that year, symptoms ofsyphilisfirst appeared.

In 1824, he wrote the Variations in E minor for flute and piano;Trockne Blumen,a song from the cycleDie schöne Müllerin;and several string quartets. He also wrote theSonata in A minorforarpeggioneand piano (D. 821) at the time when there was a minor craze over that instrument.In the spring of that year, he wrote theOctet in F major(D. 803), a sketch for a "Grand Symphony," and in the summer went back toZseliz.There he became attracted to Hungarian musical idiom and wrote theDivertissement à la hongroisein G minor for piano duet (D. 818) and theString Quartet in A minorRosamunde(D. 804).It has been said that he held a hopeless passion for his pupil, the CountessCaroline Esterházy,but the only work that bears a dedication to her is hisFantasia in F minorfor piano duet (D. 940). This dedication, however, can only be found in the first edition and not in Schubert'sautograph.His friendEduard von Bauernfeldpenned the following verse, which appears to reference Schubert's unrequited sentiments:

In love with a Countess of youthful grace,
—A pupil of Galt's; in desperate case
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother

The setbacks of previous years were compensated by the prosperity and happiness of 1825. Publication had been moving more rapidly, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday inUpper Austriawhere he was welcomed with enthusiasm.It was during this tour that he produced the seven-song cycleFräulein am See,based onWalter Scott'sThe Lady of the Lake,and including "Ellens Gesang III"(" Hymn to the Virgin ") (D. 839, Op. 52, No. 6); the lyrics of Adam Storck's German translation of the Scott poem are now frequently replaced by the full text of the traditional Roman Catholic prayerHail Mary(Ave Mariain Latin), but for which the Schubert melody is not an original setting. The original only opens with the greeting "Ave Maria", which also recurs only in the refrain.In 1825, Schubert also wrote thePiano Sonata in A minor(D 845, first published as op. 42), and began theSymphony in C major(Great C major,D. 944), which was completed the following year.

Portrait of Franz Schubert byAnton Depauly(1827)

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit toGraz,Austria, in 1827. In 1826, he dedicateda symphony(D. 944, that later came to be known as theGreat C major) to the Gesellschaft der Musikfreunde and received an honorarium in return.TheString Quartet No. 14in D minor (D. 810), with the variations onDeath and the Maiden,was written during the winter of 1825–1826, and first played on 25 January 1826. Later in the year came theString Quartet No. 15in G major, (D 887, first published as op. 161), theRondo in B minor for violin and piano(D. 895),Rondeau brillant,and thePiano Sonata in G major,(D 894, first published asFantasie in G,op. 78). He also produced in 1826 threeShakespeariansongs, of which "Ständchen"(D. 889) and"An Sylvia"(D. 891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening.

The works of his last two years reveal a composer entering a new professional and compositional stage.Although parts of Schubert's personality were influenced by his friends, he nurtured an intensely personal dimension in solitude; it was out of this dimension that he wrote his greatest music.The death of Beethoven affected Schubert deeply,and may have motivated Schubert to reach new artistic peaks. In 1827, Schubert wrote the song cycleWinterreise(D. 911), the Fantasy in C major for violin and piano (D. 934, first published as op. post. 159), theImpromptusfor piano, and the two piano trios (the firstin B-flat major (D. 898), andthe secondin E-flat major, (D. 929);in 1828 the cantataMirjams Siegesgesang(Victory Song of Miriam,D 942) on a text byFranz Grillparzer,theMass in E-flat major(D. 950), theTantum Ergo(D. 962) in the same key, theString Quintet in C major(D. 956), the second "Benedictus" to theMass in C major(D. 961),the three final piano sonatas(D. 958, D. 959, and D. 960), and the collection13 Lieder nach Gedichten von Rellstab und Heinefor voice and piano, also known asSchwanengesang(Swan-song,D. 957).(This collection – which includes settings of words byHeinrich Heine,Ludwig Rellstab,andJohann Gabriel Seidl– is not a true song cycle likeDie schöne MüllerinorWinterreise.) TheGreat C majorsymphony is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825—that work, once considered lost, is now generally seen as an early stage of his C major symphony) and was revised for prospective performance in 1828. The orchestra of the Gesellschaft reportedly read through the symphony at a rehearsal, but never scheduled a public performance of it. The reasons continue to be unknown, although the difficulty of the symphony is a possible explanation.In the last weeks of his life, he began to sketch three movements for a newSymphony in D major(D 936A);In this work, he anticipatesMahler's use of folksong-like harmonics and bare soundscapes.Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint masterSimon Sechter.

On 26 March 1828, the anniversary of Beethoven's death, Schubert gave, for the only time in his career, a public concert of his own works.The concert was a success popularly and financially,although it was overshadowed byNiccolò Paganini's first appearances in Vienna shortly after.

Schubert's glasses

Final illness and death

Memorial at the Kalvarienberg Church,Hernals

The site of Schubert's first tomb atWähring

In the midst of this creative activity, his health deteriorated. By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was near death. In the late summer of 1828, he saw the physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon.Some of his symptoms matched those ofmercury poisoning(mercurywas then a common treatment for syphilis, again suggesting that Schubert suffered from it).At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting. He was generally unable to retain solid food and his condition worsened. Five days before Schubert's death, his friend the violinistKarl Holzand his string quartet visited to play for him. The last musical work he had wished to hear was Beethoven'sString Quartet No. 14 in C-sharp minor, Op. 131;Holz commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing".

Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand. The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including thetertiary stage of syphilis.Although there are accounts by his friends that indirectly imply that he had contracted syphilis earlier, the symptoms of his final illness do not correspond with tertiary syphilis. Six weeks before his death, he walked 42 miles in three days, ruling out musculoskeletal syphilis. In the month of his death, he composed his last work, "Der Hirt auf dem Felsen",makingneurosyphilisunlikely. And meningovascular syphilis is unlikely because it presents a progressive stroke-like picture, and Schubert had no neurological manifestation until his final delirium, which started only two days before his death. Lastly, his final illness was characterized by gastrointestinal symptoms (namely vomiting). These issues all led Robert L. Rold to argue that (although he believed Schubert had syphilis), the fatal final illness was a gastrointestinal one such assalmonellaor indeed typhoid fever. Rold also pointed out that when Schubert was in his final illness, his close friend Schober avoided visiting him "out of fear of contagion". Yet Schober had known of his earlier possible syphilis and had never avoided Schubert in the past.Eva M. Cybulska goes further and says that Schubert's syphilis is a conjecture. His multi-system signs and symptoms, she says, could point at a number of different illness such asleukaemia,anaemia,orHashimoto's thyroiditis,and that many tell-tale signs of syphilis —chancre,mucous plaques, rash on the thorax, pupil abnormality,dysgraphia— were absent. She argues that the syphilis diagnosis originated with Schubert's biographer Otto Deutsch in 1907, based on the aforementioned indirect references by his friends, and uncritically repeated ever since.

Schubert was buried, at his own request, near the grave of Beethoven, whom he had admired all his life, in the village cemetery ofWähringon the edge of theVienna Woods.A year earlier he had served as a torchbearer atBeethoven's funeral. In 1872,a memorial to Franz Schubertwas erected in Vienna'sStadtpark.In 1888, both Schubert's and Beethoven's graves were moved to theZentralfriedhofwhere they are next to the later graves ofJohann Strauss IIand Johannes Brahms.Anton Brucknerwas present at both exhumations, and he reached into both coffins and held the revered skulls in his hands.The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust. His epitaph, written by his friend, the poetFranz Grillparzer,reads:Die Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen( "The art of music has here interred a precious treasure, but yet far fairer hopes" ).

Music

See also:List of compositions by Franz Schubert by genreandList of compositions by Franz Schubert

Schubert was remarkably prolific, writing over 1,500 works in his short career. His compositional style progressed rapidly throughout his life.The largest number of his compositions aresongs for solo voice and piano(roughly 630).Schubert also composed a considerable number of secular works for two or more voices, namelypart songs,choruses and cantatas. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write threeconcertanteworks for violin and orchestra. Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least eleven more in varying states of completion,numerous miscellaneous works and many short dances, in addition to producing a large set of works forpiano four hands.He also wrote over fifty chamber works, including some fragmentary works. Schubert's 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.

Style

In July 1947 the Austrian composerErnst Krenekdiscussed 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. Bach or Beethoven". Krenek wrote that he reached a completely different assessment after a close study of Schubert's pieces at the urging of his friend and fellow composerEduard Erdmann.Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] 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 moulds; on the contrary he was a thinking artist with a keen appetite for experimentation."

Instrumental music, stage works and church music

See also:Sonatas, duos and fantasies by Franz Schubert;List of solo piano compositions by Franz Schubert;andStage works by Franz Schubert

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. Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the second movement of theString Quintet(D. 956), which is in E major, features a central section in thedistant keyof F minor.It also appears in unusual choices of instrumentation, as in theSonata in A minor for arpeggioneand piano (D. 821), or the unconventional scoring of theTrout Quintet(D. 667) for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano andstring quartet.

Although Schubert was clearly influenced by the Classicalsonata formsof Beethoven, Haydn and Mozart, 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: hisGreat C Major Symphonywas described byRobert Schumannas running to "heavenly lengths".

Lieder and art songs

See also:List of songs by Franz SchubertandSchubert's song cycles

It was in the genre of theliedthat Schubert made his most indelible mark.Leon Plantingaremarks that "in his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him."Prior to Schubert's influence, Lieder tended toward astrophic,syllabic treatment of text, evoking the folksong qualities engendered by the stirrings ofRomantic nationalism.

Autograph ofDie Nebensonnen(TheSun dogs) fromWinterreise

Among Schubert's treatments of the poetry ofGoethe,his settings of "Gretchen am Spinnrade"(D. 118) and"Der Erlkönig"(D. 328) are particularly striking for their dramatic content, forward-looking uses of harmony, and use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in" Gretchen "and the furious and ceaseless gallop in"Erlkönig".He composed music using the poems of myriad poets, with Goethe,Mayrhofer,andSchillerthe most frequent, and others, includingHeinrich Heine,Friedrich Rückert,andJoseph Freiherr von Eichendorff.Of particular note are his twosong cycleson the poems ofWilhelm Müller,Die schöne MüllerinandWinterreise,which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. His last collection of songs, published in 1828 after his death,Schwanengesang,is also an innovative contribution to German Lieder literature, as it features poems by different poets, namelyLudwig Rellstab,Heine, andJohann Gabriel Seidl.TheWiener Theaterzeitung,writing aboutWinterreiseat the time, commented that it was a work that "none can sing or hear without being deeply moved".

Antonín Dvořákwrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated.... Schubert created a new epoch with the Lied.... All other songwriters have followed in his footsteps."

Publication – catalogue

Interior of museum at Schubert's birthplace, Vienna, 1914

When Schubert died he had around 100opus numberspublished, mainly songs, chamber music and smaller piano compositions.Publication of smaller pieces continued (including opus numbers up to 173 in the 1860s, 50 instalments with songs published byDiabelliand dozens of first publicationsPeters),but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers.Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts.In 1838Robert Schumann,on a visit to Vienna, found the dusty manuscript of theC major Symphony(D. 944) and took it back toLeipzigwhere it was performed byFelix Mendelssohnand celebrated in theNeue Zeitschrift.An important step towards the recovery of the neglected works was the journey to Vienna which the music historianGeorge Groveand the composerArthur Sullivanmade in October 1867.The travellers unearthed the manuscripts of six of the symphonies, parts of the incidental music toRosamunde,theMass No. 1 in F major(D. 105), and the operasDes Teufels Lustschloss(D. 84),Fernardo(D. 220),Der vierjährige Posten(D. 190), andDie Freunde von Salamanka(D. 326), and several other unnamed works. With these discoveries, Grove and Sullivan were able to inform the public of the existence of these works; in addition, they were able to copy the fourth and sixth symphonies, theRosamundeincidental music, and the overture toDie Freunde von Salamanka.This led to more widespread public interest in Schubert's work.

Complete editions

Lithograph of Franz Schubert byJosef Kriehuber(1846)

See also:Franz Schubert's WorksandNeue Schubert-Ausgabe

From 1884 to 1897,Breitkopf & HärtelpublishedFranz Schubert's Works,a critical edition including a contribution made – among others – byJohannes Brahms,editor of the first series containing eight symphonies.The publication of theNeue Schubert-AusgabebyBärenreiterstarted in the second half of the 20th century.

Deutsch catalogue

See also:Schubert Thematic Catalogue,Schubert opus/Deutsch number concordance,andList of compositions by Franz Schubert

Since relatively few of Schubert's works were published in his lifetime, only a small number of them haveopus numbersassigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition. AustrianmusicologistOtto Erich Deutsch(1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works. This was first published in English in 1951 (Schubert Thematic Catalogue) and subsequently revised for a new edition in German in 1978 (Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge– Franz Schubert: Thematic Catalogue of his Works in Chronological Order).

Numbering issues

See also:Schubert's symphonies § Numbering issues;andSonatas, duos and fantasies by Franz Schubert § Numbering of the Piano Sonatas

Confusion arose quite early over thenumbering of Schubert's late symphonies.Schubert's last completed symphony, theGreat C majorD 944,was assigned the numbers 7, 8, 9 and 10, depending on publication. Similarly theUnfinishedD 759has been indicated with the numbers 7, 8, and 9.

The order usually followed for these late symphonies by English-language sources is:

• No. 7:E major,D 729
• No. 8:B minor,D 759Unfinished
• No. 9:C major,D 944Great C major
• No. 10:D major,D 936A

An even broader confusion arose over thenumbering of the piano sonatas,with numbering systems ranging from 15 to 23 sonatas.

Instruments

Among pianos Schubert had access to were a Benignus Seidner piano (now displayed at theSchubert Geburtshausin Vienna) and anAnton Walter& Sohn piano (today in the collection of the ViennaKunsthistorisches Museum). Schubert was also familiar with instruments by Viennese piano builderConrad Graf.

Recognition

A feeling of regret for the loss of potential masterpieces caused by Schubert's early death at age 31 was expressed in the epitaph on his large tombstone written by Grillparzer: "Here music has buried a treasure, but even fairer hopes."Some prominent musicians share a similar view, including the pianistRadu Lupu,who said: "[Schubert] is the composer for whom I am really most sorry that he died so young.... Just before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to learn a little more about counterpoint, and he was perfectly right. We'll never know in what direction he was going or would have gone."However, others have expressed disagreement with this early view. For instance,Robert Schumannsaid: "It is pointless to guess at what more [Schubert] might have achieved. He did enough; and let them be honoured who have striven and accomplished as he did",and the pianistAndrás Schiffsaid that: "Schubert lived a very short life, but it was a very concentrated life. In 31 years, he lived more than other people would live in 100 years, and it is needless to speculate what could he have written had he lived another 50 years. It's irrelevant, just like with Mozart: these are the two natural geniuses of music."

The Schubert Denkmal

TheWiener Schubertbund,one of Vienna's leading choral societies, was founded in 1863, whilst theGründerzeitwas taking place. The Schubertbund quickly became a rallying point for schoolteachers and other members of the Viennese middle class who felt increasingly embattled during the Gründerzeit and the aftermath of thePanic of 1873.In 1872, the dedication of the Schubert Denkmal, a gift to the city from Vienna's leading male chorus, theWiener Männergesang-Verein,took place; the chorus performed at the event.The Denkmal was designed by Austrian sculptorCarl Kundmannand is located in Vienna'sStadtpark.

Schubert's chamber music continues to be popular. In asurveyconducted by theABC Classic FMradio station in 2008, Schubert's chamber works dominated the field, with theTrout Quintetranked first, theString Quintet in C majorranked second, and theNotturno in E-flat major for piano trioranked third. Furthermore, eight more of his chamber works were among the 100 ranked pieces: both piano trios, theString Quartet No. 14 (Death and the Maiden),theString Quartet No. 15,theArpeggione Sonata,theOctet,theFantasie in F minor for piano four-hands,and theAdagio and Rondo Concertantefor piano quartet.

The New York Times'chief music criticAnthony Tommasini,who ranked Schubert as the fourth greatest composer, wrote of him:

You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone – including the haunting cycleWinterreise,which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life... Schubert's first few symphonies may be works in progress. But theUnfinishedand especially theGreat C majorSymphony are astonishing. The latter one paves the way forBrucknerand prefiguresMahler.

Tributes by other musicians

Schubert at the PianobyGustav Klimt(1899)

From the 1830s through the 1870s,Franz Liszttranscribed and arranged several of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived."Schubert's symphonies were of particular interest toAntonín Dvořák.Hector BerliozandAnton Bruckneracknowledged the influence of theGreat C MajorSymphony.Robert Schumann, after seeing the manuscript of the symphony in Vienna in 1838, brought it to the attention of Mendelssohn. Mendelssohn then conducted the first performance of the symphony, albeit in a heavily abridged version, in Leipzig in 1839.

In the 20th century, composers includingRichard Strauss,Anton Webern,Benjamin Britten,George Crumb,andHans Zenderchampioned or paid homage to Schubert in some of their works. Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.German electronic music groupKraftwerkhas a track titled "Franz Schubert" on their 1977 albumTrans-Europe Express.

Commemorations

In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and EmperorFranz Josephgave a speech recognising Schubert as the creator of the art song, and one of Austria's favourite sons. Karlsruhesaw the first production of his operaFierrabras.

In 1928, Schubert Week was held in Europe and the United States to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money ofUS$10,000 and sponsorship by theColumbia Phonograph Company,was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory".The winning entry wasKurt Atterberg's sixth symphony.

In film and television

Schubert has featured as a character in several films includingSchubert's Dream of Spring(1931),Gently My Songs Entreat(1933),Serenade(1940),The Great Awakening(1941)—whose plot is based on a fictional episode of him fleeing Vienna to Hungary to avoid conscription—It's Only Love(1947),Franz Schubert(1953),Das Dreimäderlhaus(1958), andMit meinen heißen Tränen(1986).

Schubert's life was covered in the documentaryFranz Peter Schubert: The Greatest Love and the Greatest SorrowbyChristopher Nupen(1994),and in the documentarySchubert – The WandererbyAndrás SchiffandMischa Scorer(1997), both produced for theBBC."Great Performances," "Now Hear This: The Schubert Generation Series," hosted by Scott Yoo, explored commentary and performances by contemporary musician admirers.

Schubert's music has also been featured in numerous films:

• TheWalt DisneyfilmFantasia(1940) featuresAve Maria (D. 839).
• TheRobert BressonfilmAu Hasard Balthazar(1966) features thePiano Sonata No. 20 in A Major (D. 959).
• TheStanley KubrickfilmBarry Lyndon(1975) features the second movement from thePiano Trio No. 2 in E-Flat Major, Op. 100/D.929.
• The English version ofThe Adventures of Milo and Otis(1989) featuresSerenadeandAuf dem Wasser zu singen (D. 774).
• TheWoody AllenfilmCrimes and Misdemeanors(1989) prominently featuresString Quartet No. 15 in G.
• TheRoman PolanksifilmDeath and the Maiden(1994) features and takes its name from the music of theString Quartet No. 14 in D minor,Death and the Maiden.
• Thebiographical filmCarrington(1995) features the second movement of theString Quintet in C major (D. 956).
• TheGuy RitchiefilmSherlock Holmes: A Game of Shadows(2011) features thePiano Quintet in A major, D. 667 (Trout Quintet).

References

Sources

Works by Otto Erich Deutsch

• Deutsch, Otto Erich;Wakeling, Donald R. (1995).The Schubert Thematic Catalogue.Courier Dover Publications.ISBN978-0-486-28685-3.
• Deutsch, Otto Erich (1998) [1958].Schubert: Memoirs by His Friends.Oxford University Press.ISBN978-0-19-816436-4.

19th- and early 20th-century scholarship

• Austin, George Lowell (1873).The Life of Franz Schubert.Shepard and Gill.ISBN978-0-404-12856-2.OCLC4450950.
• Duncan, Edmondstoune (1905).Schubert.J.M. Dent.ISBN978-1-4437-8279-1.OCLC2058050.
• Dvořák, Antonín(July 1894)."Franz Schubert".Century Illustrated Monthly Magazine.48(3). Cairns Collection of American Women Writers.OCLC4279873.
• Frost, Henry Frederic (1915).Schubert.Scribner.OCLC45465176.
• Grove, George;Fuller-Maitland, John Alexander(1908).Grove's Dictionary of Music and Musicians.Vol. 4. Macmillan.OCLC407077.
• This article incorporates text from a publication now in thepublic domain:Hadow, William Henry(1911). "Schubert, Franz Peter".InChisholm, Hugh(ed.).Encyclopædia Britannica.Vol. 24 (11th ed.). Cambridge University Press. pp. 383–386.
• Kreissle von Hellborn, Heinrich (1869) [1865].The Life of Franz Schubert.Vol. 1. Translated by Coleridge, Arthur Duke. Longmans, Green, and Company.The first full-length biography of Schubert (volume 1).
• Kreissle von Hellborn, Heinrich (1869) [1865].The Life of Franz Schubert.Vol. 2. Translated by Coleridge, Arthur Duke. Longmans, Green, and Co.The first full-length biography of Schubert (volume 2).
• Rodenberg, Julius; Pechel, Rudolf (1900).Deutsche Rundschau, volume 102 (Jan–Mar 1900)(in German). Gebrüder Paetel.OCLC1566444.
• Thayer, Alexander Wheelock;Krehbiel, Henry E.;Deiters, Hermann;Riemann, Hugo(1921).The Life of Ludwig van Beethoven.Vol. 3. New York: The Beethoven Association.OCLC422583.
• Wilberforce, Edward (1866).Franz Schubert: A Musical Biography.London: W. H. Allen & Co.[ISBN unspecified]
• "Volume 38".The Musical Times.38.Novello. February 1897.OCLC1608351.

Modern scholarship

• Botstein, Leon(1997). "Contexts: musical, political, and cultural". In Gibbs, Christopher H. (ed.).The Cambridge Companion to Schubert.Cambridge Companions to Music.Cambridge University Press.ISBN978-0-521-48424-4.
• Brown, A. Peter (2002).The Symphonic Repertoire.Indiana University Press.ISBN978-0-253-33487-9.
• Brown, Maurice John Edwin (1983).The New Grove Schubert.New York: W. W. Norton & Company.ISBN978-0-393-01683-3.OCLC9398015.
• Denny, Thomas A. (1997). "Schubert's operas". In Gibbs, Christopher H. (ed.).The Cambridge Companion to Schubert.Cambridge Companions to Music.Cambridge University Press.ISBN978-0-521-48424-4.
• Deutsch, Otto Erich;et al. (1978).Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge.Bärenreiter.ISBN978-3-7618-0571-8.
• Emmons, Shirlee;Lewis, Wilbur Watkin (2006).Researching the Song: A Lexicon.Oxford University Press US.ISBN978-0-19-515202-9.
• Ewen, David (2007).Composers of Yesterday.Vancouver: Read Books.ISBN978-1-4067-5987-7.
• Gammond, Peter(1982).Schubert.London: Methuen.ISBN978-0-413-46990-8.
• Gibbs, Christopher H. (1997). "Introduction: the elusive Schubert". In Gibbs, Christopher H. (ed.).The Cambridge Companion to Schubert.Cambridge Companions to Music.Cambridge University Press.ISBN978-0-521-48424-4.
• Gibbs, Christopher H. (2000).The Life of Schubert.Cambridge University Press.ISBN978-0-521-59512-4.
• Gibbs, Christopher H., ed. (1997).The Cambridge Companion to Schubert.Cambridge Companions to Music.Cambridge University Press.ISBN978-0-521-48424-4.
• Gramit, David (1997). "Music, cultivation, and identity in Schubert's circle". In Gibbs, Christopher H. (ed.).The Cambridge Companion to Schubert.Cambridge Companions to Music.Cambridge University Press.ISBN978-0-521-48424-4.
• Griffel, L. Michael (1997). "Schubert's orchestral music". In Gibbs, Christopher H. (ed.).The Cambridge Companion to Schubert.Cambridge Companions to Music.Cambridge University Press.ISBN978-0-521-48424-4.
• Hutchings, Arthur(1967).Church Music in the Nineteenth Century.London: Oxford University Press.ISBN978-0-8371-9695-4.
• Lev, Ray(1947).Franz Schubert – Piano Sonata no. 15 in C major (Unfinished); Allegretto in C minor – Ray Lev, Pianist(78 RPM). United States: Concert Hall Society. Release B3.
• Liszt, Franz (1989).An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835–1841.Translated by Suttoni, Charles. University of Chicago Press.ISBN978-0-226-48510-2.
• McKay, Elizabeth Norman (1996).Franz Schubert: A Biography.Oxford University Press.ISBN978-0-19-816681-8.
• Newbould, Brian(1999).Schubert: The Music and the Man.University of California Press.ISBN978-0-520-21957-1.
• Plantinga, Leon (1984).Romantic Music: A History of Musical Style in Nineteenth-Century Europe.Norton.ISBN978-0-393-95196-7.
• Reed, John (15 August 1997).The Schubert Song Companion.Manchester University Press.ISBN978-1-901341-00-3.
• Schonberg, Harold C.(1997).The Lives of the Great Composers.W. W. Norton.ISBN978-0-393-03857-6.
• Schroeder, David (2009).Our Schubert: His Enduring Legacy.Scarecrow Press.ISBN978-0-8108-6927-1.
• Smith, Jane Stuart; Carlson, Betty; Schaeffer, Francis A. (1995).The Gift of Music: Great Composers and Their Influence.Good News Publishers.ISBN978-0-89107-869-2.
• Steblin, Rita (1998). "In Defense of Scholarship and Archival Research: Why Schubert's Brothers Were Allowed to Marry".Current Musicology.62:7–17.

Numbering of symphonies

The following sources illustrate the confusion around the numbering of Schubert's late symphonies. The B minorUnfinishedSymphony is variously published as No. 7 and No. 8, in both German and English.

• Schubert, Franz (1996).Symphony, No 7, D 759, B minor,Unfinished(in German). Bärenreiter.OCLC39794412.German-language publication of theUnfinishedSymphony score as No. 7.
• Schubert, Franz (2008).Symphony No. 7 in B minor D 759UnfinishedSymphony.Eulenburg Audio+Score Series. Eulenburg.ISBN978-3-7957-6529-3.English-language publication of theUnfinishedSymphony score as No. 7.
• Schubert, Franz; Reichenberger, Teresa (1986).Symphony No. 8 in B minor, D. 759Unfinished(Paperback).ISBN978-3-7957-6278-0.English-language publication of theUnfinishedSymphony score as No. 8.

Further reading

• Deutsch, Otto Erich (1977).Schubert: A Documentary Biography.Translated byBlom, Eric.Da Capo Press.ISBN978-0-306-77420-1.
• Schubert, Franz; Deutsch, Otto Erich (1928).Franz Schubert's Letters and Other Writings.Translated by Savile, Venetia. A. A. Knopf.ISBN978-0-8369-5242-1.OCLC891887.
• Steblin, Rita(1998). "Schubert's Relationship with Women: An Historical Account". InNewbould, Brian(ed.).Schubert Studies.Ashgate. pp. 159–182.ISBN978-1-85928-253-3.
• Uhde, Jürgen;Wieland, Renate(2013).Schubert. Späte Klaviermusik: Spuren ihrer inneren Geschichte(in German).Bärenreiter.ISBN9783761823330.

External links

• Franz Schubertat theMusopenproject
• Texts and translations of vocal music by SchubertatThe LiederNet Archive
• Franz Schubert Museum in Hohenems/Austria
• "Discovering Schubert".BBC Radio 3.
• Franz Schubertat theInternet Broadway Database
• Digital reproductions of score manuscripts and letters by Franz Schubert

Recordings

• Schubertlied.deArchived2 December 2019 at theWayback Machine– Free recordings of many Lieder by Schubert (mp3)
• Schubert cylinder recordings,from theUCSB Cylinder Audio Archiveat theUniversity of California, Santa BarbaraLibrary.

Sheet music

• Schubertline.co.ukabout 250 of Schubert's Songs (Schubertline edition)
• Free scores by Franz Schubertat theInternational Music Score Library Project(IMSLP)
• Free scores by Franz Schubertin theChoral Public Domain Library(ChoralWiki)
• Free digital scores by Franz Schubertin theOpenScore Lieder Corpus