弗朗茨·舒伯特

维基百科，自由的百科全书

弗朗茨·舒伯特(-{Franz Schubert}-，1797年—1828年)是奥地利作曲家，他是早期浪漫主义音乐的代表人物,也被認為是古典主義音樂的最後一位巨匠。他于1797年1月31日，出生于维也纳近郊的里希田塔尔。

雖然舒伯特逝世時只有31歲，他創作了超過六百首歌曲,九首交響曲以及奏鳴曲、室內樂、歌劇等等。最著名的歌曲有：《死与少女》、《摇篮曲》、《小夜曲》、《圣母颂》、《魔王》、《野玫瑰》、《鳟鱼》，以及声乐套曲《美丽的磨坊女》、《冬之旅》、《天鹅之歌》等。舒伯特以抒情的旋律聞名，而且總是能夠自然流露、渾然天成。

舒伯特在生的時候,大眾對他的認識和欣賞只是一般,但在逝世前已經有一百首著作被出版。他早年擔任父親學校裏的教師，辭去職位後一直沒有固定的工作,經常要朋友接濟。

舒伯特死后被安葬在他生前一直相当崇拜却只见过几次面的贝多芬墓旁。

目录 1 摘要 2 早年生活和教育 3 教師生涯 4 朋友的支援 5 後期生活和作品 6 逝世 7 死後的聲譽 8 媒體 9 參見 9.1 作品列表 9.2 相關文章 9.3 外部鏈結

[编辑] 摘要

舒伯特（1797～1828）Schubert，Franz,奥地利作曲家。1797年1月31日生于维也纳 ，1828年11月19日卒于同地。童年时从父亲学小提琴、从哥哥学钢琴 ，11岁入神学寄宿学校，开始显示音乐创作才能，歌曲《夏甲的悲叹》就是这时创作的。1814年他在父亲的学校里当助理教员，同时从事创作。1816年起专事作曲，但稿酬菲薄，生活清贫。像《流浪者》这样举世闻名的歌曲，舒伯特只拿到两个古尔盾，而出版商在40年间赚取了27000个古尔盾 。他十分崇敬 L.van 贝多芬 ，曾将所作4首法国歌曲主题钢琴变奏曲献给贝多芬，并在贝多芬病危时两次探望他，亲举火炬参加贝多芬的葬礼。他临终前一天病得神志昏迷，还发出呓语：“贝多芬不是睡在这里吗？”他的墓与贝多芬的墓相毗邻，1888年一起迁葬维也纳中央公墓，原墓地则成为舒伯特公园。

舒伯特在短短31年的生命中，创作了600多首歌曲 ，18部歌剧、歌唱剧和配剧音乐，10部交响曲，19首弦乐四重奏，22首钢琴奏鸣曲 ，4首小提琴奏鸣曲以及许多其他作品 。他为不少诗人如J.W.von歌德、J.C.F.席勒 、H.海涅、米勒等的作品写了大量歌曲，把音乐与诗歌紧密结合在一起。他的歌曲中既有抒情曲、叙事曲、充满战斗性的爱国歌曲，也有源于民间音乐的歌曲，其中重要的有《魔王》、《鳟鱼 》、《菩提树》、《美丽的磨坊少女》、《野玫瑰》、《流浪者 》（2首）、《普罗米修斯》、《致音乐》、《迷娘之歌 》、《纺车旁的格雷欣》、《牧童的哀歌》、《战斗中的祈祷 》、《剑之歌》、《战士之歌》等 ， 主要歌曲汇有3部歌曲集 ：《美丽的磨坊少女》、《冬之旅》和《天鹅之歌》。他的交响曲中较重要有第四、第五、第八、第九交响曲，其中第八交响曲是一部浪漫主义抒情交响曲，因只写了两个乐章而被称为《未完成交响曲》，第九交响曲气势磅礴，充满英勇豪迈的气概，被称为《大交响曲》 。 他的作品还有d小调弦乐四重 奏《死与少女》、钢琴五重奏《鳟鱼》、C大调弦乐五重奏、钢琴曲《流浪者幻想曲》、《音乐的瞬间》 、降E大调即兴曲、A大调奏鸣曲和配剧音乐《罗莎蒙德》等。

[编辑] 早年生活和教育

舒伯特生於漢密夫地(Himmelpfortgrund),維也納的近郊。他父親,弗朗茨(Franz),是一個莫拉維亞(Moravia)農夫的兒子,是一個小鎮學校的校長，亦是一位業餘音樂家。他的母親,伊利莎白·維茲(Elizabeth Vietz), 在結婚前曾當過厨師。舒伯特連他在內，共有15名兄弟姊妹，當中包括一位早在1783年就已出生的私生子。不過這15人當中，有10名在出生後不久就病死。餘下的五人除了舒伯特以外，分別是：Ignaz (b. 1785), Ferdinand (b. 1794), Karl (b. 1796), Franz, and a daughter Theresia (b. 1801). 他们的父亲，一位正直而崇高的人，展现出相当的教育才华；他的位于 Himmelpfortgrund 的学校有着丰富的生源。他同时也是一位业余音乐家，并将自己对音乐技法的尺度传授给他的两名长子 Ignaz 和 Fredinand。

從五歲開始舒伯特開始隨父親正規學習音樂,六歲時開始在漢密夫地學校上課,並渡過他人生中比較快樂的時光。父親教導他小提琴,兄長Ignaz教導他鋼琴。当他七岁时，他已经超越了他的父兄，转为跟随 Michael Holzer，Lichtenthal 教堂的作曲人（Kapellmeister），学习音乐。Holzer 的课程似乎专注于表达赞美的感情。小舒伯特从一名学徒工那里学到更多的东西。那个学徒工曾带他去临近的一个钢琴仓库，给他以比他贫穷的家庭所能给予的更好的乐器练习机会。他的早年教育的不足之处在于他很难得到广大听众的欢心，这点儿教育是不够他踏上音乐家之路的。

1808年八月,他 was received as a scholar at the Convict, which, under Antonio Salieri's direction, had become the chief music school of Vienna, and which had the special office of training the choristers for the Court Chapel. Here he remained until nearly seventeen, profiting little by the direct instruction but much by the practices of the school orchestra and by association with congenial comrades. Many of the most devoted friends of his life were among his schoolfellows: Spaun and Stadler and Holzapfel, and a score of others who helped him out of their slender pocket-money, bought him music-paper which he could not buy for himself, and gave him loyal support and encouragement. It was at the Convict, too, that he first made acquaintance with the overtures and symphonies of Mozart and between them and lighter pieces, and occasional visits to the opera, he began to lay for himself some foundation of musical knowledge.

此时他的天分早已展现在他的作品中。 A fantasia for piano duet (D.1, using the catalogue numbers by Otto Erich Deutsch), thirty-two close-written pages, is dated April 8-May 1, 1810: then followed, in 1811, three long vocal pieces (D.5 - D.7) written upon a plan which Zumsteeg had popularized, together with a "quintet-overture" (D.8), a string quartet (D.2), a second pianoforte fantasia and a number of songs. Through these early works Salieri became aware of the talented young man and decided to train him in musical composition and music theory. Schubert´s early essay in chamber music is noticeable, since we learn that at the time a regular quartet-party was established at his home "on Sundays and holidays," in which his two brothers played the violin, his father the cello and Franz himself the viola. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Convict he wrote a good deal more chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D.31) and Salve Regina (D.27), an octet for wind instruments (D.72/72a) -- said to commemorate the death of his mother, which took place in 1812 -- a cantata (D.110), words and music, for his father's name-day in 1813, and the closing work of his school-life, his first symphony (D.82).

[编辑] 教師生涯

在1813年，年底他离开了 Convict，同时他为了避免服役便去了他父亲的学校作为底班的教师。此时他的父亲也与 Anna Kleyenboeck 再婚，Anna Kleyenboeck 是一位来自近郊 Gumpendorf 丝绸商人的女儿。 For over two years the young man endured the drudgery of the work, which, we are told, he performed with very indifferent success. There were, however, other interests to compensate. He received private lessons in composition from Salieri, who did more for Schubert’s training than any of his other teachers. As Salieri was one of the first composers to add the specific sonority of the Biedermeier period to Viennese church music, it is not surprising that Schubert´s early sacred works are directly linked to his teacher´s church music of these days. Also, Salieri´s great amount of songs in several languages echo in Schubert´s early song output.

His first completed opera-- Des Teufels Lustschloss (D.84) -- and his first Mass -- in F major (D.105) -- were both written in 1814, and to the same year belong three string quartets, many smaller instrumental pieces, the first movement of the Symphony no.2 in B-flat major (D.125) and seventeen songs, which include such masterpieces as Der Taucher (D.77/111) and Gretchen am Spinnrade (D.118, published as Op.2). But even this activity was far outpaced by that of the year 1815. In this year, despite his schoolwork, his lessons with Salieri and the many distractions of Viennese life, he produced an amount of music the record of which is almost incredible. Schubert's second symphony in B-flat (D.125) was finished, and a third, in D major (D.200), added soon afterwards. The composer also completed two Masses, in G (D.167) and B-flat (D.324), the former written within six days, a new Dona Nobis for the Mass in F, a Stabat Mater and a Salve Regina (D.223).

Opera was represented by no less than five works, of which three were completed-- Der vierjährige Posten (D.190), Fernando (D.220) and Claudine von Villabella (D.239)-- and two, Adrast (D.137) and Die Freunde von Salamanka (D.326), apparently left unfinished. Besides these the list includes a string quartet in G minor, four sonatas and several smaller compositions for piano, and, by way of climax, 146 songs, some of which are of considerable length, and of which eight are dated Oct. 15, and seven Oct. 19.

In December 1814 Schubert made acquaintance with the poet Johann Mayrhofer: an acquaintance which, according to his usual habit, soon ripened into a warm and intimate friendship. They were singularly unlike in temperament: Schubert frank, open and sunny, with brief fits of depression, and sudden outbursts of boisterous high spirits; Mayrhofer grim and saturnine, a silent man who regarded life chiefly as a test of endurance. The friendship, as will be seen later, was of service to Schubert in more than one way.

[编辑] 朋友的支援

As 1815 was the most-prolific period of Schubert's life, 1816 saw the first real change in his fortunes. Somewhere about the turn of the year Spaun surprised him in the composition of 魔王(Der Erlkönig)(D.328, published as Op.1) -- Goethe's poem propped among a heap of exercise books, and the boy at white-heat of inspiration "hurling" the notes on the music-paper. A few weeks later Franz von Schober, a student of good family and some means, who had heard some of Schubert's songs at Spaun's house, came to pay a visit to the composer and proposed to carry him off from school-life and give him freedom to practice his art in peace. The proposal was particularly opportune, for Schubert had just made an unsuccessful application for the post of Kapellmeister at Laibach (now Ljubljana), and was feeling more acutely than ever the slavery of the classroom. His father's consent was readily given, and before the end of the spring he was installed as 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 write all day," he said later to an inquiring visitor, "and when I have finished one piece I begin another."

The works of 1816 include three ceremonial cantatas, one written for Salieri's Jubilee on June 16 (D.407/441); the "Prometheus" cantata (D.451) eight days later, for students of professor Heinrich Joseph Watteroth who paid the composer an honorarium ("the first time," said the journal, "that I have composed for money"), and one, on a foolish philanthropic libretto, for Herr Joseph Spendou "Founder and Principal of the Schoolmasters' Widows' Fund" (D.472). Of more importance are two new symphonies, No. 4 in C minor (D.417), called the "Tragic symphony", with a striking andante, No. 5 in B-flat (D.485), as bright and fresh as a symphony of Mozart: some numbers of church music, fuller and more mature than any of their predecessors, and over a hundred songs, among which are some of his finest settings of Goethe and Schiller. There is also an opera, "Die Bürgschaft" (D.435), spoiled by an illiterate libretto, but of interest as showing how continually his mind was turned towards the theatre.

All this time his circle of friends was steadily widening. Mayrhofer introduced him to Johann Michael Vogl, a famous baritone, who did him good service by performing his songs in the salons of Vienna; Anselm Hüttenbrenner and his brother Joseph ranged themselves among his most devoted admirers; Joseph von Gahy, an excellent pianist, played his sonatas and fantasias; the Sonnleithners, a burgher family whose eldest son had been at the Convict, gave him free access to their home, and organized in his honor musical parties which soon assumed the name of Schubertiaden. The material needs of life were supplied without much difficulty. No doubt Schubert was entirely penniless, for he had given up teaching, he could earn nothing by public performance, and, as yet, no publisher would take his music at a gift; but his friends came to his aid with true Bohemian generosity-- one found him lodging, another found him appliances, they took their meals together and the man who had any money paid the score. Schubert was always the leader of the party, and was known by half a dozen affectionate nicknames, of which the most characteristic is kann er 'was? ("Is he able?"), his usual question when a new acquaintance was proposed.

1818, though, like its predecessor, comparatively unfertile in composition, was in two respects a memorable year. It saw the second public performance of a work of Schubert's (the first one had been the performance of the Mass in F-major in September 1814 in Lichtental)-- an overture in the Italian style written as an avowed burlesque of Rossini, and played in all seriousness at a Jail concert on March 1. It also saw the beginning of his only official appointment, the post of music-master to the family of Count Johann von Esterhazy at Želiezovce, Slovakia, then in the Kingdom of Hungary, where he spent the summer amid pleasant and congenial surroundings. The compositions of the year include a symphony in C major (D.589), a certain amount of four-hand pianoforte music for his pupils at Želiezovce and a few songs, among which are Einsamkeit (D.620), Marienbild (D.623) and the Litaney. On his return to Vienna in the autumn he found that von Schober had no room for him, and took up his residence with Mayrhofer. There his life continued on its accustomed lines. Every morning he began composing as soon as he was out of bed, wrote till two o'clock, then dined and took a country walk, then returned to composition or, if the mood forsook him, to visits among his friends. He made his first public appearance as a song-writer on February 28, 1819, when the Schäfers Klagelied was sung by Jager at a Jail concert. In the summer of the same year he took a holiday and travelled with Vogl through Upper Austria. At Steyr he wrote his brilliant Piano Quintet in A Major (The Trout) (D.667). In the autumn he sent three of his songs to Goethe, but, so far as we know, received little acknowledgment.

The compositions of 1820 are remarkable, and show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D.689) was begun in February; later followed, amid a number of smaller works, the 23rd Psalm (D.706), the Gesang der Geister (D.705/714), the Quartettsatz in C minor (D.703) and the great "Wanderer Fantasy" for piano (D.760). But of almost more biographical interest is the fact that in this year two of Schubert's operas appeared at the Kärthnerthor theatre, Die Zwillingsbrüder (D.647) on June 14, and Die Zauberharfe (D.644) on August 19. Hitherto his larger compositions (apart from Masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position and address a wider public. Still, however, publishers held obstinately aloof, and it was not until his friend Vogl had sung Erlkönig at a concert in the Kärnthnerthor (Feb. 8, 1821) that Anton Diabelli hesitatingly agreed 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 the meagre pittances which were all that the great publishing houses ever accorded to him. Much has been written about the neglect from which he suffered during his lifetime. It was not the fault of his friends, it was only indirectly the fault of the Viennese public; the persons most to blame were the cautious intermediaries who stinted and hindered him from publication.

The production of his two dramatic pieces turned Schubert's attention more firmly than ever in the direction of the stage; and towards the end of 1821 he set himself on a course which for nearly three years brought him continuous mortification and disappointment. Alfonso und Estrella was refused, and so was Fierabras (D.796); Die Verschworenen (D.787) was prohibited by the censor (apparently on the ground of its title); Rosamunde (D.797) was withdrawn after two nights, owing to the badness of its libretto. Of these works the two former are written on a scale which would make their performances exceedingly difficult (Fierabras, for instance, contains over 1000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822 he made the acquaintance both of Weber and of Beethoven, but little came of it in either case, though Beethoven cordially acknowledged his genius. Schober was away from Vienna; new friends appeared of a less desirable character; on the whole these were the darkest years of his life.

[编辑] 後期生活和作品

In 1823 appeared Schubert's first song cycle, Die schöne Müllerin, D. 795, after poems by Wilhelm Müller. This work, together with the later cycle "Winterreise" D. 911, is widely considered one of the pinnacles of Schubert's work and of the German Lied in general.

In the spring of 1824 he wrote the magnificent Octet in F (D.803), "A Sketch for a Grand Symphony"; and in the summer went back to Želiezovce, when he became attracted by Hungarian idiom, and wrote the Divertissement a l'Hongroise (D.818) and the String Quartet in A minor (D.804). He held a hopeless passion for his pupil Countess Caroline Esterhazy; but whatever may be said about this romance, its details are not presently known.

Despite his preoccupation with the stage and later with his official duties he found time during these years for a good deal of miscellaneous composition. The Mass in A flat (D.678) was completed and the exquisite "Unfinished Symphony" (Symphony No 8 in B minor, D.759) begun in 1822. To 1824, beside the works mentioned above, belong the variations for flute and piano on Trockne Blumen, the climactic song of "Die schöne Müllerin". There is also a sonata for piano and "Arpeggione" (D.821), an interesting attempt to encourage a cumbersome and now obsolete instrument. This wonderful music is nowadays usually played by cello and piano, although a number of other arrangements have been made.

The mishaps of the recent 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; in the summer there was a pleasant holiday in Upper Austria, where Schubert was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains his famous and beloved Ellens dritter Gesang, D.839, today more popularly known as his "Ave Maria", which was originally set to Adam Storck's German translation of Scott's original poem, not to the Latin text of the Ave Maria prayer that is commonly sung today. During this time he also wrote the Piano Sonata in A minor (D.845, op. 42).

From 1826 to 1828 Schubert resided continuously in Vienna, except for a brief visit to Graz in 1827. The history of his life during these three years is little more than a record of his compositions. The only events worth notice are that in 1826 he dedicated a symphony to the Gesellschaft der Musikfreunde and received an honorarium in return. In the spring of 1828 he gave, for the first and only time in his career, a public concert of his own works which was very well received. But the compositions themselves are a sufficient biography. The string quartet in D minor, with the variations on Death and the Maiden (D.810), was written during the winter of 1825-1826, and first played on January 25, 1826. Later in the year came the string quartet in G major, the "Rondeau brilliant" for piano and violin (D.895, Op.70), and the fine Piano Sonata in G (D.894, Op.78) which, because of some pedantry of the publisher's, was originally printed without Schubert's title 'Fantasia' (although more recent editions have restored the title, at least as a subtitle). To these should be added the three Shakespearian songs, of which "Hark! Hark! the Lark" (D.889) and "Who is 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.

In 1827 Schubert wrote the song cycle Winterreise (D.911), the Fantasia for piano and violin in C (D.934), and the two piano trios (B flat, D.898; and E flat, D.929): in 1828 the Song of Miriam, the C major symphony (D.944), the Mass in E-flat (D.950), and the exceedingly beautiful Tantum Ergo (D.962) in the same key, the String Quintet in C (D.956), the second Benedictus to the Mass in C, the last three piano sonatas, and the collection of songs published posthumously under the fanciful name of Schwanengesang ("Swan song", D.957). Six of these are to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. In the last weeks of his life he began to sketch 3 movements for a new Symphony in D (D.936A) [1]

[编辑] 逝世

在他的创作中，他的健康恶化。 He had battled syphilis since 1822. The final illness may have been typhoid fever, though other causes have been proposed; some of his final symptoms match those of mercury poisoning (mercury was a common treatment for syphilis in the early 19th century); at any rate, insufficient evidence remains to make a definitive diagnosis. He died aged 31 on November 19, 1828 at the apartment of his brother Ferdinand in Vienna. By his own request, he was buried next to Ludwig van Beethoven, whom he had adored all his life, on the Währinger cemetery. In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss I and Johannes Brahms.

In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark.

[编辑] 死後的聲譽

Some of his smaller pieces were printed shortly after his death, but the more valuable seem to have been regarded by the publishers as waste paper. In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major symphony (the "Great", D.944) and took it back to Leipzig, where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. There continues to be some controversy over the numbering of this symphony, with German-speaking scholars numbering it as symphony No. 7, the revised Deutsch catalogue (the standard catalogue of Schubert's works, compiled by Otto Erich Deutsch) listing it as No. 8, and English-speaking scholars listing it as No. 9.

50 of his songs were transcribed for piano and then popularised by Franz Liszt.

The most important step towards the recovery of the neglected works was the journey to Vienna which Sir George Grove (of "Grove's Dictionary of Music and Musicians" fame) and Sir Arthur Sullivan made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the Rosamunde music, some of the Masses and operas, some of the chamber works, and a vast quantity of miscellaneous pieces and songs. This led to more widespread public interest in Schubert's work.

Another controversy, which originated with Grove and Sullivan and continued for many years, surrounded the "lost" symphony. Immediately before Schubert's death, his friend Eduard von Bauernfeld recorded the existence of an additional symphony, dated 1828 (although this does not necessarily indicate the year of composition) named the "Letzte" or "Last" symphony. It has been more or less accepted by musicologists that the "Last" symphony refers to a sketch in D major (D936A), discovered by Ernst Hilmar in the 1970s and eventually realised by Brian Newbould as the Tenth Symphony.

Franz Liszt declared Schubert to be "the most poetic musician ever".

[编辑] 媒體

[编辑] 參見

[编辑] 作品列表

• By Deutsch number: D 1 to 504 - D 505 to 998
• List of compositions by Schubert — by musical genre
• Alphabetical list of Schubert compositions (as far as described in separate wikipedia articles)

[编辑] 相關文章

• Susan McClary's constructions of subjectivity in Franz Schubert's music, an essay discussing how Schubert's music might have been influenced by his sexuality

[编辑] 外部鏈結

• Template:Musicbrainz artist
• Catalogue of Works by Franz Schubert
• IMSLP - International Music Score Library Project's Schubert page.
• Franz Peter Schubert: Master of Song
• Notes on Franz Schubert by pianist Bart Berman
• Schubert cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
• The Schubert Institute (UK), detailed timeline, biography, work list and family tree
• Schubert's Sheet Music by Mutopia Project
• Template:IckingArchive
• Template:ChoralWiki
• The Schubert Society of the USA
• Franz Schubert的作品 - 古登堡计划