Schubert's unfinished symphony presentation. Presentation for a music lesson "Franz Schubert" presentation for a music lesson (grade 7) on the topic

Franz Peter Schubert
1797-1828
Great Austrian composer,
one of the first representatives
musical romanticism

Biography. Biography. Franz Schubert (full name Franz Peter) was an Austrian composer, the largest representative of early romanticism. Creator of romantic songs and ballads, vocal cycles, piano miniatures, symphonies, and instrumental ensembles. Songfulness permeates works of all genres. Author of about 600 songs, including from the cycles “The Beautiful Miller's Wife” (1823), “Winter Reise” (1827, both based on the words of the German poet Wilhelm Müller); 9 symphonies (including “Unfinished”, 1822), quartets, trios, piano quintet “Forellen” (“Trout”, 1819); piano sonatas (over 20 pieces), impromptu, fantasies, waltzes, landlers. Franz Schubert (full name Franz Peter) was an Austrian composer, the largest representative of early romanticism. Creator of romantic songs and ballads, vocal cycles, piano miniatures, symphonies, and instrumental ensembles. Songfulness permeates works of all genres. Author of about 600 songs, including from the cycles “The Beautiful Miller's Wife” (1823), “Winter Reise” (1827, both based on the words of the German poet Wilhelm Müller); 9 symphonies (including “Unfinished”, 1822), quartets, trios, piano quintet “Forellen” (“Trout”, 1819); piano sonatas (over 20 pieces), impromptu, fantasies, waltzes, landlers.

Childhood. Schubert's early works. Franz Schubert was born on January 31, 1797, in Vienna, in the family of a school teacher. Schubert's exceptional musical abilities were evident in early childhood. From the age of seven he studied playing several instruments, singing, and theoretical disciplines. Franz sang in the Imperial Court Chapel under the guidance of the outstanding Viennese composer and teacher Antonio Salieri, who, noticing the boy's talent, began teaching him the basics of composition. By the age of seventeen, Schubert was already the author of piano pieces, vocal miniatures, string quartets, a symphony and the opera The Devil's Castle. Franz Schubert was born on January 31, 1797, in Vienna, in the family of a school teacher. Schubert's exceptional musical abilities were evident in early childhood. From the age of seven he studied playing several instruments, singing, and theoretical disciplines. Franz sang in the Imperial Court Chapel under the guidance of the outstanding Viennese composer and teacher Antonio Salieri, who, noticing the boy's talent, began teaching him the basics of composition. By the age of seventeen, Schubert was already the author of piano pieces, vocal miniatures, string quartets, a symphony and the opera The Devil's Castle. While working as a teacher's assistant at his father's school (), Schubert continued to compose intensively. This includes numerous songs (including such masterpieces as “Margarita at the Spinning Wheel” and “The Forest King”)) While working as an assistant teacher at his father’s school (), Schubert continued to compose intensively. This includes numerous songs (including such masterpieces as “Margarita at the Spinning Wheel” and “The Forest King”))

Songs of Franz Schubert. For a long time, F. Schubert was known mainly for his songs for voice and piano. Essentially, with Schubert a new era began in the history of German vocal miniature, prepared by the flowering of German lyric poetry in the late 18th and early 19th centuries. He wrote music based on poems by poets of various levels, from the great J. V. Goethe (about 70 songs), F. Schiller (over 40 songs) and G. Heine (6 songs from “Swan Song”) to relatively little-known writers and amateurs (for example, Schubert composed about 50 songs based on the poems of his friend I. Mayrhofer). In addition to his enormous spontaneous melodic gift, the composer had a unique ability to convey through music both the general atmosphere of a poem and its semantic shades. Beginning with his earliest songs, he inventively used the capabilities of the piano for sonographic and expressive purposes; Thus, in “Margarita at the Spinning Wheel,” the continuous figuration of sixteenth notes represents the rotation of the spinning wheel and at the same time sensitively reacts to all changes in emotional tension. For a long time, F. Schubert was known mainly for his songs for voice and piano. Essentially, with Schubert a new era began in the history of German vocal miniature, prepared by the flowering of German lyric poetry in the late 18th and early 19th centuries. He wrote music based on poems by poets of various levels, from the great J. V. Goethe (about 70 songs), F. Schiller (over 40 songs) and G. Heine (6 songs from “Swan Song”) to relatively little-known writers and amateurs (for example, Schubert composed about 50 songs based on the poems of his friend I. Mayrhofer). In addition to his enormous spontaneous melodic gift, the composer had a unique ability to convey through music both the general atmosphere of a poem and its semantic shades. Beginning with his earliest songs, he inventively used the capabilities of the piano for sonographic and expressive purposes; Thus, in “Margarita at the Spinning Wheel,” the continuous figuration of sixteenth notes represents the rotation of the spinning wheel and at the same time sensitively reacts to all changes in emotional tension. Schubert's songs are extremely varied in form, from simple strophic miniatures to freely constructed vocal scenes, which are often composed of contrasting sections. Having discovered Müller's lyrics, which tell of the wanderings, sufferings, hopes and disappointments of a lonely romantic soul, Schubert created the vocal cycles “The Beautiful Miller's Wife” and “Winter Reise”, essentially the first large series of monologue songs in history, connected by a single plot. Schubert's songs are extremely varied in form, from simple strophic miniatures to freely constructed vocal scenes, which are often composed of contrasting sections. Having discovered Müller's lyrics, which tell of the wanderings, sufferings, hopes and disappointments of a lonely romantic soul, Schubert created the vocal cycles “The Beautiful Miller's Wife” and “Winter Reise”, essentially the first large series of monologue songs in history, connected by a single plot.

Last years. Last years. From 1826 to 1828, Schubert lived in Vienna, with the exception of a short stay in Graz. The position of vice-kapellmeister in the chapel of the imperial court, which he applied for in 1826, did not go to him, but to Joseph Weigl. On March 26, 1828, he gave his only public concert, which brought him 800 guilders. Meanwhile, his numerous songs and piano works were published. From 1826 to 1828, Schubert lived in Vienna, with the exception of a short stay in Graz. The position of vice-kapellmeister in the chapel of the imperial court, which he applied for in 1826, did not go to him, but to Joseph Weigl. On March 26, 1828, he gave his only public concert, which brought him 800 guilders. Meanwhile, his numerous songs and piano works were published. The composer died on November 19, 1828 at the age of 31 after a two-week fever. According to his last wishes, Schubert was buried in the Wehring cemetery, where the year before, Beethoven, whom he idolized, was buried. An eloquent inscription is engraved on the monument: “Death buried here a rich treasure, but even more wonderful hopes.” On January 22, 1888, his ashes were reburied at the Vienna Central Cemetery. The composer died on November 19, 1828 at the age of 31 after a two-week fever. According to his last wishes, Schubert was buried in the Wehring cemetery, where the year before, Beethoven, whom he idolized, was buried. An eloquent inscription is engraved on the monument: “Death buried here a rich treasure, but even more wonderful hopes.” On January 22, 1888, his ashes were reburied at the Vienna Central Cemetery.

Schubert. Symphony No. 8 in B minor, “Unfinished”

Beethoven's music, in which echoes of the Great French Revolution were still heard, was supplanted by works of entertainment genres. The external background of the life of Franz Schubert, who was a contemporary of Beethoven, was cheerful, “dancing” Vienna. Interest in the destinies of humanity, the harmony of reason and reality were relegated to the background. Schubert's creative plans and the need for spiritual communication found sympathy and support only in a small circle of friends, people devoted to art. In Schubert's music, for the first time, the character traits and emotional structure of a new person in the then 19th century were revealed. The artist expresses his attitude to life and the world around him through the lyrics of the feelings and experiences of a real, ordinary person. And for this we need other forms and other means of expression that convey the spontaneity of the statement.

A living sense of the rhythm of music, a continuously lasting melody can be compared to a person’s speech, the feeling of his breathing. We always hear whether he is calm or excited, happy or sad, how his condition changes. By listening to musical intonation, you can always understand the meaning of the music, feel its expressiveness, the power of impact.

Franz Schubert is an unsurpassed author of sonatas, symphonies, string quartets and more than six hundred songs. Schubert was one of the founders of German romantic music. Schubert's life was short and full of disappointments. But he left behind a musical legacy unprecedented in its expressiveness and richness of melodies.

Biography

Franz Peter Schubert was born in the suburbs of Vienna, the town of Lichtenthal. The family was large - fourteen children, of whom only five survived. His father, Franz Theodor Schubert, was a school teacher, and in his youth the future composer tried his hand at teaching. But it soon became clear what his true calling was. Schubert sang in the choir of the Vienna Imperial Chapel, where his teacher was the conductor Antonio Salieri, a former rival of Mozart.

The years of youth were full of promises and hopes. Stocky and ugly, Schubert still had no shortage of friends and admirers - people who opened the doors of their homes, provided patronage in musical circles and performed his music.

Then the famous “Schubertiades” began in Viennese salons or during trips out of town, at which many of the composer’s works were performed for the first time. This helped his name gain fame in Viennese society, including in artistic circles. However, in everything else, Schubert was plagued by failures. He worked hard on several operas and other stage works, particularly the music for Rosamund, but few received widespread recognition. His health was rapidly deteriorating. In a state of deepest despair, he wrote about himself as “the damned, most unfortunate creature in the world.”

Twist of fate

Through mutual acquaintances in Viennese society, Schubert was introduced to the baritone Johann Michael Vogl. Thanks to his beautiful voice and impressive appearance, he was already a star of the Vienna Opera, and he was not immediately impressed by the inexperienced and clumsy young composer. “You are scattering your thoughts,” he grumbled at Schubert. But he soon recognized the young man’s genius and became his most ardent supporter.

Vogl contributed to the production of several of Schubert's operas and sang in some of them. Even more important was his support of Schubert as the pioneer and first master of German art song.

Vogl sang many of the composer's songs from the Schubertiad, and also took a friend on tour.

The 1819 tour was especially happy for the composer. He and Vogl settled in the countryside with their friend Albert Stadler. At this time, Schubert composed a charming piano quintet, in which he included the melody of his song “Trout,” which was probably performed often and with pleasure by Vogl. After the composer's death, Vogl continued to perform his songs for many years.

Fame in narrow circles

Vienna was famous for its traditions of home music playing, widespread among people of all classes. However, despite the success of his music among amateurs and the continuation of the Schubertiad, in other respects luck smiled on him less and less. Several operas in a row - Alfonso and Estrella, Conspirators, or War at Home, Ferrabras - were not staged (first of all, the librettists were to blame for their unfortunate fate). The successful performance of the music for Rosamund somewhat rewarded the composer. Works were published, but more often they were small and did not bring significant royalties. He spent the summer of 1824 as a teacher in the Eszterhase family, and in 1825 he and Vogl again went to Upper Austria.

The year 1826 brought another disappointment: Schubert’s request to be given the position of conductor of the Court Chapel, where he once sang as a child and, performing for the last time, left a note in the alto part of Peter Winter’s mass: “Schubert, Franz, crowed in the last time on July 26, 1812."

Untimely death

Concert trips soon also became impossible for him due to deteriorating health. The composer's lifestyle, who was naturally very sociable, inevitably became more and more secluded; he was often forced to spend time locked up.

Schubert was in awe of Beethoven, who also lived and worked in Vienna. He was at the premiere of the great composer's Ninth Symphony. It seemed as if Schubert had a premonition of his own demise and worked feverishly to complete his last and best works - the vocal cycle "Winter Reise", the Ninth Symphony and the String Quintet in C major.

The news that reached Schubert about the approval of his talent by Beethoven himself was inspiring. According to Schindler, Beethoven’s friend, who introduced him to Schubert’s songs, Beethoven did not part with them for a long time and repeatedly exclaimed: “Truly, a divine spark lives in Schubert.”

Schubert's timidity, because of which he only dared to look at his deity from afar, Beethoven's complete deafness, and his isolation prevented their rapprochement.

1828, the last year of the composer's life, finally brought him recognition from the Viennese public. The author's concert organized in Vienna caused a long-awaited major success. But the partial successes of recent times could no longer restore the body, undermined by internal tension and prolonged deprivation. Since the autumn of 1828, Schubert's health had deteriorated.

Franz Schubert died on November 19, 1828 and was buried next to Beethoven. The composer's friend, playwright Franz Grillparzer wrote on his grave: “Music has buried here a rich treasure and even more beautiful hopes.”

Schubert. Symphony No. 8 in B minor, “Unfinished”

Thanks to Schubert, a new type of lyric-dramatic symphony emerged. One of the first masterpieces of world musical culture was his symphony No. 8. “I sang songs and sang them for many years. When I sang about love, it brought me suffering, when I sang about suffering, it turned into love. So love and suffering tore my soul apart.”, wrote F. Schubert. This idea determined the content of Symphony No. 8. It was a generalization of the images of the composer’s vocal works, growing to the meaning of vital problems: man and fate, love and death, ideal and reality.

In 1865, one of the Viennese bandmasters compiled a program for a concert of old Viennese music. To do this, he sorted through piles of ancient manuscripts. In one unsorted archive, he discovered a previously unknown score by Schubert. It was a B minor symphony. It was performed for the first time in December 1865 - 43 years after its creation.

At the time Schubert wrote this symphony, he was already known as the author of beautiful songs and piano pieces. But none of the symphonies he wrote were publicly performed. The new B minor symphony was created first as an arrangement for two pianos, and then as a score. The piano version contains sketches of three movements, but the composer wrote down only two in the score. Therefore, it later received the name “Unfinished”.

There is still debate all over the world whether it is unfinished, or whether Schubert fully realized his plan in two parts instead of the four parts accepted at that time.

There is an opinion that the composer intended to write an ordinary four-part symphony. His ideal, to which he sought to get closer, was Beethoven. Schubert's Big C major symphony proved this. And having written these two parts, he could simply have been scared - they were so different from everything written in this genre before him. Probably, the composer did not understand that what he created was a masterpiece that opened up new paths in the development of the symphony, considered the symphony a failure and left the work.

However, the two movements of this symphony leave the impression of amazing integrity and exhaustion. The unfinished symphony is a new word in this genre, opening the way to romanticism. With it, a new theme entered symphonic music - the inner world of a person who is acutely aware of his discord with the surrounding reality.

Almost forty years after the composer’s death, the symphony gained enormous popularity. Schubert managed the impossible: to tell incredibly harmoniously about melancholy and loneliness, to turn his despair into beautiful melodies. Many attempts were made to finish the “unfinished” symphony, but these versions did not take root in concert practice.

The first movement of the symphony is written in the form of a sonata allegro.

The symphony begins with a gloomy introduction - a kind of epigraph. This is a small, succinctly presented topic - a generalization of a whole complex of romantic images: longing, the “eternal” question, secret anxiety, lyrical reflections. It is born from somewhere deep in the unison of cellos and double basses.

She freezes, like an unresolved question. And then - the trembling rustle of violins and against its background - the chant of the main theme. This expressive melody, as if begging for something, is performed by oboe and clarinet. In terms of musical and poetic image and mood, the theme of the main part is close to works such as a nocturne or elegy.

Gradually the tape of the melody unfolds and becomes more and more intense. It is replaced by a soft waltz theme of the side part. It looks like an island of serene peace, a bright idyll. But this idyll is interrupted by an orchestral tutti. (The word tutti in Italian means “all.” This is the name for a fragment of a piece of music performed by the entire orchestra.) The drama comes into its own. The theme of the side part seems to be trying to break through to the surface through the crushing chords. And when this theme finally returns, how much it has been changed - broken, tinged with grief. At the end of the exhibition everything freezes.

The development is based on the theme of the introduction. Musical development reaches a colossal climax. And suddenly - complete devastation, only a lonely melancholy note remains to sound. The reprise begins. Another round of dramatic development occurs in the coda. It contains the same tension, the pathos of despair. But there is no more strength to fight. The last bars sound like a tragic epilogue.

The second part is the world of other images. This is a search for new, bright sides of life, reconciliation with it. It’s as if the hero, who has experienced a mental tragedy, is looking for peace. Both themes of this part are distinguished by amazing beauty: both the broad main song and the secondary one, imbued with subtle psychological shades.

The composer completes the symphony very effectively: the initial theme gradually fades away and dissolves. Silence returns...

“Schubert’s music,” wrote B. Asafiev, “can say much more than any memoirs and notes, because it itself sounds like an inexhaustibly meaningful, emotionally objective diary.”

Questions:

1. In what year was the symphony written? When was its first performance?
2. Why is the symphony called “Unfinished”?
3. How many symphonies did Schubert write in total?
4. What is different about the theme of the symphony?
5. How does the nature of the piece affect the orchestration?
6. Tell us about the structure of the parts of the symphony.

Presentation:

Included:
1. Presentation - 10 slides, ppsx;
2. Sounds of music:
Schubert. Symphony No. 8 in B minor “Unfinished”:
I. Allegro moderato, mp3;
II. Andante con moto, mp3;
Fragments of the first movement of the symphony:
Introduction, mp3;
Main part, mp3;
Side Party, mp3;
3. Accompanying article, docx.

In the field of song, Schubert was a successor to Beethoven. Thanks to Schubert, this genre received an artistic form, enriching the field of concert vocal music. The ballad “The Forest King,” written in 1816, brought fame to the composer. Soon after it appeared “The Wanderer”, “Praise of Tears”, “Zuleika”, etc. Of great importance in vocal literature are large collections of Schubert’s songs based on the poems of Wilhelm Müller - “The Beautiful Miller’s Wife” and “Winterreise”, which are, as it were, a continuation of Beethoven’s idea , expressed in the collection of songs “To a Distant Beloved”. In all these works Schubert showed remarkable melodic talent and a wide variety of moods; he gave the accompaniment greater meaning, greater artistic meaning. The collection “Swan Song” is also remarkable, from which many songs have gained worldwide fame (for example, “Serenade”, “Shelter”, “Fisherman”, “By the Sea”). Schubert did not try, like his predecessors, to imitate the national character, but his songs involuntarily reflected the national current, and they became the property of the country. Schubert wrote almost 600 songs. Schubert's amazing musical gift was reflected in the areas of piano and symphony. His fantasies in C major and F minor, impromptu songs, musical moments, and sonatas are proof of his rich imagination and great harmonic erudition. In the string quartet in D minor, the quintet in C major, the piano quintet “Forellenquintett” (“Trout”), the great symphony in C major and the unfinished symphony in B minor, Schubert is Beethoven’s successor.

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The presentation on the topic "Franz Schubert" can be downloaded absolutely free on our website. Project subject: MHC. Colorful slides and illustrations will help you engage your classmates or audience. To view the content, use the player, or if you want to download the report, click on the corresponding text under the player. The presentation contains 5 slide(s).

Presentation slides

Slide 1

great Austrian composer, one of the founders of romanticism in music, author of about 600 songs, nine symphonies (including the famous “Unfinished Symphony”), as well as a large amount of chamber and solo piano music.

Slide 2

In the field of song, Schubert was a successor to Beethoven. Thanks to Schubert, this genre received an artistic form, enriching the field of concert vocal music. The ballad “The Forest King,” written in 1816, brought fame to the composer. Soon after it appeared “The Wanderer”, “Praise of Tears”, “Zuleika” and others.

Slide 4

In the field of opera, Schubert was not so gifted; although he wrote about twenty of them, they will add little to his glory. Among them, “Conspirators, or Home War” stands out. Certain numbers of his operas (for example, Rosamund) are quite worthy of a great musician. Of Schubert's numerous church works (masses, offertories, hymns, etc.), the Mass in E-flat major is especially distinguished by its sublime character and musical richness. Schubert's musical productivity was enormous. Beginning in 1813, he composed incessantly.

Slide 5

According to biographers, Schubert never changed anything in his compositions, because he did not have it for that time. He did not spare his health and, in the prime of his life and talent, died at the age of 31. The last year of his life, despite his poor health, was especially fruitful: it was then that he wrote a symphony in C major and a mass in E flat major. During his lifetime he did not enjoy outstanding success. After his death, a mass of manuscripts remained that later saw the light of day (six masses, seven symphonies, fifteen operas, etc.).

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