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Table of contents
String Quintet No. Cello Sonata No.
Hidden categories: Articles containing German-language text. Namespaces Article Talk. Views Read Edit View history. In other projects Wikimedia Commons. By using this site, you agree to the Terms of Use and Privacy Policy. Der Onkel aus Boston, oder Die beiden Neffen. Die Hochzeit des Camacho , Op. Die Heimkehr aus der Fremde , Op. The libretto is another cobbled pastiche. All hopes and rumours foundered, for Barbaja turned it down. It is the shriek of a man who, in , begins to see his life in ruins. The story does not end there. These were the part books of the whole of the music in Rosamunde , tied up after the second performance in December , and probably never disturbed since.
Then, in the night air, they played a game of leapfrog. They are worlds within grains of sand, microcosms complete to the last detail, which make sense within themselves. The last of them, in A flat, is worthy to stand as the minuet to an unwritten sonata; but Edward T Cone has revealed disquiet beneath its self-possessed appearance, in which promissory gestures are overwhelmed in an increasingly futile struggle. A parasitic vice appears within the harmonies of this music: at first as a novelty, then as a dangerous alternative, and lastly as a poison. All that survives its attack is the shell.
It is haunted by the ghost — the dread — of something else. Tragic heroes are shown in the peculiar position of suffering from organic maladies without, up to a point, being forced to experience the evils entailed by them…But in the end, the horror breaks out: the afflicted one must recognize himself and be recognized by other people as the odious creature he is, whose disease or disability will kill him.
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This was in To me Vogl is extremely pleasing. He told me all about his relationship to Schubert with the utmost frankness, and unfortunately I am quite unable to excuse the latter. Vogl is very much embittered against Schober, for whose sake Schubert behaved most ungratefully towards Vogl…. Nevertheless, approached in for a Schubert biography, Joseph Kenner writes of a friendship he had broken off in Under the guise of…engaging affection, there reigned in this whole family a deep moral depravity, so that it was not to be wondered that Franz von Schober went the same way.
The need for love and friendship emerged with such egotism and jealousy that to his adherents alone he was all: God himself, and apart from his oracles he was willing to tolerate no other religion, no morals, no restraint. After drinking past midnight, there were pranks to play: pulling the doorbells of sleeping neighbours and running off. What happened to Schubert in will never be known.
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The symptoms were those of secondary syphilis: nausea, giddiness, rashes, anaemia, inflammation of the glands, crippling headaches, loss of hair. In his poem A Prayer he contemplated suicide:. Scorched by agonising fire,. Take my life, my flesh and blood. Deign me, Great One, to translate. By summer his remission was sufficient to join Vogl at Steyr, but Schubert was aware he was living out the remains of a life-sentence.
To the end he was unable to control his appetite, whilst knowing full well its consequences. Imagine a man whose health will never be right again and who, in his despair over this, constantly makes things worse instead of better; imagine a man, I say, whose brightest hopes have come to nothing, to whom the joy of love and friendship offer nothing but pain, whose enthusiasm for beauty threatens to vanish; and then ask yourself if he is not indeed a wretched unhappy creature?
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With zeal he undertook the three hundred works of his last four summers. Music became his redemption, and he wrote most fluently when most depressed, without a trace of self-pity. It was the first of his mature piano works and was dedicated to a rich amateur pianist, Emmanuel von Liebenburg. Diabelli lost no time in publishing it, for it appeared three months later. Throughout his life Schubert was intrigued by the challenge of unifying a long continuous work of several movements, and in the Fantasy he tackles it by adapting the same music for an opening Allegro, a solemnly expressive Adagio in which the full melodic line of the song makes its entrance, a Scherzo and fugal Finale.
The notion of the wanderer has a particular meaning to the early Romantics. He is more than a vagabond, certainly; an emblem of restless alienation: a free spirit, both eager and wistfully pensive, who finds his purpose in his travels through nature. Loneliness had not acquired the menace its mention brings to modern urban man.
Seldom, then, do musical challenges and philosophical resonances coincide as fruitfully as in D In its lyricism, claimed Tovey, it harks back to Bach, and in its remote key relationships it looks forward to Wagner. Schubert takes the virtuoso glitter of Hummel and gives it exhilarated wit and momentum.
In this one piece Schubert set an agenda for the bravura keyboard showpieces of the high Romantic period. Liszt admired the Wanderer and made a well-meaning transcription for piano and orchestra; but his lasting acknowledgement is his own B minor Sonata, which takes through-composition that is, musical structure as a seamless development a step further.
But it has also denied us greater music, for doubtless scenting ready money Schubert set aside the Scherzo of his Eighth Symphony D to write it. When the time came to return, the symphony was associated with repellence and disease, and never completed. Joy has turned to disappointment through which the presence of genius burns in its poetry and compassion. Three movements were sketched in piano score, and two orchestrated, during October Nothing else is known of its origins or fate, but decades of rumours of an unknown stroke of genius were confirmed.
Never in the subsequent history of music did this happen again. Not a note could be added or taken away. It has the command of a master who knows he will be understood, who can dare without taking risks, who can say what had previously taken pages within the measure of one bar. Its Allegro moderato is an integrated sonata movement of extraordinary tension, in the faraway key of B minor, the source of songs for Schubert filled with an unearthly magnetic charge.
Syphilis, like the prospect of hanging, does wonders to concentrate the mind. Such adventures as the Wanderer seemed suddenly out of the question. We are offered a darkening underworld, a place of plunging silences and sinister whispers, above which the apparition of lost bliss hovers like a phantasm. Heard after the fearful marches of an Allegro giusto did Bruckner in his Eighth Symphony, or Mahler ever, say more than Schubert could in fourteen minutes?
Convalescence meant being cut off from society, like a leper. First he sold for a negligible lump sum his publication rights to a corpus of work. His next publishers, Sauer and Leindesdorf, were incompetent to the point of bankruptcy — forcing him cap-in-hand back to his original arrangements.
Always he took what he could, but in financial matters as in his personal welfare he was prone to self-neglect. Solace came in an outpouring of songs. Schubert, laughing, set it in a few minutes flat; and he invokes from a faded grotesque music whose gloom chills the heart.
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The origins of the story about a beautiful maid of the mill, one of whose suitors kills himself, are difficult to trace. How Schubert came across them is not clear. More likely he had been introduced to them by Weber in Schubert knew it, and ignored it. He took the language of flowers and dragged it towards the language of Tristan , summoning a universality and force that poems alone could not approach. He creates an archetype, a myth at a new pitch of expressiveness; a variety yet cumulative wholeness which adds a new dimension of sustained drama and narrative to the song form.
Romanticism brought fresh intensity to language, but German poetry has always had Arcadian leanings. Schubert, above all, lacks guile: he is never courtly, never domesticated. As Richard Capell said of a composer whose outlook often seems too trusting to have known disillusionment,. He roams at will. There is no bitterness…for Schubert has everything to find out for himself. That is why we cannot help thinking of him as a shepherd, fluting away his young days in grassy solitude. Not quite, for the leitmotiv of his music is the sound of flowing water, which stands for life.
Charles Rosen writes of the connexion between an awareness of landscape and the awareness of death:. The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible.
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There is no greater pain than to remember past happiness in a time of grief — but that is the classical tradition of the tragedy of memory. Romantic memories are often those of absence, of that which never was. They are a totem as much alive as sinews and bone. We are left with the trivialities of everyday life a left ribbon, the glimpse of a reed flute whose significance becomes that of life or death. It is impossible to separate these songs from their ordered place, because each establishes the emotional atmosphere for the next.
It has a numbness that lies beyond jealousy and despair, an uncomprehending obsession which anticipates suicide.