Bukjal ra! Nem olyan nehez szoveg, meg van fel ora alatt. (Ahol meg nem tudod, hogy mit jelent a szo ott meg improvizalsz ;) nem mer majd belekotni!)
Kulonben is a 3-bol egyszerubb lesz osszehozni magyarul.
Valóban. Én is találtam egy jó hosszú biográfiát angolul, csak khm... szóval egyszerűbb lenne, mert én mondjuk tudok inglézül, de akinek viszem, nem igazán (értsd: tanár néni).
:)
Valóban. Én is találtam egy jó hosszú biográfiát angolul, csak khm... szóval egyszerűbb lenne, mert én mondjuk tudok inglézül, de akinek viszem, nem igazán (értsd: tanár néni).
The son of a schoolmaster who had settled in Vienna, Franz Schubert was educated as a
chorister of the imperial court chapel and later qualified as a schoolteacher, briefly and thereafter
intermittently joining his father in the classroom. He spent his life largely in Vienna, enjoying the
company of friends, but never holding any position in the musical establishment or attracting the
kind of patronage that Beethoven had twenty years earlier. His final years were clouded by
illness, as the result of a syphilitic infection, and he died in 1828, leaving much unfinished. His gifts had been most notably
expressed in song, his talent for melody always evident in his other compositions. Schubert's compositions are generally
numbered according to the Deutsch catalogue, with the letter D.
Stage Works
Schubert wrote operas, German operas or Singspiel
and incidental music for the theatre. His best known
compositions of this kind include the music for the
unsuccessful play Rosamunde, Fürstin von Zypern
(Rosamunde, Princess of Cyprus), mounted at the
Theater an der Wien in December 1823. The ballet
music and entracte from Rosamunde are particularly
well known.
Church Music
Among the various works Schubert wrote for church use particular mention may be made of the
second of his six settings of the Mass.
Choral and Vocal Music
Schubert wrote for mixed voices, male voices and female voices, but by far the most famous of
his vocal compositions are the five hundred or so songs, settings of verses ranging from
Shakespeare to his friends and contemporaries. His song cycles, published in his lifetime are Die schöne Müllerin (The Fair Maid of the Mill) and Die Winterreise (The Winter Journey), while
Schwanengesang (Swan-Song) was compiled by a publisher after the composer's early death.
Many of these songs by Schubert are very familiar, including Der Erlkönig, the Mignon songs
from Goethe and the Songs of Norma from Sir Walter Scott.
Orchestral Music
The Unfinished Symphony of Schubert was written in
1822, but no addition was made to the two movements
of the work. Other symphonies of the eight more or
less completed include the Great C major Symphony
and the charming and classical Fifth Symphony. His
various Overtures include two "in the Italian style
Bocs, csak angolul van (maradt 15 perc leforditani :)
----
(born Vienna, 31 January 1797; died there, 19 November 1828).
The son of a schoolmaster, he showed an extraordinary childhood aptitude for music, studying the piano, violin, organ, singing
and harmony and, while a chorister in the imperial court chapel, composition with Salieri (1808-13). By 1814 he had produced
piano pieces settings of Schiller and Metastasio, string quartets, his first symphony and a three-act opera. Although family
pressure dictated that he teach in his father's school, he continued to compose prolifically; his huge output of 1814-15 includes
Gretchen am Spinnrade and Erlkönig (both famous for their text-painting) among numerous songs, besides two more
symphonies, three masses and four stage works. From this time he enjoyed the companionship of several friends, especially
Josef von Spaun, the poet Johann Mayrhofer and the law student Franz von Schober. Frequently gathering for domestic
evenings of Schubert's music (later called 'Schubertiads'), this group more than represented the new phenomenon of an
educated, musically aware middle class: it gave him an appreciative audience and influential contacts (notably the Sonnleithners
and the baritone J.M. Vogl), as well as the confidence, in 1818, to break with schoolteaching. More songs poured out,
including Der Wanderer and Die Forelle, and instrumental pieces - inventive piano sonatas, some tuneful, Rossinian overtures,
the Fifth and Sixth Symphonies began to show increased harmonic subtlety. He worked briefly as music master to the
Esterházy family, finding greater satisfaction writing songs, chamber music (especially the 'Trout' Quintet) and dramatic music.
Die Zwillingsbrüder (for Vogl) was only a small success, but brought some recognition and led to the greater challenge of Die
Zauberharfe.
In 1820-21 aristocratic patronage, further introductions and new friendships augured well. Schubert's admirers issued 20 of his
songs by private subscription, and he and Schober collaborated on Alfonso und Estrella (later said to be his favourite opera).
Though full of outstanding music, it was rejected. Strained friendships, pressing financial need and serious illness - Schubert
almost certainly contracted syphilis in late 1822 - made this a dark period, which however encompassed some remarkable
creative work: the epic 'Wanderer' Fantasy for piano, the passionate, two movement Eighth Symphony ('Unfinished'), the
exquisite Schöne Müllerin song cycle, Die Verschworenen and the opera Fierabras (full of haunting music if dramatically
ineffective). In 1824 he tumed to instrumental forms, producing the a Minor and d Minor ('Death and the Maiden') string
quartets and the lyrically expansive Octet for wind and strings; around this time he at least sketched, probably at Gmunden in
summer 1825, the 'Great' C Major Symphony. With his reputation in Vienna steadily growing (his concerts with Vogl were
renowned, and by 1825 he was negotiating with four publishers), Schubert now entered a more assured phase. He wrote
mature piano sonatas, notably the one in a Minor, some magnificent songs and his last, highly characteristic String Quartet, in G
Major. 1827-8 saw not only the production of Winterreise and two piano trios but a marked increase in press coverage of his
music; and he was elected to the Vienna Gesellschaft der Musikfreunde. But though he gave a full-scale public concert in
March 1828 and worked diligently to satisfy publishers - composing some of his greatest music in his last year, despite failing
health - appreciation remained limited. At his death, aged 31, he was mourned not only for his achievement but for 'still fairer
hopes'.
Schubert's fame was long limited to that of a songwriter, since the bulk of his large output was not even published, and some
not even performed, until the late 19th century. Yet, beginning with the Fifth Symphony and the 'Trout' Quintet, he produced
major instrumental masterpieces. These are marked by an intense lyricism (often suggesting a mood of near-pathos), a
spontaneous chromatic modulation that is surprising to the ear yet clearly purposeful and often beguilingly expressive, and, not
least, an imagination that creates its own formal structures. His way with sonata form, whether in an unorthodox choice of key
for secondary material (Symphony in b Minor, 'Trout' Quintet) or of subsidiary ideas for the development, makes clear his
maturity and individuality. The virtuoso 'Wanderer' Fantasy is equally impressive in its structure and use of cyclic form, while the
String Quartet in G Major explores striking new sononties and by extension an emotional range of a violence new to the
medium. The greatest of his chamber works however is acknowledged to be the String Quintet in C Major, with its rich
sonorities, its intensity and its lyricism, and in the slow movement depth of feeling engendered by the sustained outer sections
(with their insistent yet varied and suggestive accompanying ngures) embracing a central impassioned section in F minor.
Among the piano sonatas, the last three, particularly the noble and spacious one in B-flat, represent another summit of
achievement. His greatest orchestral masterpiece is the 'Great' C Major Symphony, with its remarkable formal synthesis,
striking rhythmic vitality, felicitous orchestration and sheer lyric beauty.
Schubert never abandoned his ambition to write a successful opera. Much of the music is of high quality (especially in Alfonso
und Estrella, Fierabras and the attractive Easter oratorio Lazarus, closely related to the operas), showing individuality of
style in both accompanied recitative and orchestral colour if little sense of dramatic progress. Among the choral works, the
partsongs and the masses rely on homophonic texture and bold harmonic shifts for their effect; the masses in A-flat and E-flat
are particularly successful.
Schubert effectively established the German lied as a new art form in the 19th century. He was helped by the late 18th-century
outburst of lyric poetry and the new possibilities for picturesque accompaniment offered by the piano, but his own genius is by
far the most important factor. The songs fall info four main structural groups - simple strophic, modified strophic,
through-composed (e.g. Die junge Nonne) and the 'scena' type (Der Wanderer); the poets range from Goethe, Schiller and
Heine to Schubert's own versifying friends. Reasons for their abiding popularity rest not only in the direct appeal of Schubert's
melody and the general attractiveness of his idiom but also in his unfailing ability to capture musically both the spirit of a poem
and much of its external detail. He uses harmony to represent emotional change (passing from minor to major, magically shifting
to a 3rd-related key, tenuously resolving a diminished 7th, inflecting a final strophe to press home its climax) and
accompaniment figuration to illustrate poetic images (moving water, shimmering stars, a church bell). With such resources he
found innumerable ways to illuminate a text, from the opening depiction of morning in Ganymed to the leaps of anguish in Der
Doppelgänger.
Schubert's discovery of Wilhelm Müller's narrative lyrics gave rise to his further development of the lied by means of the song
cycle. Again, his two masterpieces were practically without precedent and have never been surpassed. Both identify nature with
human suffering, Die schöne Müllerin evoking a pastoral sound-language of walking, flowing and flowering, and Winterreise a
more intensely Romantic, universal, profoundly tragic quality.
