![]() By the end of the year, he became a guest in Schober's lodgings. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. Schober, a student and of good family and some means, invited Schubert to room with him at his mother's house. The musicologist and Schubert expert Rita Steblin has said that he was "chasing women". The musicologist Maynard Solomon has suggested that Schubert was erotically attracted to men, a thesis that has, at times, been heatedly debated. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works (despite being agnostic), a symphony, and about 140 Lieder. One of Schubert's most prolific years was 1815. Schubert sent Grob's brother Heinrich a collection of songs retained by the family into the twentieth century. In November 1816, after failing to gain a musical post in Laibach (now Ljubljana, Slovenia). Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815 requiring an aspiring bridegroom to show he had the means to support a family. In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a "Salve Regina" and a "Tantum Ergo") for her she was also a soloist in the premiere of his Mass No. He continued to take private lessons in composition from Salieri, who gave Schubert more actual technical training than any of his other teachers, before they parted ways in 1817. There were, however, compensatory interests even then. ![]() For over two years young Schubert endured such drudgery, dragging himself through it with resounding indifference. In 1814, he entered his father's school as teacher of the youngest pupils. Teacher at his father's schoolĪt the end of 1813, he left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule. It was the first orchestra he wrote for, and 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), the cantata Wer ist groß? for male voices and orchestra (D 110, for his father's birthday in 1813), and his first symphony (D 82). Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to start training him privately in music theory and even in composition. In the meantime, his genius began to show in his compositions. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper. Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. The precocious young student "wanted to modernize" them, as reported by Joseph von Spaun, Schubert's friend. One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important Lieder composer of the time. His exposure to these and lesser works, combined with occasional visits to the opera, laid the foundation for a broader musical education. At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, and the symphonies of Joseph Haydn and his younger brother Michael. In October 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship. Young Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized. Franz wrote his earliest string quartets for this ensemble. He also played viola in the family string quartet, with brothers Ferdinand and Ignaz on first and second violin and his father on the cello. The boy seemed to gain more from an acquaintance with a friendly joiner's apprentice who took him to a neighbouring pianoforte warehouse where Franz could practice on better instruments. Aged seven, he was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental the lessons may have largely consisted of conversations and expressions of admiration. His father taught him basic violin technique, and his brother Ignaz gave him piano lessons. His formal musical education started around the same time. The house in which Schubert was born, today Nussdorfer Strasse 54Īt the age of six, Franz began to receive regular instruction from his father, and a year later was enrolled at his father's school.
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