Wikipedia

User:WhartonQF/sandbox

< User:WhartonQF

Franz Schubert spent his life in poverty, and his hard life led to his premature death. However, Schubert left many immortal masterpieces for mankind. He was a representative of early Romantic music and was considered the last great master of classical music. Schubert is famous for his lyric melodies and is always able to express themselves naturally and naturally. When Schubert was alive, the public recognized and appreciated him only in general. Before his death, a hundred books were published. In his early years, he worked as a teacher in his father's school. After his resignation, he had no regular job and often relied on friends to help him. Schubert died and was buried next to Beethoven's tomb, which he had worshipped a lot before, but had seen only a few times before. There is a persistent pursuit in music, and the works handed down are all intoxicating. Schubert's musical talent has attracted worldwide attention, and many works are also controversial.

Schubert's works are mainly composed of songs, while his piano and violin compositions are often neglected. Schubert's contemporary composers Mozart, Paganini, Beethoven and Bach became famous for their piano and string music. This entry introduces and lists Schubert's piano and violin composition style and works. And this entry is divided into eight parts to express the theme.

Works for Violin and Piano (Schubert) edit

 
Oil painting of Franz Schubert by Wilhelm August Rieder (1875), made from his own 1825 watercolour portrait
 

Franz Schubert edit

 
Schubert's Tomb

Austrian composer Franz Schubert was born in Vienna on January 31, 1797 into a poor headmaster's family[1]. He studied piano and violin in elementary school. At the age of eleven, he was admitted to the Imperial Church Choir. He lived in a seminary and became a violinist and conductor of the school's orchestra. This gave him an opportunity to meet some famous Vienna classical composers, and he wrote Symphony No. 1 for the band in 1813[2].

In 1813, he left the seminary because of the change of voice and went to his father's school as an assistant teacher, while continuing to write. On October 19, 1814, he composed songs for Goethe's poem Gretchen by the Spinning Wheel[3]. Schubert's first song masterpiece opened the door to his inspiration and composed numerous songs in his life. Although Schubert's creative career is very short, he has left behind a lot of music wealth for future generations. More than 600 artistic songs have added a dazzling glory to the world music treasure house. He is known as "the king of songs" in the history of classical music. He composed a lot of songs for many poets such as John Wolfgang Goethe, Friedrich Schiller, Heinrich Heine, Wilhelm Muller and so on, which closely combined music with poetry[4]. His songs include lyrics, narrative songs, battle-filled patriotic songs, as well as songs originating from folk music. On November 19, 1828, Schubert, 31, died in Vienna[5]. He was buried near Beethoven's grave, which he had worshipped quite a lot but had only seen a few times before.

Schubert's Compositional Style edit

Schubert lived in the transition period between classicism and romanticism. His Symphony style inherits the classical tradition, but his art songs and piano works are totally romantic. His wonderful lyricism made Liszt call him "the most poetic musician ever"[6]. Schubert injected his own spiritual characteristics into traditional chamber music. His chamber music works are all marked by real Schubert, and they are also the last works of Vienna classicism. In "improvisations" and "musical moments", Special Envoy Schubert sings a new lyric style on the piano[7]. Their capriciousness, spontaneity and unexpected charm are all elements of Romanticism.

Schubert expressed the deepest emotional experience in the smallest form of music. The melody he wrote is sometimes as simple as folk songs, sometimes more like poetry recitation[8]. Harmony has passionate or delicate expressive force. Different tones or chords are mixed with each other to highlight the sudden change of mood of the music. Piano plays an extraordinary role in his music. It not only sets off scenes and atmosphere, but also integrates with the vocal music department into a perfect whole. The melody of the music always exudes a kind, simple and sensitive atmosphere, which is easy to excite and slightly melancholy and sentimental. His bold use of harmony endows rhythmic textures with expressive meanings and pursues delicate differences in timbre.

Violin Composition and Classification edit

In the second half of the sixteenth century, stringed instruments were constantly improved. The status of violin has been gradually upgraded to a highly expressive solo instrument from its original use only for religious ceremonies or accompaniment to folk dances[9]. By the seventeenth century, many composers hoped that instrumental music could compete with vocal music or imitate its timbre[10]. Violin not only conforms to this new aesthetic standard that emphasizes subjective consciousness and personal style, but also expresses dramatic emotional characteristics with exquisite techniques, showing obvious dazzling skills and decorative sounds in music[11].

There are many types of violin composition, such as violin sonata, rondo and capriccio. In the 19th century, the creation of Violin Concertos was unprecedented improvement, and the Concertos boldly broke through in form. The Violin Concertos not only played the expressive force of orchestra, but also played the role of violin solo[12]. Violin Concertos use "symphonic poems" and even "fantasy symphonies" as well as nocturnes, narratives, epics, capricios and so on, showing its brilliance and brilliance[13]. The touching melody and dazzling technique make it one of the most popular forms in concerts. The composers in the Romantic Period developed on the basis of classical concertos, which added freedom and sweetness to their works, appeared in various forms, and constituted the main artistic style characteristics of Romantic violin concertos[14].

Schubert's Works for Violin edit

In the Romantic period, violin symphonies, Sonatas and Concertos showed an expanding trend, and created a lot of genres to meet its content requirements. First of all, in this period, Sonata is the greatest period of development, many composers left immortal works for Violin sonata. Schubert's three violin sonatas are different from Mozart's and Beethoven's. The Violin and the piano are in perfect harmony and balance, producing a three-dimensional repetition effect. Although Schubert's Violin Sonata is not as highly evaluated as Mozart's, it is charming because of its beautiful style and beautiful melody[15].

Fantasy, as a genre of performance, has always occupied an important field in Schubert's violin music. Schubert's fantasies belong to an early form of variations, mostly based on the musical theme of opera or the long melody of singing. Because Schubert's style of composition is not entirely limited by the musical form, the content of his works is richer and more expressive. Some of these works are in the form of variations, some are in the form of multi-movement sonatas, and some are in the form of free development[16]. But every piece of his music has a complete structure, broad momentum, deep melody, comprehensive skills, and high artistic quality.

Franz Schubert uses a series of musical means to express subjective emotional changes and harmony to express emotional colors[17]. Through the tension and relaxation of the rhythmic force of harmony, he formed a special change of harmony structure, especially the increase of disharmony and chords, which made the harmony sound form a new system. In terms of melody, Schubert emphasized "lyric factors" in terms of singing character. In terms of rhythm, Romantic works pay more attention to the expressive significance of speed and rhythm than before[18]. In terms of sound and timbre, the sound is more sweet, harmonious, comfortable and full, and strives to pursue new timbre with strong color, so that music can express personal feelings and give shock power.

List of Violin Composition[19] edit

String Quartet, D.956, 1828, C Major

String Quartet No.1, D.18, 1812, B Major

String Quartet No.2, D.32, 1812, C Major

String Quartet No.3, D.36, 1813, B Major

String Quartet No.4, D.46, 1813, C Major

String Quartet No.5, D.68, 1813, B Major

String Quartet No.6, D.74, 1814, D Major

String Quartet No.7, D.94, 1814, D Major

String Quartet No.8, D.112, 1814, B Major

String Quartet No.9, D.173, 1815, G Minor

String Quartet No.10, D.87, 1813, E-Flat Major

String Quartet No.11, D.353, 1816, E Major

String Quartet No.12, D.703, 1820, C Minor

String Quartet No.13, D.804, 1824, A Major

String Quartet No.14 "Der Tod und das Modchen", D.810, 1824, D Minor

String Quartet No.15, D.887, 1826, G Major

String Trio No.1, D.581, 1817, B Major

String Trio No.2, D.471, 1817, B-Flat Major

Violin Sonatas No.1, D.384, 1816, D Major

Violin Sonatas No.2, D.385, 1816, A Minor

Violin Sonatas No.3, D.408, 1816, G Minor

Violin Sonatas No.4, D.574, 1817, A Major

Fantasie For Violin and Piano, D.934, 1827, C Major

Fantasy in C "Wandere fantasie", D.760, 1822, C Major

Rondo in A for Violin and Strings, D.438, 1816

 
Schubert's Music Manuscripts

Rondo for Violin and Piano, D.895, 1826, B Minor

Piano Composition and Classification edit

In the 18th century, ancient piano music, represented by Scarlatti, Bach and Handel, flourished. Vienna classical music school represented by Haydn, Mozart and Beethoven completed the historical transformation from ancient piano music to modern piano music in the 19th century, which is the greatest development period in piano history[20]. Then came the piano music development period of the new Romantic music school in Europe from the 19th century to the early 20th century, and a large number of composers with outstanding responsibility emerged[21]. Following the piano sonata especially developed in the classical period, a variety of works of various genres appeared in this period. Even Etudes have their own innovations and become the repertoire of concert performances. Since the end of 19th century and the beginning of 20th century, different schools have appeared in piano music, such as Debussy's Impressionism, Rachmaninov's Late Romanticism, Schoenberg's twelve-tone system and so on[22].

  • Canon is a polyphonic music written in Canon's style. Canon technique refers to a voice imitating the melody of another voice. Each voice part appears successively, overlapping up and down and high and low[23].
  • Variations are based on a certain theme and use various techniques to change the theme of the mountain for many times.
  • Etude is a kind of music specially designed for the training of certain performance skills[24].
  • Sonata is a large instrumental suite composed of three or four independent movements[25]. The first movement is composed of Sonata form, which is Allegro movement; the second movement is Lyric Adagio movement; the third movement is usually medium-speed dance music; and the fourth movement is often used fast gymnasium[26].
  • Piano Concerto refers to a large-scale work performed by a solo instrument, piano and orchestra[27]. Music usually consists of three movements: the first movement: fast sonata, the second movement: Lyric adagio, and the third movement: gymnasium or variations[28]. There are colourful piano passages in the works, which show the soloist's high skill and form the climax of the whole song.
  • Impromptu is a piano sketch style created by early Romantic composer Schubert. Music has the characteristics of improvisation, short structure, concise, each capital has a distinct artistic conception[29].

Schubert's Works for piano edit

In Schubert’s piano music, music style and conception have rich manifestations, mainly reflected in three aspects[30]. First, a strong sense of texture hierarchy. This texture is characterized by the free voice, the access of hidden voice and the comparison of the overall structure in piano music. Meanwhile, the application of lateral movement technique is also an important embodiment of the core of Romanticism in the works. The second is the combination of column and chord and decomposition chord. The former emphasizes on the expression of timbre, while the latter emphasizes the expression and contrast of emotion. The combination of the two can make the works more powerful and emotional. The third is the combination of main tone and polyphony. For example, in "Impromptu in G flat major" (Op. 90, No. 3), the main tone is constructed by the line transformation of the bass and the opposition of the melody of the high voice[31]. Polyphony is the wavy chord of the middle part, which complements each other to form a new texture feature of improvisational music.

In Schubert's improvisations, most of them are composed mainly of three parts, inheriting the composing style of the ancient music school. Schubert made innovative breakthroughs in the framework of this musical form, drawing lessons from the form of song subsections or changing subsections, using repetition or variation to expand the scale of the internal form and make it irregular[32].

In a word, Schubert inherited the principle of trilogy structure of classical tradition in improvisation. However, he did not fully adhere to the three-part structural framework, but in a more appropriate form to express rich ideological connotation, highlighting the lyric characteristics of improvisation, reflecting the creative style of Romantic music.

List of Piano Composition[19] edit

Piano Quintet "Trout", D.667, 1819, A Major

Piano Trio No.1, D.898, 1827, B Major

Piano Trio No.2, D.929, 1827, E-Flat Major

Piano Sonatas No.1, D.157, 1815, E Major

Piano Sonatas No.2, D.279, 1815, C Major

Piano Sonatas No.3, D.459, 1816, E Major

Piano Sonatas No.4, D.537, 1817, A Minor

Piano Sonatas No.5, D.557, 1817, Down A Major

Piano Sonatas No.6, D.566, 1817, E Minor

Piano Sonatas No.7, D.568, 1817, E-flat Major

Piano Sonatas No.8, D.571, 1817, F-Sharp Minor

Piano Sonatas No.9, D.575, 1817, B Major

Piano Sonatas No.10, D.613, 1818, C Major

Piano Sonatas No.11, D.625, 1818, F Minor

Piano Sonatas No.12, D., 1819, C C Minor

Piano Sonatas No.13, D.664, 1819, A Major

Piano Sonatas No.14, D.784, 1823, A Minor

Piano Sonatas No.15, D.840, 1825, C Major

Piano Sonatas No.16, D.845, 1825, A Minor

Piano Sonatas No.17, D.850, 1825, D Major

Piano Sonatas No.18, D.894, 1826, G Major

Piano Sonatas No.19, D.958, 1828, C Minor

Piano Sonatas No.20, D.959, 1828, A Minor

Piano Sonatas No.21, D.960, 1828, B Major

Samtliche Walzer for Piano, D.145, 1814

20 waltzes for the piano, D.146, 1815

Landler for Piano, D.790, 1823

German Dances for Piano, D.783, 1823-1824

Ecossaises for Piano, D.781, 1823

Marches for Piano Duet, D.602

3 marches (armies) for the four hands of the piano, D.733

6 marches for the piano four-handed, D.819

A march for the piano four hands, D.859

2 marches for the piano four-handed, D.886(D.968b)

A march for the four hands of the piano, D.928

Piano works for four hands, D.

References edit

  1. ^ Biba, Otto (November 1979). "Schubert's Position in Viennese Musical Life". 19th-Century Music. 3 (2): 106–113. doi:10.2307/746282. JSTOR 746282.
  2. ^ Black, Leo (2005). Franz Schubert: music and belief. Boydell Press. ISBN 184383023X. OCLC 845163824.
  3. ^ Botstein, Leon (2014-12-31), Gibbs, Christopher H.; Solvik, Morten (eds.), "Schubert in History", Franz Schubert and His World, Princeton University Press, pp. 299–348, doi:10.1515/9781400865352-012, ISBN 9781400865352, retrieved 2019-05-16
  4. ^ Bar, Ann Le; Kramer, Lawrence (October 2000). "Franz Schubert: Sexuality, Subjectivity, Song". German Studies Review. 23 (3): 595. doi:10.2307/1432845. ISSN 0149-7952. JSTOR 1432845.
  5. ^ Kreissle von Hellborn, Heinrich; Coleridge, Arthur D.; Grove, George (2014), "FRANZ SCHUBERT", The Life of Franz Schubert, Cambridge University Press, pp. ii, doi:10.1017/cbo9781139923958.001, ISBN 9781139923958, retrieved 2019-05-16
  6. ^ Flower, Newman (1949). Franz Schubert, the Man and His Circle. OCLC 465760344.
  7. ^ Willner, Channan; Badura-Skoda, Eva; Branscombe, Peter (December 1983). "Schubert Studies: Problems of Style and Chronology". Notes. 40 (2): 297. doi:10.2307/941311. ISSN 0027-4380. JSTOR 941311.
  8. ^ Wolff, Konrad, 1907- (1990). Masters of the keyboard : individual style elements in the piano music of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin and Brahms. Indiana University Press. ISBN 0253364582. OCLC 906544027.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  9. ^ Lester, Joel (1999-10-21), "The History of Bach's Solo-Violin Works", Bach's Works for Solo Violin, Oxford University Press, pp. 3–24, doi:10.1093/acprof:oso/9780195120974.003.01, ISBN 9780195120974, retrieved 2019-05-28
  10. ^ Galamian, Ivan. (January 2013). Principles of violin playing & teaching. ISBN 9780486498645. OCLC 904814228.
  11. ^ Berg, Alban, 1885-1935. (2002), Violin concerto, BBC, OCLC 642891868, retrieved 2019-05-28{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  12. ^ Hefling, Stephen E. (2016). Nineteenth-century chamber music. Routledge. ISBN 978-1138140714. OCLC 948089543.
  13. ^ "Introduction to the Form of Violin Solo Music". www.xtqzf.com. Retrieved 2019-05-16.
  14. ^ "On the Artistic Style of Romantic Violin Concerto". www.xtqzf.com. Retrieved 2019-05-16.
  15. ^ Franz Schubert and his world. Gibbs, Christopher Howard,, Solvik, Morten. Princeton, New Jersey. 11 November 2014. ISBN 9781400865352. OCLC 893439599.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  16. ^ Boyden, David D. (2002). The history of violin playing from its origins to 1761 and its relationship to the violin and violin music. Oxford University Press. ISBN 0198161832. OCLC 644989213.
  17. ^ Samaroff, Olga (1928). "The Piano Music of Schubert". The Musical Quarterly. 14 (4): 596–609. doi:10.1093/mq/XIV.4.596. ISSN 0027-4631. JSTOR 738522.
  18. ^ "Violin genre". www.xtqzf.com. Retrieved 2019-05-16.
  19. ^ a b "Franz Peter Schubert".
  20. ^ "Classification of Piano Music". zhidao.baidu.com. Retrieved 2019-05-16.
  21. ^ Todd, R. Larry. (2015). Nineteenth-century piano music. Routledge. ISBN 978-1138133716. OCLC 929917693.
  22. ^ Newlin, Dika (1974). "Secret Tonality in Schoenberg's Piano Concerto". Perspectives of New Music. 13 (1): 137–139. doi:10.2307/832371. ISSN 0031-6016. JSTOR 832371.
  23. ^ Brook, Alfred (September 1951). "'Andante'". The Musical Times. 92 (1303): 414. doi:10.2307/934983. ISSN 0027-4666. JSTOR 934983.
  24. ^ Winogron, Blanche; Golz, Walter (December 1953). "Etude Joyeuse, for Piano". Notes. 11 (1): 153. doi:10.2307/893666. ISSN 0027-4380. JSTOR 893666.
  25. ^ Block, Geoffrey Holden, 1948- (1996). Ives, Concord sonata : piano sonata no. 2 ("Concord, Mass., 1840-1860"). Cambridge University Press. ISBN 052149656X. OCLC 33664742.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  26. ^ Krumhansl, Carol L. (April 1996). "A Perceptual Analysis of Mozart's Piano Sonata K. 282: Segmentation, Tension, and Musical Ideas". Music Perception: An Interdisciplinary Journal. 13 (3): 401–432. doi:10.2307/40286177. ISSN 0730-7829. JSTOR 40286177.
  27. ^ Cook, Nicholas (July 1989). "Beethoven's Unfinished Piano Concerto: A Case of Double Vision?". Journal of the American Musicological Society. 42 (2): 338–374. doi:10.1525/jams.1989.42.2.03a00030. ISSN 0003-0139.
  28. ^ Porter, Andrew; Mozart (May 1963). "Mozart Piano Concertos". The Musical Times. 104 (1443): 353. doi:10.2307/950314. ISSN 0027-4666. JSTOR 950314.
  29. ^ Hudson, Dale L.; Hinson, Maurice (March 1982). "Music for Piano and Orchestra: An Annotated Guide". Notes. 38 (3): 609. doi:10.2307/939571. ISSN 0027-4380. JSTOR 939571.
  30. ^ Montgomery, David, 1944 July 28- (2010). Franz Schubert's music in performance : compositional ideals, notational intent, historical realities, pedagogical foundations. Pendragon. ISBN 9781576471951. OCLC 645679041.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  31. ^ Sly, Gordon (2001). "Schubert's Innovations in Sonata Form: Compositional Logic and Structural Interpretation". Journal of Music Theory. 45 (1): 119–150. doi:10.2307/3090650. ISSN 0022-2909. JSTOR 3090650.
  32. ^ Geck, Martin (1993), "Im Zeichen deutscher Innerlichkeit: Schubert — Schumann — Brahms", Von Beethoven bis Mahler, J.B. Metzler, pp. 100–211, doi:10.1007/978-3-476-03482-3_2, ISBN 9783476009302, retrieved 2019-05-28
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:WhartonQF/sandbox&oldid=1092125446"