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the German edition of the Documents (English edition in brackets). It is interesting, incidentally, to see Beethoven and Schubert experimenting along similar lines in their early years. See Maurice Brown: Schubert. For a useful summary of this issue, see: David Gramit: Constructing a Victorian Schubert: Music, Biography and Cultural Values in 19th Century Music xvii/1 (1993. He died in 1828 in Vienna, Austria. Julian Rushton has pointed out, however, that Schubert was never going to follow this instruction to the letter: Mercifully he did not succeed even if he tried for to have done so would have been to suppress his own inventive faculty. Schubert, born in Himmelpfortgrund, Vienna (located in Austria was the fourth surviving son of a parish schoolmaster, named Franz Theodor Schubert, and homemaker Elisabeth Schubert (The Biography). 14 Schubert had been one of several torchbearers at Beethovens funeral, although this says more about Schuberts established position in Viennese cultural life than about his specific relationship with Beethoven. When asking how the work of the older composer influenced that of the younger, we have plentiful evidence at our disposal.
See below for Schuberts debt to two of Beethovens. These included publishers, such as Anton Diabelli, Tobias Haslinger, Domenico Artaria and Sigmund Anton Steiner; movers and shakers in musical life, such as the Sonnleithners, Count Ferdinand Troyer, Moritz von Dietrichstein and Moritz Fries ; writers and critics, such as Friedrich Rochlitz and Franz Grillparzer. Schubert, always desperate for manuscript paper, would then have filled the unused outer leaves without thinking. See also Paul Reid: The Beethoven Song Companion (Manchester 2007. Like the poets whose work he wrote his music around, Schubert was an unrivaled master of lyrical beauty. The Beethoven Song Companion (2007 and former Chairman of the. Schubert is clearly parroting the views of his musically conservative teacher Antonio Salieri to a large extent 1, but he consistently disapproved of music as a tool to arouse cheap emotions and could never bring himself to debase music by making it a butt. It would indeed have entailed a huge effort to avoid an encounter, although Schuberts modesty and shyness might explain why a formal introduction is not recorded. In 1828, the last year of his life, Schubert, though obviously ill, stayed committed to his craft. But Schuberts setting is set lightly in 6/8 time and is essentially strophic, with only a sidestep to the tonic minor when storms and warriors approach, while Beethovens setting is through-composed (notated in F major, but riddled with accidentals) and amounts to a little cantata. His talent lay in is ability to adapt to almost any kind of musical form.