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Franz schubert powerpoint
 He was the only composer to have grown up in
  Vienna from the 1st Viennese School.
 12th child in the family, hence the parents had
  money problems.
 Writing over a thousand pieces of music and only
  100 got published in his lifetime showed how little
  recognition he received.
 Nowadays he is considered ‘musical genius’ and is
  best known for his song writing (having written 603
  songs). German translation for song is ‘lieder’. His
  piano duets were very popular.
 At just 3 years old Schubert taught himself to
               play the violin- talented or what!
              He had a good voice so auditioned for
               Imperial Choir to also enter the school that
               provided the best education. Salieri
               (remember he had links with Mozart) was on
               the panel. When Schubert sung he was
               respected (considered well for his age)-taken
               on as soprano.
Early Life




              Here he played 1st violin and people were
               impressed by his phenomenal ability and so
               he was taught piano, violin and counterpoint.
              Holtzer (organist) introduced Schubert to
               Beethoven and he loved the music- Mozart
               also influenced his composing.
              Becoming 1st violinist and Concert Master at
               13 shows how talented Schubert was.
 At 15 Schubert’s voice broke but he could still
               be educated at the school.
              Though at 16 he left and grudgingly became a
               teacher so he didn’t have to enlist for the war.
               He also wrote his first symphony at this age for
               the director at the school (gift).
              On Sundays he would still compose at the
               school.
Early Life




                From 17 he wrote 200-300 songs on two years
                 (famous one was Gretchen am Spinnracle).
                In 1815 Schubert met Schober (law student)
                 and lived with him for free because he had no
                 financial income.
                He met Vogl a baritone singer which led to the
                 formation of the Schubertiads who sung his
                 songs.
   When some of his operas were performed the
                 music critics didn’t like it as it was ahead of their
                 time (too grave/dark- romantic style).
                As he started to get drunk everyday his health
                 was affected.
                He found that if he dedicated his work to
                 people he was able to get it published- first was
                 in 1821.
Later Life




                1823 he became a ‘proper’ composer as his
                 music was done for orchestras.
                His work from the last years of his life were quite
                 sad/emotional as he was dying. Also as he
                 knew he was dying he wrote more.
He rarely composed with the piano as he
heard music in his head and just wrote it
down.
His mother understood Schubert’s desire
to become a musician whereas his father
wanted him to have good grades in the
major curriculum subjects.
Gypsy music and music heard in Hungary
influenced his writing.
As he was quite poor he couldn’t go to
see orchestral works, that’s why his music
was mostly chamber music.
A detailed analysis of each
part of the 1st movement
‘Allegro Moderato’- Sonata
form but slightly different in its
structure.
 Considered ‘unfinished’ as there are only 2
  movements (normally 4 in a symphony).
  Until 1978 it was known as the 7th symphony.
 When he wrote this it was popular to be
  composing symphonies- highest form of
  music-orchestral-huge works.
 Typical Classical Orchestra apart from the
  odd number of trombones- some
  modifications needed on the brass- crooks
  to change key.
Traditional
Exposition
 First Subject is usually in the tonic key.
 Bridge (possible)
 Second Subject either dominant or relative major to tonic.
Development
 Develops ideas and modulates to relative keys.
Recapitulation + Coda
 1st subject and 2nd subject is changed to appear to be in the
   tonic key.
 The coda reinforces the home key.
Exposition
  1st subject- A1 introductory theme (b.1-8), A2 principal theme (b.9-38) both in B
   Minor- black- full of despair.
  Modulates with a pivot chord in bar 38. Then the 2nd subject (B) is the
   subdominant (G Major- b.42-93.
  Bar 93-104 seems to be a development closing section. B. 104-110 modulates
   back to B minor after a repeat of the exposition.
Development
  Based on A1 and has some B accompaniment. Doesn’t introduce any new ideas .
Recapitulation
  Starts with an extended A2 (main theme) which finishes at b.252 in F# major-
   dominant.
  The 2nd subject returns in D major (relative major- should have been done in the
   exposition and the recap should be in the tonic).
  At b.311 it is in the tonic major (wrong tonality) which was Schubert’s trait.
Coda
  Bar 322 returns to B minor and the coda starts at bar 328 which is based on the
   introductory theme (A1).
 3 trombones was an unusual number, but
  are there to add weight and effect- not
  used melodically. They are there to provide
  chords for harmonic structure.
 Double bass has more of an independent
  part than in Baroque music, similar to
  trombones it add textures with the low
  timbre.
 The cello and double bass set the scene for
  the movement making us strain our ears to
  hear the quiet beginning.
 The woodwind instruments aren’t exploited much even
  though they have expressive potential instead they
  double and support the harmonies.
 Only the oboe and clarinet introduce the principal theme
  in unison creating an unusual sound. They seem to emerge
  from nowhere .
 The horns and trumpets aren’t widely used partly because
  of their problem of changing to minor keys. Though they
  are directed with a crook in D for horns so sound minor 7th
  lower than written, and E for trumpets whom would sound
  a major 3rd higher than notated. Therefore were they
  being saved for the final movement of the symphony
  which supports the idea that it was ”unfinished”.
 Timpani tuned to the tonic and dominant of B minor (B
  and F#)- there to keep the key.
 The themes are very expressive and lyrical
  which shows it was more romantic style
  than classical.
 Bar 9 onwards ‘til the main theme is initiated
  gets things moving with rustling strings.
 There are many mood changes within the
  movement achieved by short links made
  between sections.
 Loud, strong rhythmic tutti sections are
  followed by quiet textures- rise and fall in
  texture.
   When the 2nd subject is announced it is played
    by the cello (bar 44. It is then passed to the
    violins in octaves- contrast.
   Rhythmic counterpoint and syncopation is a
    major characteristic of the movement e.g.
    Cello accents the second beats of bars 53 and
    54, the horns syncopate and sustain across the
    bar lines to make the accompaniment more
    continuous.
   Unexpected silences like in b. 62 where a quiet
    chord of G major is expected. A
    dramatic, loud and heavily-accented passage
    follows with strings playing tremolo.
   Woodwind continue syncopation with a rapid
    diminuendo up to b.73.
   Question and answer is present with imitative
    sequence between cello/viola and violins in octaves
    from b. 73.
   Programmatic writing- change in articulation and
    dynamic changing the texture as when the double
    bass comes in it alters from slurred to staccato.
   In the development a new world is created with
    introductory theme descending to a 3rd lower than
    the lowest note of the double bass. By bar 124 a
    huge gap is given with the introduction of the other
    strings and bassoon which creates a textural hollow.
    They crescendo and there is rhythmic diminution.
   Powerful tutti at bar 184 with driving, dotted rhythms
    and imitative figures.
   At bar 194 a climax of activity is reached where ffz, fz
    and finally pp is scored.
   Recap.- develops A2 and avoids A1 being brought
    back, the 2nd subject is revisited with the motif of
    syncopated rhythm as the accompaniment (same
    idea throughout movement); flutes play this for a
    brighter sound.
   Scoring becomes canonical for example from bar
    312 until the coda.
   Coda uses restates the start and bases it on this, it
    reaffirms the tonic key- cadences suggest the
    movement is nearing an end.

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Franz schubert powerpoint

  • 2.  He was the only composer to have grown up in Vienna from the 1st Viennese School.  12th child in the family, hence the parents had money problems.  Writing over a thousand pieces of music and only 100 got published in his lifetime showed how little recognition he received.  Nowadays he is considered ‘musical genius’ and is best known for his song writing (having written 603 songs). German translation for song is ‘lieder’. His piano duets were very popular.
  • 3.  At just 3 years old Schubert taught himself to play the violin- talented or what!  He had a good voice so auditioned for Imperial Choir to also enter the school that provided the best education. Salieri (remember he had links with Mozart) was on the panel. When Schubert sung he was respected (considered well for his age)-taken on as soprano. Early Life  Here he played 1st violin and people were impressed by his phenomenal ability and so he was taught piano, violin and counterpoint.  Holtzer (organist) introduced Schubert to Beethoven and he loved the music- Mozart also influenced his composing.  Becoming 1st violinist and Concert Master at 13 shows how talented Schubert was.
  • 4.  At 15 Schubert’s voice broke but he could still be educated at the school.  Though at 16 he left and grudgingly became a teacher so he didn’t have to enlist for the war. He also wrote his first symphony at this age for the director at the school (gift).  On Sundays he would still compose at the school. Early Life  From 17 he wrote 200-300 songs on two years (famous one was Gretchen am Spinnracle).  In 1815 Schubert met Schober (law student) and lived with him for free because he had no financial income.  He met Vogl a baritone singer which led to the formation of the Schubertiads who sung his songs.
  • 5. When some of his operas were performed the music critics didn’t like it as it was ahead of their time (too grave/dark- romantic style).  As he started to get drunk everyday his health was affected.  He found that if he dedicated his work to people he was able to get it published- first was in 1821. Later Life  1823 he became a ‘proper’ composer as his music was done for orchestras.  His work from the last years of his life were quite sad/emotional as he was dying. Also as he knew he was dying he wrote more.
  • 6. He rarely composed with the piano as he heard music in his head and just wrote it down. His mother understood Schubert’s desire to become a musician whereas his father wanted him to have good grades in the major curriculum subjects. Gypsy music and music heard in Hungary influenced his writing. As he was quite poor he couldn’t go to see orchestral works, that’s why his music was mostly chamber music.
  • 7. A detailed analysis of each part of the 1st movement ‘Allegro Moderato’- Sonata form but slightly different in its structure.
  • 8.  Considered ‘unfinished’ as there are only 2 movements (normally 4 in a symphony). Until 1978 it was known as the 7th symphony.  When he wrote this it was popular to be composing symphonies- highest form of music-orchestral-huge works.  Typical Classical Orchestra apart from the odd number of trombones- some modifications needed on the brass- crooks to change key.
  • 9. Traditional Exposition  First Subject is usually in the tonic key.  Bridge (possible)  Second Subject either dominant or relative major to tonic. Development  Develops ideas and modulates to relative keys. Recapitulation + Coda  1st subject and 2nd subject is changed to appear to be in the tonic key.  The coda reinforces the home key.
  • 10. Exposition  1st subject- A1 introductory theme (b.1-8), A2 principal theme (b.9-38) both in B Minor- black- full of despair.  Modulates with a pivot chord in bar 38. Then the 2nd subject (B) is the subdominant (G Major- b.42-93.  Bar 93-104 seems to be a development closing section. B. 104-110 modulates back to B minor after a repeat of the exposition. Development  Based on A1 and has some B accompaniment. Doesn’t introduce any new ideas . Recapitulation  Starts with an extended A2 (main theme) which finishes at b.252 in F# major- dominant.  The 2nd subject returns in D major (relative major- should have been done in the exposition and the recap should be in the tonic).  At b.311 it is in the tonic major (wrong tonality) which was Schubert’s trait. Coda  Bar 322 returns to B minor and the coda starts at bar 328 which is based on the introductory theme (A1).
  • 11.  3 trombones was an unusual number, but are there to add weight and effect- not used melodically. They are there to provide chords for harmonic structure.  Double bass has more of an independent part than in Baroque music, similar to trombones it add textures with the low timbre.  The cello and double bass set the scene for the movement making us strain our ears to hear the quiet beginning.
  • 12.  The woodwind instruments aren’t exploited much even though they have expressive potential instead they double and support the harmonies.  Only the oboe and clarinet introduce the principal theme in unison creating an unusual sound. They seem to emerge from nowhere .  The horns and trumpets aren’t widely used partly because of their problem of changing to minor keys. Though they are directed with a crook in D for horns so sound minor 7th lower than written, and E for trumpets whom would sound a major 3rd higher than notated. Therefore were they being saved for the final movement of the symphony which supports the idea that it was ”unfinished”.  Timpani tuned to the tonic and dominant of B minor (B and F#)- there to keep the key.
  • 13.  The themes are very expressive and lyrical which shows it was more romantic style than classical.  Bar 9 onwards ‘til the main theme is initiated gets things moving with rustling strings.  There are many mood changes within the movement achieved by short links made between sections.  Loud, strong rhythmic tutti sections are followed by quiet textures- rise and fall in texture.
  • 14. When the 2nd subject is announced it is played by the cello (bar 44. It is then passed to the violins in octaves- contrast.  Rhythmic counterpoint and syncopation is a major characteristic of the movement e.g. Cello accents the second beats of bars 53 and 54, the horns syncopate and sustain across the bar lines to make the accompaniment more continuous.  Unexpected silences like in b. 62 where a quiet chord of G major is expected. A dramatic, loud and heavily-accented passage follows with strings playing tremolo.
  • 15. Woodwind continue syncopation with a rapid diminuendo up to b.73.  Question and answer is present with imitative sequence between cello/viola and violins in octaves from b. 73.  Programmatic writing- change in articulation and dynamic changing the texture as when the double bass comes in it alters from slurred to staccato.  In the development a new world is created with introductory theme descending to a 3rd lower than the lowest note of the double bass. By bar 124 a huge gap is given with the introduction of the other strings and bassoon which creates a textural hollow. They crescendo and there is rhythmic diminution.
  • 16. Powerful tutti at bar 184 with driving, dotted rhythms and imitative figures.  At bar 194 a climax of activity is reached where ffz, fz and finally pp is scored.  Recap.- develops A2 and avoids A1 being brought back, the 2nd subject is revisited with the motif of syncopated rhythm as the accompaniment (same idea throughout movement); flutes play this for a brighter sound.  Scoring becomes canonical for example from bar 312 until the coda.  Coda uses restates the start and bases it on this, it reaffirms the tonic key- cadences suggest the movement is nearing an end.