Editing Franz Schubert (section)

===Early life and education===
Franz Peter Schubert was born in [[Alsergrund#District sections|Himmelpfortgrund]] (now a part of [[Alsergrund]]), Vienna, [[Archduchy of Austria]], on 31 January 1797, and baptized in the Catholic Church the following day.<ref>[[#Duncan|Duncan (1905)]], p. 2</ref> He was the twelfth child of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812).<ref>[[#McKayBio|McKay (1996)]], p. 2</ref> Schubert's immediate ancestors came originally from the province of [[Zlaté Hory|Zuckmantel]] in [[Austrian Silesia]].<ref name=Kreisslev1pg1>[[#Kreissle1|Kreissle (1869)]], p. 1</ref> His father, the son of a [[Moravia]]n peasant, was a well-known parish [[schoolmaster]], and his school in [[Lichtental]] (in Vienna's [[Alsergrund|ninth district]]) had numerous students in attendance.<ref name="KreissleWilber2">[[#Wilberforce|Wilberforce (1866)]], p. 2: "the school was much frequented"</ref> He came to Vienna from Zuckmantel in 1784 and was appointed schoolmaster two years later.<ref name=Kreisslev1pg1/> His mother was the daughter of a [[Silesians|Silesian]] master [[locksmith]] and had been a housemaid for a Viennese family before marriage. Of Franz Theodor and Elisabeth's fourteen children (one of them illegitimate, born in 1783),<ref>[[Rita Steblin|Steblin, Rita]] (2001). "Franz Schubert – das dreizehnte Kind", ''{{ill|Wiener Geschichtsblätter|de}}'', 245–265</ref> nine died in infancy.
[[File:Alsergrund (Wien) - Schuberthaus (1).JPG|thumb|[[Schubert's birthplace|The house in which Schubert was born]], today Nußdorfer Straße 54]]

At the age of five, Schubert began to receive regular lessons from his father, and a year later he was enrolled at his father's school.{{sfn|Hadow|1911|p=383}} Although it is not known exactly when he received his first musical instruction, he was given piano lessons by his brother Ignaz, but they lasted for a very short time as Schubert excelled him within a few months.<ref name="mckay11">[[#McKayBio|McKay (1996)]], p. 11</ref> Ignaz later recalled:
{{blockquote|I was amazed when Franz told me, a few months after we began, that he had no need of any further instruction from me, and that for the future he would make his own way. And in truth his progress in a short period was so great that I was forced to acknowledge in him a master who had completely distanced and outstripped me, and whom I despaired of overtaking.<ref name="Kreissle 1866 p. 5">[[#Kreissle1|Kreissle (1869)]], p. 5</ref>}}

His father gave him his first [[violin]] lessons when he was eight years old, training him to the point where he could play easy duets proficiently.<ref name="Duncan3">[[#Duncan|Duncan (1905)]], p. 3</ref> Soon after, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental. Holzer would often assure Schubert's father, with tears in his eyes, that he had never had such a pupil as Schubert,<ref name="Kreissle 1866 p. 5"/> and the lessons may have largely consisted of conversations and expressions of admiration.<ref>[[#BrownNG|Brown (1983)]], pp. 2–3</ref> Holzer gave the young Schubert instruction in piano and organ as well as in [[figured bass]].<ref name="Kreissle 1866 p. 5"/> According to Holzer, however, he did not give him any real instruction as Schubert would already know anything that he tried to teach him; rather, he looked upon Schubert with "astonishment and silence".<ref name="Duncan3"/> The boy seemed to gain more from an acquaintance with a friendly apprentice [[joiner]] who took him to a neighbouring [[pianoforte]] warehouse where Schubert could practise on better instruments.<ref name="Wilberforce3">[[#Wilberforce|Wilberforce (1866)]], p. 3</ref> He also played [[viola]] in the family string quartet, with his brothers [[Ferdinand Schubert|Ferdinand]] and Ignaz on first and second violin and his father on the [[cello]]. Schubert wrote his earliest string quartets for this ensemble.<ref name="GibbsLife26">[[#GibbsLife|Gibbs (2000)]], p. 26</ref>

Young Schubert first came to the attention of [[Antonio Salieri]], then Vienna's leading musical authority, in 1804, when his vocal talent was recognized.<ref name="GibbsLife26"/> In November 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship. At the Stadtkonvikt, he was introduced to the overtures and symphonies of [[Mozart]], the symphonies of [[Joseph Haydn]] and his younger brother [[Michael Haydn]], and the overtures and symphonies of [[Beethoven]], a composer for whom he developed admiration.<ref name="McKay22">[[#McKayBio|McKay (1996)]], p. 22</ref><ref name="Duncan5">[[#Duncan|Duncan (1905)]], pp. 5–7</ref> His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education.<ref name="Duncan7" /> One important musical influence came from the songs by [[Johann Rudolf Zumsteeg]], an important composer of [[Lied]]er. The precocious young student "wanted to modernize" Zumsteeg's songs, as reported by [[Joseph von Spaun]], Schubert's friend.<ref name="GibbsLife29">[[#GibbsLife|Gibbs (2000)]], p. 29</ref> Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper.<ref name="Duncan7">[[#Duncan|Duncan (1905)]], p. 7</ref>

In the meantime, Schubert's talent began to show in his compositions; Salieri decided to start training him privately in [[music theory]] and composition. According to Ferdinand, the boy's first composition for piano was a [[Fantasy in G major for piano four-hands, D 1 (Schubert)|Fantasy for four hands]]; his first song, ''Klagegesang der Hagar'', was written a year later.<ref name=Kreisslev1pg6>[[#Kreissle1|Kreissle (1869)]], p. 6</ref> Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra,<ref name="Duncan9">[[#Duncan|Duncan (1905)]], p. 9</ref> the first orchestra he wrote for. 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),<ref name="Frost9">[[#Frost|Frost (1915)]], p. 9</ref> the [[cantata]] ''Wer ist groß?'' for male voices and orchestra (D 110, for his father's birthday in 1813), and his [[Symphony No. 1 (Schubert)|first symphony]] (D 82).<ref name="Duncan10">[[#Duncan|Duncan (1905)]], p. 10</ref>