Editing Franz Schubert (section)

===Teacher at his father's school===
[[File:Re-touched possible portrait of the young Schubert, by Josef Abeljpg.jpg|upright=1.0|thumb|Possible portrait of the young Franz Schubert {{circa|1814}},  attributed to [[Josef Abel]]]]
At the end of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-[[hauptschule]]. In 1814, he entered his father's school as the teacher of the youngest pupils. For over two years, young Schubert endured severe drudgery.<ref name="Duncan13">[[#Duncan|Duncan (1905)]], pp. 13–14</ref> However, he found compensatory interests during this time. For example, Schubert continued to take private lessons in composition from Salieri, who provided him with more technical training than any of his other teachers, until they parted ways in 1817.<ref name="Duncan9"/>

In 1814, Schubert met a young soprano named [[Therese Grob]], daughter of a local silk manufacturer, and wrote several of his [[Liturgy|liturgical works]] (including a "Salve Regina" and a "Tantum Ergo") for her; she was also a soloist in the premiere of his [[Mass No. 1 (Schubert)|Mass No. 1]] (D. 105) in September<ref>Benedikt, Erich. "Notizen zu Schuberts Messen. Mit neuem Uraufführungsdatum der Messe in F-Dur", ''[[Österreichische Musikzeitschrift]]'' 52, 1–2/1997, p. 64</ref> 1814.<ref name="Duncan13" /> Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815<ref name="SteblinMarry">[[#SteblinCM|Steblin (1998)]]</ref> requiring an aspiring bridegroom to show he had the means to support a family.<ref name="GibbsLife39">[[#GibbsLife|Gibbs (2000)]], p. 39</ref> In November 1816, after failing to gain a musical post in Laibach (now [[Ljubljana]], [[Slovenia]]), Schubert sent Ms. Grob's brother Heinrich a collection of songs, which was retained by the family into the twentieth century.<ref name="Newbould64">[[#Newbould|Newbould (1999)]], p. 64</ref>

One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works, a symphony, and about 140 Lieder.<ref name="Newbould40">[[#Newbould|Newbould (1999)]], p. 40</ref> In that year, he was also introduced to [[Anselm Hüttenbrenner]] and [[Franz von Schober]], who would become his lifelong friends. Another friend, [[Johann Mayrhofer]], was introduced to him by Spaun in 1815.<ref>[[#Gramit|Gramit (1997)]], p. 108</ref>

Throughout 1815, Schubert lived at home with his father. He continued to teach at the school and give private musical instruction, earning enough money for his basic needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries.<ref>[[#McKayBio|McKay (1996)]], p. 55</ref> Spaun was well aware that Schubert was discontented with his life at the schoolhouse, and was concerned for Schubert's development intellectually and musically. In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in the [[Landstraße]] suburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him. This was probably Schubert's first visit away from home or school.<ref>[[#McKayBio|McKay (1996)]], p. 59</ref> Schubert's unhappiness during his years as a schoolteacher possibly showed early signs of [[depression (mood)|depression]], and it is virtually certain that Schubert suffered from [[cyclothymia]] throughout his life.<ref>[[#McKayBio|McKay (1996)]], p. 138</ref>

In 1989, the musicologist [[Maynard Solomon]] suggested that Schubert was erotically attracted to men,<ref>[[Maynard Solomon|Solomon, M.]] (Spring 1989): "Franz Schubert and the Peacocks of [[Benvenuto Cellini]]. ''[[19th-Century Music]]'', vol. 12, pp. 193–206.</ref> a thesis that has been heatedly debated.<ref>"Schubert: Music, Sexuality, Culture." ''[[19th-Century Music]]'', 1993, 17:3–101.</ref><ref>[http://www.nybooks.com/articles/1994/10/20/schubert-a-la-mode/ "Schubert à la Mode"], ''[[The New York Review of Books]]'', 20 October 1994</ref> The musicologist and Schubert expert [[Rita Steblin]] has said that he was "chasing women".<ref>[[Rita Steblin|Steblin, Rita]] (1993): "The Peacock's Tale: Schubert's Sexuality Reconsidered." ''[[19th-Century Music]]''. Berkeley, California: Univ. of California Press, {{ISSN|0148-2076}}, ZDB-ID 4395712, T 17., 1, pp. 5–33; Steblin, Rita (1996), ''Babette und Therese Kunz: neue Forschungen zum Freundeskreis um Franz Schubert und Leopold Kupelwieser'', Wien: Vom Pasqualatihaus. {{ISBN|978-3-901254-16-1}}; Steblin, Rita (1997): "Schubert's 'Nina' and the True Peacocks". ''[[The Musical Times]]'' 138, pp. 13–19; Steblin, Rita (1998): ''Die Unsinnsgesellschaft: Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis''. Böhlau. {{ISBN|978-3-205-98820-5}}; Steblin, Rita (2001): "Schubert's Problematic Relationship with Johann Mayrhofer: New Documentary Evidence". Barbara Haggh (ed.): ''Essays on Music and Culture in Honor of Herbert Kellman''. Paris-Tours: Minerve, pp. 465–495; Steblin, Rita (2008), "Schubert's Pepi: His Love Affair with the Chambermaid Josepha Pöcklhofer and Her Surprising Fate". ''[[The Musical Times]]'', pp. 47–69.</ref> The theory of Schubert's sexuality or "Schubert as Other" has continued to influence current scholarship.<ref>Horton, Julian (2015). ''[https://www.routledge.com/Schubert/Horton/p/book/9781472439376 Schubert]''. Routledge, pages xi–xvii</ref> Biographer Lorraine Byrne Bodley is sceptical "...of Solomon’s "outing" of Schubert, saying this misunderstands the passionate "homosocial" friendships of 19th-century Europe."<ref>Hewett, Ivan. "Forget the angelic Schubert myth – this biography tells the real story", ''The Telegraph'', 2 July 2023</ref>