Editing Franz Schubert (section)

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[[File:Karikatur_von_Johann_Michael_Voglund_Franz_Schubert%2C_circa_1825.jpg|thumb|upright|Caricature of Johann Michael Vogl and Franz Schubert by [[Franz von Schober]] (1825)]]
Significant changes occurred in Schubert's life in 1816 when Schober, a student from an affluent family, invited him to lodge at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of [[Kapellmeister]] at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings.<ref>[[#McKayBio|McKay (1996)]], p. 68</ref> For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition.{{sfn|Hadow|1911|p=384}} "I compose every morning, and when one piece is done, I begin another."<ref name="Duncan26">[[#Duncan|Duncan (1905)]], p. 26</ref> During this year, he focused on orchestral and choral works, although he also continued to write Lieder.<ref name="McKayBio56">[[#McKayBio|McKay (1996)]], p. 56</ref> Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.<ref name="GibbsLife44">[[#GibbsLife|Gibbs (2000)]], p. 44</ref>

In early 1817, Schober introduced Schubert to [[Johann Michael Vogl]], a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music.<ref name="Newbould66">[[#Newbould|Newbould (1999)]], p. 66</ref> These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work.<ref name="Duncan90">[[#Duncan|Duncan (1905)]], pp. 90–93</ref> [[Heinrich Anschütz]] wrote in his memoirs that Schubert was an active member of the 1817–1818 [[Unsinnsgesellschaft]] (Nonsenses Society), and various scholars agree with this.<ref>{{cite web | url=https://www.digitale-sammlungen.de/de/view/bsb10061400?page=281 | title='Erinnerungen aus dessen Leben und Wirken : Nach eigenhändigen Aufzeichnungen und mündlichen Mittheilungen' - Digitalisat &#124; MDZ }}</ref><ref name=":0">{{Cite book |last=Steblin |first=Rita |url=https://archive.org/details/dieunsinnsgesell0000steb/page/n17/mode/2up |title=Die Unsinnsgesellschaft: Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis |date=1998 |publisher=Böhlau |others=Erich Benedikt |isbn=3-205-98820-5 |location=Wien |pages=1 |language=de |oclc=40519173}}</ref><ref name=":1">{{Cite book |last=Dürhammer |first=Ilija |url=https://www.worldcat.org/oclc/49416312 |title=Schuberts literarische Heimat: Dichtung und Literatur-Rezeption der Schubert-Freunde |date=1999 |publisher=Böhlau |isbn=3-205-99051-X |location=Wien |pages=79–91, 235–245 |oclc=49416312}}</ref>

[[File:Kaleidoskop&Draisine.tif|thumb|left|''Das [[Kaleidoscope|Kaleidoskop]] und die [[Dandy horse|Draisine]]'', [[Leopold Kupelwieser]]'s caricature of himself and Franz Schubert for the [[Unsinnsgesellschaft]] (16 July 1818)<ref>{{cite web|url=https://www.digital.wienbibliothek.at/download/pdf/1943510.pdf|website=wienbibliothek.at|title=Vienna Library}}</ref><ref name=":1" /><ref name=":0" /><ref>{{Cite journal |last=Frühauf |first=Tina |date=2005 |title=Schubert and the Draisine: An Odd Couple in the Archiv des Menschlichen Unsinns |url=https://www.jstor.org/stable/41818778 |journal=Music in Art |volume=30 |issue=1/2 |pages=117–119 |jstor=41818778 |issn=1522-7464}}</ref>]]

In late 1817, Schubert's father gained a new position at a school in [[Alsergrund#District sections|Rossau]], not far from Lichtental. Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he applied for membership in the prestigious [[Gesellschaft der Musikfreunde]], intending to gain admission as an accompanist, but also so that his music, especially the songs, could be performed in the evening concerts. He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and there were professional musicians already among the society's membership.<ref name=McKay75>[[#McKayBio|McKay (1996)]], 75</ref><ref name="Newbould69"/> However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.<ref name="GibbsLife59">[[#GibbsLife|Gibbs (2000)]], p. 59</ref>

Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl [[Esterházy]] at their château in Zselíz (now [[Želiezovce]], Slovakia). The pay was relatively good, and his duties teaching piano and singing to the two daughters, Marie and [[Caroline Esterházy|Caroline]], were relatively light, allowing him to compose happily. Schubert may have written his [[Three Marches militaires (Schubert)|Marches Militaire in D major]] (D. 733 no. 1) for Marie and Caroline, in addition to other piano duets.<ref name="Newbould235">[[#Newbould|Newbould (1999)]], p. 235</ref> On his return from Zselíz, he took up residence with his friend Mayrhofer.<ref name="Newbould69">[[#Newbould|Newbould (1999)]] pp. 69–72</ref>

[[File:Waldmüller, 'La soprano Josephine Fröhlich, el barítono Johann Michael Vogl y Franz Schubert cantan y tocan un lied a tres voces'.png|thumb|upright=0.8|Sketch by [[Waldmüller]] of a trio of singers [[Josephine Fröhlich]] and [[Johann Michael Vogl]] with Schubert singing at the piano]]
During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as ''[[Schubertiad]]s.'' Many of them took place in [[Ignaz von Sonnleithner]]'s large apartment in the Gundelhof (Brandstätte 5, Vienna). The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police who, in the aftermath of the [[French Revolution]] and [[Napoleonic Wars]], were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends, [[Johann Senn]], was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language".<ref name="GibbsLife67">[[#GibbsLife|Gibbs (2000)]], p. 67</ref> While Schubert never saw Senn again, he did set some of his poems, ''Selige Welt'' (D. 743) and ''Schwanengesang'' (D 744), to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.<ref name="GibbsLife68">[[#GibbsLife|Gibbs (2000)]], p. 68</ref>

Schubert, who was only a little more than five feet tall,<ref>[[#McKayBio|McKay (1996)]], p. 70</ref> was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom".<ref>[[#GibbsLife|Gibbs (2000)]], p. 7</ref> "Schwamm" is "mushroom" in the Austrian and Bavarian dialects of German; the ending "-erl" makes it a diminutive. Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert's heavy drinking "... come not only in later accounts, but also in documents dating from his lifetime."<ref>[[#GibbsLife|Gibbs (2000)]], p. 97</ref>