Editing Franz Schubert (section)

==Music==
{{see also|List of compositions by Franz Schubert by genre|List of compositions by Franz Schubert}}
Schubert was remarkably prolific, writing over 1,500 works in his short career. His compositional style progressed rapidly throughout his life.<ref name="Gammond143">[[#Gammond|Gammond (1982)]], p. 143, discussing in particular his chamber music</ref> The largest number of his compositions are [[Lied|songs for solo voice and piano]] (roughly 630).<ref>[[#GibbsIntro|Gibbs (1997)]], p. 21</ref> Schubert also composed a considerable number of secular works for two or more voices, namely [[part song]]s, choruses and cantatas. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write three [[Sinfonia concertante|concertante]] works for violin and orchestra. Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least eleven more in varying states of completion,{{efn|D 537, 568, 575, 664, 784, 845, 850, 894, 958, 959, 960 incontrovertibly complete; D 157, 279, 459, 557, 566 as further sonatas whose completeness has been debated; D 571, 613, 625, 655, 769A, 840 as further unfinished sonatas; and many other possible sonata fragments and isolated movements possibly associated with some of the above-listed sonatas.}} numerous miscellaneous works and many short dances, in addition to producing a large set of works for [[piano four hands]]. He also wrote over fifty chamber works, including some fragmentary works. Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions.<ref name="Ewen384">[[#Ewen|Ewen (2007)]], p. 384</ref> He completed only eleven of his twenty stage works.<ref>McKay, Elizabeth (1997). Franz Schubert. In: ''[[The New Grove Dictionary of Opera]].'' London and New York: Macmillan</ref>

===Style===
In July 1947 the Austrian composer [[Ernst Krenek]] discussed Schubert's style, abashedly admitting that he had at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as J. S. Bach or Beethoven". Krenek wrote that he reached a completely different assessment after a close study of Schubert's pieces at the urging of his friend and fellow composer [[Eduard Erdmann]]. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition." Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional moulds; on the contrary he was a thinking artist with a keen appetite for experimentation."<ref name="Lev">[[#Lev|Lev]].</ref>

====Instrumental music, stage works and church music====
{{see also|Sonatas, duos and fantasies by Franz Schubert|List of solo piano compositions by Franz Schubert|Stage works by Franz Schubert}}

That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, [[liturgical music]], chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the second movement of the [[String Quintet (Schubert)|String Quintet]] (D. 956), which is in E major, features a central section in the [[distant key]] of F minor.<ref name="Gammond117">[[#Gammond|Gammond (1982)]], p. 117</ref> It also appears in unusual choices of instrumentation, as in the [[Arpeggione Sonata|Sonata in A minor for arpeggione]] and piano (D. 821), or the unconventional scoring of the ''[[Trout Quintet]]'' (D. 667) for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and [[string quartet]].
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Although Schubert was clearly influenced by the Classical [[sonata form]]s of Beethoven, Haydn and Mozart, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama.<ref name="Gammond76">[[#Gammond|Gammond (1982)]], pp. 76–81</ref> This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his [[Symphony No. 9 (Schubert)|''Great C Major Symphony'']] was described by [[Robert Schumann]] as running to "heavenly lengths".<ref name="Brown630">[[#Brown|Brown (2002)]], p. 630</ref>

====Lieder and art songs====
{{see also|List of songs by Franz Schubert|Schubert's song cycles}}
It was in the genre of the [[lied]] that Schubert made his most indelible mark. [[Leon Plantinga]] remarks that "in his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him."<ref>[[#Plantinga|Plantinga (1984)]], p. 117</ref> Prior to Schubert's influence, Lieder tended toward a [[Strophic form|strophic]], syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of [[Romantic nationalism]].<ref>[[#Plantinga|(1984)]], pp. 107–117</ref>

Among Schubert's treatments of the poetry of [[Goethe]], his settings of "[[Gretchen am Spinnrade]]" (D. 118) and "[[Erlkönig (Schubert)|Der Erlkönig]]" (D. 328) are particularly striking for their dramatic content, forward-looking uses of harmony, and use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in "Gretchen" and the furious and ceaseless gallop in "{{Lang|de|Erlkönig}}".<ref name="Swafford211">[[#Swafford|Swafford (1992)]], p. 211</ref> He composed music using the poems of myriad poets, with Goethe, [[Johann Mayrhofer|Mayrhofer]], and [[Schiller]] the most frequent, and others, including [[Heinrich Heine]], [[Friedrich Rückert]], and [[Joseph Freiherr von Eichendorff]].

[[File:Nebensonnen D.911.jpg|thumb|Autograph of ''Die Nebensonnen'' (The [[Sun dog]]s) from ''Winterreise'']]
Of particular note are his two [[song cycle]]s on the poems of [[Wilhelm Müller]], ''[[Die schöne Müllerin]]'' and ''[[Winterreise]]'', which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. His last collection of songs, published in 1828 after his death, ''[[Schwanengesang]]'', is also an innovative contribution to German Lieder literature, as it features poems by different poets, namely [[Ludwig Rellstab]], Heine, and [[Johann Gabriel Seidl]]. The ''[[Wiener Theaterzeitung]]'', writing about ''Winterreise'' at the time, commented that it was a work that "none can sing or hear without being deeply moved".<ref name="Gammond153">[[#Gammond|Gammond (1982)]], pp. 153–156</ref>

[[Antonín Dvořák]] wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated.... Schubert created a new epoch with the Lied.... All other songwriters have followed in his footsteps."<ref name="CentIll345">[[#CentIllv48no3|Dvořák (1894)]], pp. 344–345</ref>

===Publication – catalogue===
[[File:Schubert Haus00.jpg|thumb|Interior of museum at Schubert's birthplace, Vienna, 1914]]
When Schubert died he had around 100 [[opus number]]s published, mainly songs, chamber music and smaller piano compositions.<ref>Deutsch 1978, p. 668{{incomplete short citation|date=January 2022}}</ref> Publication of smaller pieces continued (including opus numbers up to 173 in the 1860s, 50 instalments with songs published by [[Diabelli]] and dozens of first publications [[Edition Peters|Peters]]),<ref>Deutsch 1978, pp. 668–669{{incomplete short citation|date=January 2022}}</ref> but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers.<ref name="GroveAppendix"/> Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts.<ref name="GibbsLife61">[[#GibbsLife|Gibbs (2000)]], pp. 61–62</ref> In 1838 [[Robert Schumann]], on a visit to Vienna, found the dusty manuscript of the [[Symphony No. 9 (Schubert)|C major Symphony]] (D. 944) and took it back to [[Leipzig]] where it was performed by [[Felix Mendelssohn]] and celebrated in the ''[[Neue Zeitschrift für Musik|Neue Zeitschrift]].'' An important step towards the recovery of the neglected works was the journey to Vienna which the music historian [[George Grove]] and the composer [[Arthur Sullivan]] made in October 1867.{{sfn|Hadow|1911|p=385}} The travellers unearthed the manuscripts of six of the symphonies, parts of the incidental music to ''[[Rosamunde]]'', the [[Mass No. 1 (Schubert)|Mass No. 1 in F major]] (D. 105), and the operas ''Des Teufels Lustschloss'' (D. 84), ''Fernardo'' (D. 220), ''[[Der vierjährige Posten]]'' (D. 190), and ''[[Die Freunde von Salamanka]]'' (D. 326), and several other unnamed works. With these discoveries, Grove and Sullivan were able to inform the public of the existence of these works; in addition, they were able to copy the fourth and sixth symphonies, the ''Rosamunde'' incidental music, and the overture to ''Die Freunde von Salamanka''.<ref name="GroveAppendix">[[#Kreissle2|Kreissle (1869)]], pp. 297–332, in which Grove recounts his visit to Vienna.</ref> This led to more widespread public interest in Schubert's work.<ref name="WideInterest">See e.g. [[#Kreissle2|Kreissle (1869)]], p. 324, where Grove describes current (1860s) interest in Schubert's work, and [[#CambridgeCompanion|Gibbs (1997)]], pp. 250–251, describing the size and scope of the 1897 Schubert centennial commemorations.</ref>

====Complete editions====
[[File:Litograph of Franz Schubert by Josef Kriehuber (1846).png|thumb|upright|Lithograph of Franz Schubert by [[Josef Kriehuber]] (1846)]]
{{see also|Franz Schubert's Works|Neue Schubert-Ausgabe}}
From 1884 to 1897, [[Breitkopf & Härtel]] published [[Franz Schubert's Works]], a critical edition including a contribution made – among others – by [[Johannes Brahms]], editor of the first series containing eight symphonies.<ref>[[#STC|Deutsch (1995)]], p. xiii</ref> The publication of the [[Neue Schubert-Ausgabe]] by [[Bärenreiter]] started in the second half of the 20th century.<ref>{{Cite web|url=https://www.baerenreiter.com/en/publishing-house/baerenreiter-encyclopedia/new-schubert-edition/|title=Neue Schubert-Ausgabe|publisher=[[Bärenreiter Verlag]]|access-date=20 July 2018|archive-date=20 July 2018|archive-url=https://web.archive.org/web/20180720135654/https://www.baerenreiter.com/en/publishing-house/baerenreiter-encyclopedia/new-schubert-edition/|url-status=dead}}</ref>

====Deutsch catalogue====
{{see also|Schubert Thematic Catalogue|Schubert opus/Deutsch number concordance|List of compositions by Franz Schubert}}
Since relatively few of Schubert's works were published in his lifetime, only a small number of them have [[opus number]]s assigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition. Austrian [[musicologist]] [[Otto Erich Deutsch]] (1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works. This was first published in English in 1951 (''[[Schubert Thematic Catalogue]]'') and subsequently revised for a new edition in German in 1978 (''[[Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge]]'' – Franz Schubert: Thematic Catalogue of his Works in Chronological Order).<ref>See [[#STC|Deutsch (1995)]]</ref>

====Numbering issues====
{{see also|Schubert's symphonies#Numbering issues|Sonatas, duos and fantasies by Franz Schubert#Numbering of the Piano Sonatas}}
Confusion arose quite early over the [[Schubert's symphonies#Numbering issues|numbering of Schubert's late symphonies]]. Schubert's last completed symphony, the ''Great C major'' {{D.|number=944}}, was assigned the numbers 7, 8, 9 and 10, depending on publication. Similarly the ''Unfinished'' {{D.|number=759}} has been indicated with the numbers 7, 8, and 9.<ref name=numbering>See [[#Numbering of symphonies]]</ref>

The order usually followed for these late symphonies by English-language sources is:
*No. 7: [[Symphony No. 7 (Schubert)|E major]], D 729
*No. 8: [[Symphony No. 8 (Schubert)|B minor]], D 759 ''Unfinished''
*No. 9: [[Symphony No. 9 (Schubert)|C major]], D 944 ''Great C major''
*No. 10: [[Symphony No. 10 (Schubert)|D major]], D 936A

An even broader confusion arose over the [[Sonatas, duos and fantasies by Franz Schubert#Numbering of the Piano Sonatas|numbering of the piano sonatas]], with numbering systems ranging from 15 to 23 sonatas.

===Instruments===
Among pianos Schubert had access to were a Benignus Seidner piano (now displayed at the [[Vienna Museum#Birthplace of Franz Schubert|Schubert Geburtshaus]] in Vienna) and an [[Anton Walter]] & Sohn piano (today in the collection of the Vienna [[Kunsthistorisches Museum]]). Schubert was also familiar with instruments by Viennese piano builder [[Conrad Graf]].<ref>{{Cite web|title=Jeffrey Dane – The Composers' Pianos|url=https://www.collectionscanada.gc.ca/eppp-archive/100/202/300/inditer/2001/05-14/dane/pianos/pianos.htm|access-date=5 February 2021|website=www.collectionscanada.gc.ca}}</ref> He appreciated the potential these early nineteenth-century instruments possessed for both intimate and extrovert, virtuosic playing.<ref>[[Andreas Dorschel]], 'The Piano in Schubert′s Lied Texts.' In: Matthew Gardner/Christine Martin (eds.), ''Schubert′s Piano.'' Cambridge University Press, Cambridge, UK 2024, pp. 50–69.</ref>