![]() ![]() Composition of four-hand piano pieces.Ĭomposition of the Piano Quintet in A major (“Trout” Quintet). He teaches the daughters of Count Johann Karl Esterházy. Sixty songs, including “Der Schiffer,” “Ganymed,” “An die Musik,” “Die Forelle,” “Gruppe aus dem Tartarus,” “Der Tod und das Mädchen.” Gradually his compositions are performed (his oeuvre already comprises around 500 works). He leaves his parents’ home, suspends his position as teacher, and moves in with Schober. 5 in B-flat major, and the Mass in C major. 3 in D major the song “Erlkönig,” among others.Ĭomposes 110 songs, the Symphonies No. ![]() 3 in D major as well as the Masses in G major and No. 2 in B-flat major and composition of the Symphony No. Matthisson and Goethe, including “Gretchen am Spinnrade,” which marks the birth of the art song.Ĭomposition of the musical comedy “Claudine von Villa Bella” after Goethe and “Der vierjährige Posten.” Completion of the Symphony No. He writes songs, which he groups by their poets, e.g. 1 in D major in classical form.Ĭomposition of the Mass in F Major, D 105. First surviving compositions.Ĭomposition of his first song, “Hagars Klage.”Īttends the pedagogical secondary school, after which he teaches in his father’s school.Ĭomposition of the magical opera “Des Teufels Lustschloss” and the Symphony No. ![]() Lessons from Antonio Salieri, who attempts to win over the boy enamored with Mozart, Haydn, and Beethoven to Italian opera. First piano lessons from his brother Ignaz, violin lessons from his father at age eight.Ĭhoirboy in the Imperial Chapel attends the imperial and royal boys choir school (“Stadtkonvikt”), playing violin in its orchestra. Although he also contributed to every genre of music theater and his friends predicted a career for him in opera, only two of his ten finished operas were performed during his lifetime, as was the incidental music to “Rosamunde.” 1797īorn in Himmelpfortgrund near Vienna on January 31, the son of a teacher. His immense oeuvre in spite of his brief life comprises 600 songs, including his two famous song cycles seven complete and several unfinished symphonies (including the “Unfinished” in B minor) other orchestral works numerous pieces of chamber music fourteen complete and several unfinished piano sonatas as well as other piano pieces dances for piano and four-hand works six masses and other sacred compositions numerous pieces for choir or vocal ensemble, especially for male voices. His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering modifications occur mostly not in continuous unfolding, but through sudden eruptions. He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism.
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