Clarity of outline, conciseness, and formal beauty are excellent things in musical works, but an exquisite fancy, a noble imagination, and a lofty poetic spirit are of infinitely greater account; and no one ever possessed these inestimable gifts in greater measure than Franz Schubert.
“With faith man steps forth into the world. Faith is far ahead of understanding and knowledge; for to understand anything, I must first of all believe something. Faith is the higher basis on which weak understanding rears its first columns of proof; reason is nothing but faith analysed.” – Franz Schubert
This new edition of Henry Frost’s 1892 biography of Franz Schubert has been edited and revised.
The original references to pieces by Opus number have been replaced with the more commonly used D numbers. Many illustrations of places and people have been added throughout the text, and a complete catalog of Schubert’s works has been included.
Contents
1
Introduction and overview by William Henry Hadow.
From the eleventh edition of The Encyclopaedia Britannica (1911).
2
— Schubert’s unique position among composers.
— His birth and parentage.
— Early instruction in music, and evidence of extraordinary talent.
— Admission to the Imperial Chapel and Stadtconvict.
— School experiences and first compositions.
— Salieri.
— Symphony No. 1 in D.
— He decides to leave the Convict.
3
— Schubert's experience as a school teacher.
— Friendship with Mayrhofer.
— Works from 1814; Des Teufels Lustschloss, Mass in F, etc.
— Extraordinary productiveness in 1815.
— Operas, symphonies, masses, and songs.
— Characteristics of Schubert’s Lieder.
— Diary kept in 1816.
— Der Erlkönig.
— Cantatas and symphonies.
— He applies for a position.
— Franz von Schober.
— He leaves his father’s school.
4
— Johann Michael Vogl.
— Josef Huttenbrenner.
— Piano sonatas.
— Overtures in Italian style.
— He becomes music teacher to the Esterhazy family.
— His residence with Mayrhofer.
— Excursion in upper Austria.
— Rossini.
— Goethe.
— His first commissions for the stage.
— Die Zwillingsbruder.
— Die Zauberharfe.
— Contemporary criticism.
— The oratorio Lazarus.
— The Fantasia in C.
5
— The first publications.
— Enthusiasm of his friends.
— Schubertiaden.
— The symphony in E.
— Schubert and Beethoven.
— Alfonso and Estrella; performance at Weimar.
— The mass in A flat.
— The unfinished symphony in B minor.
— Schubert and Weber.
— Rosamunde.
— Fierabras.
— Die Verschwornen, or Der hauslicne Krieg.
— Die schone Mullerin.
— Publications in 1823.
6
— Schubert’s temporary depression.
— Diary and letters.
— Second visit to Zelesz.
— Love for Caroline Esterhazy.
— Compositions; the duet sonata in C.
— Travels in Steyr.
— Restored cheerfulness.
— Efforts to gain employment.
— Schindler’s singular story.
— Negotiations with foreign publishers.
— Present from the Musikfreunde.
— Beethoven’s funeral.
— Visit to the Pachlers at Gratz.
— Failing health.
— Rochlitz and Der Erste Ton7
— Great productiveness in 1828.
— Symphony in C.
— Mass in E flat.
— Schwanengesang.
— Last sonatas.
— Disappointments.
— His last illness and death.
8
— Posthumous honours.
— Personal qualities.
— Schubert’s position in music.
— General survey of works 
