Born in Vienna, 1797, into a lower-middle class family, Franz Schubert learned at an early age to adapt quietly and defer to authority. Of the 14 children born to his parents only 5 (including Franz) survived. Franz was the 12th child. His father was a school master, disciplined and practical, the patriarch of a crowded household. Music was present, but not the center of family life. When he was 11 years old, Schubert entered the Imperial Court Chapel choir which meant a rigid curriculum. He spent this time anonymous among his peers, internalizing emotional expression, and blending into the crowd. Many scholars believe this was the period that formed Schubert’s inward musical voice.

Classified as an early Romantic composer, Schubert composed his music at the end of the Classical period. Thus, his audience didn’t always appreciate his innovative expression. His compositions demonstrate a transition of the Classical structures with balanced phrasing, infused with lyrical harmonic language of the Romantic period. Schuber was on the threshold of the Romantic period, thus, his compositions were often mistaken for a lack of skill. As a contemporary of Beethoven, the two composers were on opposite ends of musical expression; Beethoven confronted the world with his music while Schubert expressed the inner world. It was not until the later Romantic composers, such as Schumann and Brahms, were at the height of their careers did the public begin to recognize Schubert’s genius.

To say Schubert was a professional musician would be a stretch. He did not hold a permanent post, nor did he have a patron. He held a post as an assistant schoolteacher from 1814 to 1818, plus he earned some money from publishing compositions. His main source of income came from his friends. Unlike other historical figures, we do not have personal diaries or writings to know Schubert’s inner thoughts or gain insight into his personality. We learn about him from how his friends describe him: quiet, reserved, modest. He was not a recluse, on the contrary, he enjoyed social occasions with close friends yet was awkward in formal settings.

It’s hard to say which factor of Schubert’s life influenced the quiet, melodic, introspective compositions. Yet to listen to Schubert’s music is to hear the way music breathes life into the quiet moments. Schubert’s Impromptu No3 in G-flat major provides a perfect example.

Schubert composed four impromptus in 1827 when he was 30 years old, a year before his death. He knew his health was failing. He intended the four compositions to be published; however, his publisher only accepted two compositions. No 3 was rejected for being too long, too subtle, and the key (G-flat major has 6 flats!) deemed impractical. When it was first published 10 years after his death, it was transposed to G major essentially transforming the character of the piece from the original expression of warmth and veiled reflection to a brighter pastoral tune.

Fortunately, today pianists perform the piece as Schubert intended: soft, introspective and full of character. It is a private expression of a man who knew he was gravely ill, looking back over a life where the beauty he offered was appreciated by few.

Please enjoy Khatia Buniatishvili’s interpretation of Schuber’s Impromptu No.3. Of the performances I found on YouTube, I enjoyed her performance the most. Khatia found the softness and warm lyrical flow of the music. She didn’t get over dramatic, simply allowed the music to speak for itself.