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Schubert was born in Dessau where he studied with Franz von Hoesslin and Arthur Seidl and in Munich with Hugo Röhr and Heinrich Kaminski. From 1926 to 1929, he was a master student of Siegmund von Hausegger and Joseph Haas at the University of Music and Performing Arts Munich.
Reed, John (1997), The Schubert song companion, Manchester University Press, ISBN 1-901341-00-3; Reinhard Van Hoorickx. "Franz Schubert (1797–1828) List of the Dances in Chronological Order" in Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, Vol. 25, No. 1/4, pp. 68–97, 1971; Reinhard Van Hoorickx.
Schubert's Opus 1: "Erlkönig", D 328, fourth version, was published by Diabelli as Schubert's "1 tes Werk" (first work) in 1821.The Lied, composed by Schubert in 1815, was later adopted along with its prior versions as No. 178 in Series XX, Vol. 3 of the AGA (1895), and in Series IV, Vol. 1 of the NSE (1970).
Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos. This article constitutes a complete list of Schubert's known works organized by their genre. The complete output is divided in eight series, and in principle follows the order established by the Neue Schubert-Ausgabe printed edition.
0–9. List of compositions by Franz Schubert (1810) List of compositions by Franz Schubert (1811) List of compositions by Franz Schubert (1812) List of compositions by Franz Schubert (1813)
Franz Schubert's best known song cycles, like Die schöne Müllerin and Winterreise are based on separate poems with a common theme and narrative. Other song cycles are based on consecutive excerpts of the same literary work: Schubert's "Ave Maria" is part of such a song cycle based on excerpts of the same poem, in this case by Walter Scott.
Schubert's copy of Roser 's Die Teilung der Erde Nehmt hin die Welt! rief Zeus aus seinen Höhen: c. 1810: Text by Schiller; Also Hob. XXVIa:C1 [19] Anh. III/3 Schubert's copy of part of Mozart's Symphony No. 41: C major after 29/3/1813 Start of Minuet (3rd movement) Anh. III/4 Schubert's copy of a canon from Zumsteeg's Elbondocani
While staying faithful to Schubert's original, he often changes the piano texture as a way of providing a personal commentary on the text and music. Liszt reordered the songs in the following way: 11, 10, 5, 12, 7, 6, 4, 9, 3, 1, 8, 13, 14 and 2.