Fantasia International Film Festival (also known as Fantasia-fest, FanTasia, Fant-Asia) is a genre film festival that has been based mainly in Montreal since its founding in 1996. Regularly held in July of each year, it is valued by both hardcore genre film fans, and distributors, who take advantage of the eclectic line up to select foreign and domestic films for release across North America.^{[citation needed]} By virtue of the reputation developed over the last 15 years, this festival has been described as perhaps the "most outstanding and largest genre film festival in North America".^[1]

Overview[link]

The history of the Fantasia Festival has roots in the Asian Film scene in Montreal. Beginning in 1996 where it screened Asian films from Hong Kong and Anime from Japan, the festival later expanded its international repertoire and screened genre films from all across the world.^{[citation needed]} Since this time many world and international premieres have featured at Fantasia fest, including Shaun of the Dead, Perfect Blue, Millenium Actress, Midnight Meat Train, Dread, The Sorcerer’s Apprentice and Uzumaki.

Among the many North American premieres have included Ringu, Inglourious Basterds, Thirst, We Are What We Are, Visitor Q and Night Watch.

Fantasia 2011[link]

Fantasia 2011 will open the 2011 edition of the festival with the Canadian Premiere of Red State. The festival will also feature of the presentation to John Landis of a lifetime Achievement award. The Canadian premiere of the director's new film, Burke and Hare will also take place.^[2] Also notable will be the world premiere of the Swedish Horror Film Marianne which has been hailed as one of the great discoveries in genre cinema of 2011.^[3] The world premiere of Final Destination 5 was part of Fantasia 15.^[4]

Canadian Premiere Films[link]

• Burke and Hare
• Red State
• The Wicker Tree
• Absentia

World Premiere Films[link]

• Brawler
• Deadball
• Exit
• Final Destination 5
• Love
• Marianne
• Rabies
• Retreat
• The Devil's Rock
• The Theatre Bizarre
• The Whisperer in Darkness
• If a Tree Falls

Previous Festivals[link]

• Fantasia 2010

The films for Fantasia 2010 were announced on Tuesday, June 29, 2010. Tickets went on sale on July 6, 2010 at 1 pm. The Festival started on July 8, 2010 running until July 28, 2010 with 6 indoor screening venues and one outdoor location. For 2010 a permanent blog was introduced to communicate with fans year-round.

• Fantasia 2009

The films screened at Fantasia 2009 were, among others, Thirst, Love Exposure, Embodiment of Evil, Yatterman, Vampire Girl vs. Frankenstein Girl, Smash Cut, Trick 'r Treat, Neighbor, Must Love Death, Cencoroll and Dread. The festival also screened the North American premiere of Quentin Tarantino's film Inglorious Basterds. The festival started on July 9 and ended on July 29, 2009.

• Fantasia 2008

The lineup will be announced on Thursday, June 26, 2008.

• FanTasia 2007

The edition was held from July 5 to July 23, 2007 at the Concordia University. In addition to the Hall hall and DeSeve hall, a third screening room has been added at the D.B. Clarke Theatre. There were, however, no outdoor shows this year. Montreal film Flutter received the award for best Quebec short feature.^[5]

• FanTasia 2006 (10th edition/10th anniversary)

Fantsasia's 10th anniversary and 10th edition, the 2006 edition, is the first to feature free outdoor shows. The outdoors shows are at Parc de la Paix and are free. Outdoor projections included films from the previous editions: Kamikaze Girls, the last four episodes of Goldorak, Night of the Living Dorks and Attack the Gas Station. The indoor shows use the same Concordia University facilities as since the move to Concordia. The outdoor shows are several kilometres away from the indoor shows.

With the 10th anniversary, Fantasia is helping to launch an associated but separate Toronto festival Toronto After Dark Film Festival.

• Fantasia 2005

Fantasia is now 10 years old. However, this is the 9th edition of the festival, due to a missed year in 2002. The festival is again held at Concordia University. This year, a trailer-filled DVD is provided as part of the festival guide book and not a separate purchase.

• Fantasia 2004

The 2004 Fantasia was held at Concordia University using the Hall Auditorium and deSeve Cinema. Unlike the 2003 event, no DVD filled with trailers was available.

• FanTasia 2003 (move to Concordia University)

Fantasia 2003 was held for the first time on the Concordia University campus, using the DeSeve Cinema and Henry F. Hall Alumni Auditorium. The venue change was instigated by the lack of consideration that the Imperial Theatre gave in informing the festival organizers on the status of Imperial. This was also the first year that a DVD filled with movie trailers of movies shown at the festival was available for purchase with the festival guide book.

• FanTasia 2002 (missed year)

Fantasia 2002 was cancelled due to problems with the Imperial Cinema. The air conditioning system was broken, and it could not be fixed in time for Fantasia. Indeed, the theatre was not repaired until 2004. Due to the lack of assurance that the theater would be available, and the fact that it broke four months before the festival, meant that alternate bookings were not available. The lack of assurance for the 2003 festival meant a change in venue.

• FanTasia 2001

The 2001 edition was the last held in the Imperial Cinema. It was also the last time the festival was jointly held with Comedia.

• FanTasia 2000

The 2000 edition of Fantasia featured the debut of the Just For Laughs film festival, Comedia, as a selection of comedy films were shown with the regular Fantasia fare. This was also the final year that a Toronto edition of the festival was presented.

• Fantasia International Film Festival 1999

The 1999 edition of Fantasia was the only one which utilized the ex-Centris facilities. This year also featured the second Toronto edition.

• Fant-Asia 1998

Fantasia's Toronto edition premiered at the Bloor Cinema.

• Fant-Asia 1997

Some of the films featured were Perfect Blue, Drunken Master II, Stagefright, El Dia de la Bestia, Henry^{[disambiguation needed ]}, Tromeo and Juliet and Cutting Moments.

• Fant-Asia 1996 (inaugural festival)

Video publications of Fantasia[link]

• Small Gauge Trauma (ASIN B000FOQ01Y)

Small Gauge Trauma is the name of the film shorts component of Fantasia. A DVD anthology of various shorts shown over various editions of Fantasia has been published.

• Red to Kill (ASIN B00007ELI4)

Fantasia has published a subtitled VHS version of the Hong Kong film Red to Kill, for release in Quebec.

• Run and Kill (ASIN B00007ELI5)

Fantasia has published a subtitled VHS version of the Hong Kong film Run and Kill, for release in Quebec.

• Jackie Chan's Greatest Stunts

Fantasia has published a subtitled VHS version of the Hong Kong action scenes compilation Jackie Chan's Greatest Stunts Volumes 1 & 2, for release in Quebec.

• Jackie Chan: My Stunts (ASIN B000067JH0)

Fantasia has published a subtitled VHS version of Jackie Chan's stunt action compilation My Stunts, for release in Quebec.

• Jackie Chan: My Story (ASIN B000067JH1)

Fantasia has published a subtitled VHS version of Jackie Chan's autobiography My Story, for release in Quebec.

• Trailer DVD

For the 2008, 2007, 2006, 2005, and 2003 festivals, a DVD filled with trailers of some of the films being played has been provided for purchase.

See also[link]

• B movie
• Film festival
• Montreal World Film Festival
• Festival du Nouveau Cinéma
• Festival International de Films de Montréal
• European Fantastic Film Festivals Federation
• Toronto After Dark Film Festival
• TromaDance
• Fantastic Fest

References[link]

External links[link]

• Fantasia official website
• [1]

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Fantasia Barrino
Barrino in The American Idol Experience motorcade at Walt Disney World.
Background information
Birth name	Fantasia Monique Barrino
Also known as	Fantasia
Born	(1984-06-30) June 30, 1984 (age 27) High Point, North Carolina, United States
Genres	R&B, Soul, hip-hop soul, gospel
Occupations	Singer, actress, author
Instruments	Vocals
Years active	2004–present
Labels	J, 19, RCA
Associated acts	Missy Elliott
Website	Official website[dead link]

Fantasia Monique Barrino (born June 30, 1984),^[1] commonly known simply as Fantasia, is an American R&B singer and actress. She rose to fame as the winner of the third season of the reality television series American Idol in 2004. Following her victory, she released her debut single, "I Believe", which debuted at number one on the Billboard Hot 100. Subsequently, she released her debut album, Free Yourself, which went on to be certified Platinum by the RIAA and garnered Barrino three Grammy nominations in 2006.

In 2006, she released her second album, Fantasia, which featured the single "When I See U" which topped the Billboard Hot R&B/Hip-Hop Songs chart for eight weeks. The album was certified Gold by the RIAA and received three Grammy nominations in 2008. She then played the part of Celie in the Broadway musical The Color Purple, for which she won a 2007 Theatre World Award. Her third studio album, Back to Me, was released worldwide on August 24, 2010 and features the single "Bittersweet," which peaked in the top ten on the R&B chart. The single won her a Grammy for Best Female R&B Vocal Performance. As of February 2012, Barrino has sold 2,842,000 albums and 1,425,000 tracks in the United States.^[2]

Early life[link]

Fantasia Barrino was born to Diane and Joseph Barrino and raised in High Point, North Carolina. The family traveled and performed in the Carolinas and elsewhere in the American South and recorded the CD Miracles for a local label.^{[citation needed]}

Despite the travels, Barrino attended Andrews High School in High Point, North Carolina. Feeling embarrassed and harassed after she was raped by a classmate,^[3] she dropped out of high school. She became pregnant at 16, and on August 8, 2001, gave birth to her daughter, Zion Quari Barrino.^[4] Barrino then briefly moved to neighboring Greensboro, North Carolina before trying out for the American Idol Auditions in Atlanta.^{[citation needed]}

Music career[link]

[edit] 2004: American Idol

Barrino's audition version of Tina Turner's "Proud Mary" made her an early favorite in the competition. Her standout performance during the course of the show was a heartfelt staging of the Porgy and Bess standard "Summertime" that left her in tears from "feeling the song" and earned praise from the judges - Randy Jackson has called it^{[citation needed]} the best performance in the show's history - and was named amongst the AOL's 2004 list of greatest television moments.^[5]

For the final performance of the season, Barrino offered a second performance of "Summertime" that again drew praise from the judges; Simon Cowell remarked that she was the best contestant to ever compete in any competition, including the more than seventy Idol champions crowned nationally and internationally since the show began its first global incarnations. On the finale, over 65 million votes were cast in order to determine the winner on May 26, 2004, up from 24 million in 2003.^[6] It was the highest finale vote in the show's history until the May 23, 2007 season-six finale.^{[citation needed]} Barrino defeated runner-up Diana DeGarmo by 1.3 million votes.^[7] At age 19, she was the youngest American Idol winner until May 23, 2007, when the 17-year-old Jordin Sparks won the title.^{[citation needed]}

Barrino participated in the U.S. tour with the other American Idol finalists and appeared in the 2004 Christmas special, Kelly, Ruben and Fantasia: Home For the Holidays as well.

Barrino's brother auditioned for the eighth season of American idol but failed to make it to the Hollywood round.^[8]

Barrino is one of only three winners, the others being Ruben Studdard, and most recently, Kris Allen, to have landed in the bottom three or two, which she did twice, making her the only winner of the series who landed in the bottom group on more than one occasion.

Performances[link]

[edit] 2004–2005: Free Yourself

After winning American Idol, Fantasia signed to J Records with 19 Entertainment and began work on her debut album. In June 2004, she released her debut single, "I Believe", which later debuted at number one on the Billboard Hot 100. This number-one debut made Fantasia the first artist in history to achieve this with a first single.^[9] On the sales chart, the single spent eleven consecutive weeks at number one, giving it the longest consecutive stay on top of that chart for an American Idol contestant. The CD single, "I Believe", went on to become the top selling single of 2004 in the U.S., and has since been certified double platinum by the CRIA. Barrino also won three Billboard Music Awards for the single.

Fantasia released her debut studio album, Free Yourself, in November 2004. It debuted at number eight on the Billboard 200, selling 240,000 copies in its first week. To date, it has sold over two million copies worldwide, and was certified Platinum in the U.S. The singles "Truth Is" and "Free Yourself" became R&B hits, reaching number two and number three respectively on the Billboard Hot R&B/Hip-Hop Songs, while the controversial "Baby Mama" - which critics accused of romanticizing single motherhood^[10] - reached the top twenty. Barrino did even better on the Billboard Hot Adult R&B Airplay, where she was the first artist of any kind to simultaneously hold the top two spots of the top three,^[11] and "Truth Is" spent fourteen weeks at the number one position. Barrino was named the number-one artist of the Adult Urban Contemporary format for 2005 according to the December 13, 2005 issue of Billboard magazine.

Through the spring and winter of 2005, Fantasia made many television appearances to promote her album. She played Aretha Franklin in an episode of the series American Dreams, singing "Respect", guest voiced on The Simpsons episode "A Star Is Torn", and guest starred as herself in a cameo role on the sitcom All of Us. She appeared three times as a musical guest on The Tonight Show with Jay Leno. On March 25, 2005, Fantasia performed at the thirty-sixth NAACP Image Awards in honor of Illinois Senator Barack Obama after winning the award for Outstanding Female Artist. In May 2005, Fantasia went on her first tour with her own live band, with soul singers Kem and Rashaan Patterson. She also appeared as a headliner at several music festivals including the Saint Lucia Jazz Festival and the Reggae Sumfest in Jamaica. In October 2005, she received good notices as an opening act for Kanye West's Touch the Sky Tour.^[12]

[edit] 2006–2007: Fantasia and The Color Purple on Broadway

In 2006, Barrino was nominated for three Grammy Awards for her debut album. Though she did not win any awards, she performed at the 48th annual telecast with several artists including Aerosmith, Joss Stone, John Legend, Maroon 5, and Ciara in an all-star tribute to Sly and the Family Stone during the Grammy Award show.

In August 2006, Fantasia played herself in a Lifetime Television film based on her autobiography Life Is Not a Fairy Tale. The film was directed by Debbie Allen and debuted on the women’s cable network on August 19, 2006. The movie received nineteen million viewers throughout its debut weekend. Life Is Not a Fairy Tale: The Fantasia Barrino Story has also become Lifetime's second most viewed program of all time.^[13]

Fantasia had many musical collaborations during the fall of 2006 including a remake of The Clark Sisters' "Endow Me" which featured Faith Evans, Lil' Mo, and Coko of SWV, a remake of Stevie Wonder's 1976 song "I Wish" with Patti LaBelle and Yolanda Adams for the soundtrack to the 2006 computer-animated film Happy Feet, and most notably her duet with Aretha Franklin which was recorded at that time and later released in 2007.

She released her self-titled second effort, Fantasia, on December 12, 2006. The album involved production by Missy Elliott, Swizz Beatz, Babyface, Diane Warren, and others, and has since spawned the singles "Hood Boy" produced by Tone Mason, "When I See U", and "Only One U" and went on to be certified gold.^[14] "When I See You" became her first single to top the Hot R&B/Hip-Hop Songs chart, remaining at the number one spot for eight consecutive weeks. The single stayed on the chart for over a year and was named number eight on the Billboard Best of The 2000s R&B/Hip-Hop Songs.^[15]

In February 2007, Fantasia appeared and performed on American Idol, and announced that she would be starring in the lead role of Celie in the Broadway musical The Color Purple, the hit musical based on the Pulitzer Prize-winning 1982 novel of the same name by Alice Walker. After appearing on American Idol and The Oprah Winfrey Show, the musical received a boost of over two million in pre-ticket sales in one week. Leading up to her first performance on April 10, 2007 the play garnered a total of 6.5 million in pre-ticket sales.

While playing the role, Fantasia earned rave reviews for her performance. New York Post critic Clive Barnes said, "... there is some elemental quality to Fantasia that is either greatness or something close to it." Upon her warm welcome to the stage Fantasia was asked to perform at the 2007 Tony Awards in a tribute to Atlanta's Alliance Theater in which The Color Purple got its start. In recognition of an outstanding stage debut performance, Fantasia was given the Theatre World Award and the Best Replacement Star Broadway.com Award. Fantasia was initially scheduled for a limited six-month engagement ending in October 2007 but had her run extended until January 6, 2008. The Color Purple box office saw a thirty-four-million-dollar jump in sales since Barrino started in the show, a third of the play's 100 million dollar earning since its debut in 2005. The New York Post reported that Barrino missed nearly fifty performances in the show, causing the producers to give back tens of thousands of dollars in refunds.^[16] In the September 2008 issue of Sister 2 Sister magazine, Barrino revealed that the reason for her absences in The Color Purple was because of the development of a cyst on her vocal cords. She was ordered to immediately undergo surgery which later revealed that she in fact had a tumor on her vocal cords. She now reports that after a successful surgery, the tumor was completely removed and she is now well.^[17]

[edit] 2008–2010: Back to Me and Fantasia for Real

Fantasia received two Grammy nominations for her sophomore release, Fantasia and subsequently began work on her third studio album in 2008. She stated on the red carpet of the 2008 Grammy Awards that the style of the new album would be a blending of the avenues she has touched musically, which include American Idol and Broadway. She also revealed that she would be writing some of the album's songs and would collaborate again with Missy Elliott, The Underdogs, and Midi Mafia, who produced one of her biggest hits, "When I See U".

Midi Mafia produced the majority of Fantasia's third studio album.^[18] Also, hip hop duo Rock City were confirmed to be writing for the new project. At the time, they had recorded four songs together. She also worked with songwriter/producer Rich King (Brandy "1st and love", Randy Jackson Music club vol.1, John Legend's "Quickly"), which spawned two songs with for her third release. KP, Eric Hudson and Raphael Saadiq are a few people that also became involved on the project. Fantasia confirmed that about 75% of the album was complete by mid-2009, and that fans should've expected a new single by the fall of 2009, with the album due to be released in early 2010. This was later delayed, and while recording her new album, Fantasia decided to do a great deal of it the "old fashioned way," inviting a live orchestra to record in the studio with her.^[19]

Fantasia was then cast by Oprah Winfrey as Celie in the film adaptation of The Color Purple musical, which began production after the release of her third album, as Fantasia confirmed to MTV News on March 5, 2008.^[20]

In June 2008, Entertainment Weekly reported that Fantasia was dropped from 19 Entertainment because of creative differences, however, she will remain with 19 Recordings and J Records. She also revealed that after the release of her third album, she plans to release a gospel album.^[21] She performed with her mother, Diane Barrino, in a Thanksgiving special on BET's Bobby Jones Gospel. Fantasia also appeared on Jennifer Hudson's self-titled album, on the song "I'm His Only Woman", which was nominated for a 2009 Grammy Award, though it did not win.

Fantasia reprised the role of Celie in the national tour of The Color Purple during its Washington D.C., Chicago, Atlanta, and Los Angeles stops.^[22]

Fantasia also stars in a reality show produced by World of Wonder. Titled Fantasia for Real, it premiered on January 11, 2010, on VH1 to rave reviews and ratings.^[23] The show's first season ended in July 2010 with its second began on September 19, 2010.

On February 2, 2010, "Even Angels", produced by The Stereotypes and written by Heather Bright, was never released to radio from Fantasia's third studio album. She performed the song on The Oprah Winfrey Show on February 3, 2010.^[24] The album's first official single, "Bittersweet", was released on May 11, 2010 and has gone on to reach number seven on the Hot R&B/Hip-Hop Songs chart as well as number seventy-four on the Billboard Hot 100.^[25]

Fantasia's third studio album, Back to Me, was released on August 24, 2010.^[26] Fantasia cited Tina Turner, Queen and Aretha Franklin as influences, and like musicians she admired from their era, she recorded with a live band.^[27] The album has been promoted by appearances on Good Morning America and The Wendy Williams Show among others. On March 28, 2010, Barrino also performed "America the Beautiful" at WWE WrestleMania XXVI. To promote the album, Barrino embarked on her first solo concert tour, Back to Me Tour in the fall of 2010.^[28]

Barrino appeared on Charlie Wilson's album Just Charlie, on "I Want to Be Your Man."

In the summer of 2010, she appeared as a guest judge alongside Wayne Brady, on episode 11, of RuPaul's Drag Race.

2011-present: Grammy Award, film and fourth studio album[link]

On February 13, 2011, Fantasia won her first Grammy Award for Best Female R&B Vocal Performance for "Bittersweet".

In 2011, Barrino was cast in her first film role, playing gospel singer Mahalia Jackson in a biopic based on the 1993 book Got to Tell It: Mahalia Jackson, Queen of Gospel.^[29] It was later reported that the film was fully endorsed by the Mahalia Jackson estate. Fantasia also would receive not only the top salary in the project but a percentage of the box office revenue the film creates. Production was originally planned to begin on October 2011 in New Orleans and Chicago with a release date of late 2012 and a premiere at the Cannes Film Festival.^[30] It was however reported later that Fantasia may have lost the film role after she announced her pregnancy in August 2011, with members of Mahalia Jackson’s estate reportedly being unhappy that Barrino got pregnant by a married man, and producers were mad that she did not disclose her pregnancy. It was also reported that scheduling conflicts had arisen due to Barrino’s pregnancy, which may force the director to drop from the project.^[31] Double Dutch Productions LLC, the production company behind Mahalia!, released a statement, which read it "extends apologies to Fantasia Barrino for the inaccurate, non-factual and disparaging statements of Ms. Barrino’s reputation, character and image."^[32]

During an interview with CNN, Aretha Franklin has expressed interests in casting Barrino to play her in an upcoming biopic.^[33]

On October 7, RCA Music Group announced it was disbanding J Records along with Arista Records and Jive Records. With the shutdown, Barrino (and all other artists previously signed to these three labels) will release her future material on the RCA Records brand.^[34][35]

On February 13, 2012 VH1 named Barino 32nd out of the 100 Greatest Women in Music.^[36]

Barrino confirmed via Twitter that she was back in the studio working on her fourth studio album.

Personal life[link]

In September 2005, Barrino published a memoir, dictated to a freelance writer, titled Life Is Not a Fairy Tale. The book became a New York Times best-seller, reaching number seven on the list.^{[citation needed]} In it, she revealed she is functionally illiterate and was unable to read the text of contracts she signed or to read to her then four-year-old daughter.^[37] In 2006, following the release of her autobiography, Life Is Not a Fairy Tale, Barrino's father sued her for $10 million after she said unflattering things about him in the book that he claimed were false.^[38]

On December 9, 2008, Barrino's 6,600-square-foot (610 m²), lakefront home in Charlotte's Glynmoor Lakes at Piper Glen community was in foreclosure and would be up for auction. Her 4,500-square-foot (420 m²) home, also in Piper Glen, is unaffected.^[39][40] The home was due to be auctioned in January 2009 by the Mecklenburg County Sheriff's Office after the company Broward Energy Partners, which had paid over $68,000 of her taxes in 2006, said it had not been fully repaid. The auction earnings were to be used to finish reimbursing the company for the loan,^[41] on which Barrino had only paid back $10,000.^[42] The auction was canceled after Barrino's attorneys and the lender reach an "eleventh-hour deal", the details of which were not disclosed.^[42]

Her uncles, The Barrino Brothers, were a 1970s R&B band and her brother is Grand Hustle recording artist Ricco Barrino.

An August 2010 divorce filing in Mecklenburg County District Court alleges that Barrino has had a year-long relationship with Antwaun Cook, who was married.^[43] Barrino claimed the two began dating after Cook and his wife separated.^[44]

On August 9, 2010, Barrino was hospitalized in Pineville, North Carolina,^[45] due to overdosing on aspirin and an unknown sleep aid. Dickens said, "'Her injuries are not life threatening … she was dehydrated and exhausted at the time."^[46] The Charlotte-Mecklenburg Police Department classified the incident as a suicide attempt.^[46] In transcript segments released the day before an August 24, 2010, interview on the VH1 series Behind the Music, Barrino confirmed the incident was a suicide attempt, saying, "I didn't care about anything. I just wanted out. At that moment I wanted out. I wanted it to be over with...."^[47] Barrino denied rumors that the incident was a publicity stunt.^[44]

Afterward, Barrino said, "Music saved me. When I went in the hospital, I went into the computer room, and I looked up artists who've been through things, artists who sing from their soul. I took my cues from them, and I just put my mind and everything into music."^[27] She also relied on her family, something she had not done earlier in her career.^[27] Barrino testified in court that she aborted her and Cook's fetus around the time of her failed suicide attempt.^[48]

In late August 2010, the ex-wife of Antwuan Cook, Paula Cook, accused Barrino of knowingly pursuing a relationship with her husband despite knowledge of their existing marriage. In December 2010, a North Carolina judge ruled in Barrino's favor stating the Cooks' separation date was September 14, 2009, and not June 2010 as Paula previously claimed. No information was given yet as to how the decision of the court will affect Paula's original plan to sue Fantasia under North Carolina's Alienation of affections Law which allows the abandoned spouse to file a suit against the individual(s) responsible for the failure of the marriage.^[49]

On August 1, 2011, Barrino announced a second pregnancy during a charity concert event in Jacksonville, Florida. She did not reveal the name of the father.^[50] On September 13, 2011 it was confirmed that the singer would be having a boy. On December 13, 2011 she gave birth to a son, Dallas Xavier Barrino by Antwaun Cook.^[51]

Filmography[link]

Films

• Life Is Not a Fairy Tale (2006) as herself
• Mahalia! (2012) (as Mahalia Jackson; lead role in the film)

Theatre

• The Color Purple (2007) as Celie
• Soul Kitten's Cabaret (2011) (Good Conscience)

Television appearances[link]

• American Idol (2004) (Contestant/Winner in 2004 and has made numerous musical guest appearances on seasons afterwards)
• The Simpsons (2005) She plays Clarissa Wellington in the episode A Star Is Torn.
• An Evening of Stars: Tribute to Aretha Franklin (2007)(Herself; tribute performer singing "Rock Steady" & "Baby I Love You")
• An Evening of Stars: Tribute to Patti LaBelle (2009) (Herself; tribute performer singing "Lady Marmalade" and "Somebody Loves You Baby (You Know Who It Is)")
• Soul Train Awards (2009;Tribute to Chaka Khan singing "Tell Me Something Good")
• BET Celebration of Gospel (Appeared in numerous years singing)
• Fantasia for Real (2010–present)
• Wrestlemania 26 (2010) (singing America the Beautiful)
• Black Girls Rock (2010) (Herself, singing "A Brand New Day" and "I'm Every Woman")
• An Evening of Stars: Tribute to Chaka Khan (2011) (Herself; tribute performer singing "Tell Me Something Good")
• RuPaul's Drag Race (2011) (Celebrity Guest Judge on Season 3)
• American Idol (2011) (guest performer Season 10)
• Super Bowl Gospel Celebration (2012) (Performed "Total Praise" alone & "He's Done Enough" with her mother Diane Barrino)

Discography[link]

• Free Yourself (2004)
• Fantasia (2006)
• Back to Me (2010)

Awards and nominations[link]

References[link]

External links[link]

• Official Fantasia Barrino official website
• Official YouTube

• Fantasia Barrino at the Internet Movie Database
• Fantasia Barrino at the Internet Broadway Database
• Excerpt, Life Is Not a Fairy Tale
• "Fantasia's Memoirs Reveal Experiences With Illiteracy, Rape", ABC News, September 30, 2005

1875 oil painting by Wilhelm August Rieder, after his own 1825 watercolor portrait

Franz Peter Schubert (German pronunciation: [ˈfʁants ˈʃuːbɛɐ̯t]; 31 January 1797 – 19 November 1828) was an Austrian composer.

Although he died at the age of 31, Schubert was a prolific composer, having written some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers.

Biography[link]

Early life and education[link]

Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783),^[1] nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended.^[2] He was not a musician of fame or with formal training, but he taught his son some elements of music.^[3]

The house in which Schubert was born, today Nussdorfer Strasse 54, in the 9th district of Vienna.

At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father's school. His formal musical education also started around the same time. His father continued to teach him the basics of the violin,^[3] and his brother Ignaz gave him piano lessons.^[4] At the age of seven, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration^[5] and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments.^[6] He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble.^[7]

Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized.^[7] In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart.^[8] His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge.^[9] One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an important Lied composer of the time, which, his friend Joseph von Spaun reported, he "wanted to modernize".^[10] Schubert's friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper.^[9]

Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to begin training him privately in musical composition and theory in these years.^[11] It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother),^[12] a cantata for guitar and male voices (D. 110, in honor of his father's birthday in 1813), and his first symphony (D. 82).^[13]

	Mass No. 2 in G, D. 167 Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Performance by the MIT Concert Choir
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Teacher at his father's school[link]

At the end of 1813, he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father's school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success.^[14] There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817.^[11]

In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in September^[15] 1814.^[14] Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815,^[16] which required the ability to show the means to support a family.^[17] In November 1816, after failing to gain a position at Laibach, Schubert sent Grob's brother Heinrich a collection of songs, which were retained by her family into the 20th century.^[18][18][18]

One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder.^[19] In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814.^[20] Maynard Solomon suggested that Schubert was erotically attracted to men,^[21] a thesis that has, at times, been heatedly debated.^[22] Musicologist and Schubert expert Rita Steblin claimed that he was "chasing women".^[23]

Supported by friends[link]

Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another."^[24] During this year, he focused on orchestral and choral works, although he also continued to write Lieder.^[25] Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.^[26]

Schubert and Vogl

In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music.^[27] These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving, his work.^[28]

In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career.^[29] However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.^[30]

Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay was relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. Marie and Karoline both being his piano students, and the original score of "Marche Militaire" being a piano duet, lend credence to this view. On his return from Zseliz, he took up residence with his friend Mayrhofer.^[29] The respite at Zseliz led to a succession of compositions for piano duet.^[31]

During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as "Schubertiaden". The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language".^[32] While Schubert never saw Senn again, he did set some of his poems, "Selige Welt" and "Schwanengesang", to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.^[33]

He was nicknamed "Schwämmerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom". "Schwammerl" is Austrian (and other) dialect for mushroom; the umlaut makes it a diminutive.

The Wanderer Fantasy D. 760 I. Allegro con fuoco II. Adagio III. Presto IV. Allegro Performed by Daniel Blanch. Courtesy of Musopen

Musical maturity[link]

The compositions of 1819 and 1820 show a marked advance in development and maturity of style.^[34] The unfinished oratorio "Lazarus" (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the "Wanderer Fantasy" for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert's operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on 21 August.^[35] Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public.^[35] Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission.^[36] The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever paid him. The situation improved somewhat in March 1821 when Vogl sang "Der Erlkönig" at a concert that was extremely well received.^[37] That month, Schubert composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein.

	Piano sonata in B♭, D. 960 (composed in 1828) 1. Molto moderato 2. Andante sostenuto 3. Scherzo. Allegro vivace con delicatezza 4. Allegro, ma non troppo Performed by Randolph Hokanson
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The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he produced seventeen stage works, each of them failures which were quickly forgotten. In 1822, Alfonso und Estrella was refused, partly owing to its libretto.^[38] Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe.^[39] Die Verschworenen (The Conspirators, D. 787) was prohibited by the censor (apparently on the grounds of its title),^[40] and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man's gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert's music – especially not the instrumental works – as so little of it was printed or performed in the composer's lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed, "Truly, the spark of divine genius resides in this Schubert!"^[41] but what would have come of it if he had recovered we can never know.

Schubert in 1825 (watercolor by Wilhelm August Rieder)

In the autumn of 1822, Schubert embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements and sketches some way into a third remains an enigma, and it is also remarkable that he did not mention it to any of his friends even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving.

Last years and masterworks[link]

In 1823 Schubert, in addition to Fierrabras, also wrote his first song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller.^[42] This series, together with the later cycle "Winterreise" (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder.^{[citation needed]} He also composed the song Du bist die Ruh ("You are stillness/peace") D. 776 during this year. Also in that year, symptoms of syphilis first appeared.^[43]

In the spring of 1824 he wrote the Octet in F (D. 803), "A Sketch for a Grand Symphony"; and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, and wrote the Divertissement à la hongroise (D. 818) for piano duet and the String Quartet in A minor (D. 804).

It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his Fantasie in F minor (D. 940) for piano duet.^[44] His friend Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:

In love with a Countess of youthful grace,
—A pupil of Galt's; in desperate case
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother^[45]

Despite his preoccupation with the stage, and later with his official duties, he found time during these years for a significant amount of composition. He completed the Mass in A flat (fr) (D. 678) and, in 1822, began the "Unfinished Symphony" (Symphony No. 8 in B minor, D. 759). Why the symphony was "unfinished" has been debated endlessly without resolution. In 1824, he wrote the variations for flute and piano on "Trockne Blumen", from the cycle Die schöne Müllerin, and several string quartets. He also wrote the Arpeggione Sonata (D. 821), at a time when there was a minor craze over that instrument.^[46]

Ellens dritter Gesang (Ave Maria), D. 839 Performed by Dorothea Fayne (voice) and Uwe Streibel (piano)

The setbacks of previous years were compensated for by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; and in the summer he had a pleasant holiday in Upper Austria, where he was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains Ellens dritter Gesang (D. 839), a setting of Adam Storck's German translation of Scott's hymn from The Lady of the Lake, which is widely, though mistakenly, referred to as "Schubert's Ave Maria". It opens with the greeting Ave Maria, which recurs in the refrain; the entire Scott/Storck text in Schubert's song is frequently substituted with the complete Latin text of the traditional Ave Maria prayer.^[47] In 1825, Schubert also wrote the Piano Sonata in A minor (Op. 42, D. 845), and began the "Great" C major Symphony (Symphony No. 9, D. 944), which was completed the following year.^[48]

Schubert in 1827 (oil on canvas, by Anton Depauly)

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz in 1827. The history of his life during these three years was comparatively uninteresting, and is little more than a record of his compositions. In 1826, he dedicated a symphony (D. 944, that later came to be known as the "Great") to the Gesellschaft der Musikfreunde and received an honorarium in return.^[49] In the spring of 1828, he gave, for the first and only time in his career, a public concert of his own works, which was very well received.^[50] The compositions themselves are a sufficient biography. The String Quartet in D minor (D. 810), with the variations on "Death and the Maiden", was written during the winter of 1825–1826, and first played on 25 January 1826. Later in the year came the String Quartet in G major, (D. 887, Op. 161), the "Rondeau brillant" for piano and violin (D. 895, Op. 70), and the Piano Sonata in G (D. 894, Op. 78) (first published under the title "Fantasia in G"). To these should be added the three Shakespearian songs, of which "Hark! Hark! the Lark" (D. 889) and "An Sylvia" (D. 891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening.^[51]

In 1827, Schubert wrote the song cycle Winterreise (D. 911), a colossal peak in art song ("remarkable" was the way it was described at the Schubertiades), the Fantasia for piano and violin in C (D. 934), the Impromptus for piano, and the two piano trios (the first in B flat (D. 898), and the second in E flat, D. 929);^[52] in 1828 the Mirjams Siegesgesang (Song of Miriam, D. 942) on a text by Franz Grillparzer, the Mass in E-flat (D. 950), the Tantum Ergo (D. 962) in the same key, the String Quintet in C (D. 956), the second Benedictus to the Mass in C, the last three piano sonatas, and the collection of songs published posthumously as Schwanengesang ("Swan-song", D. 957).^[53] This collection, while not a true song cycle, retains a unity of style amongst the individual songs, touching depths of tragedy and of the morbidly supernatural which had rarely been plumbed by any composer in the century preceding it. Six of these are set to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. The Symphony No. 9 (D. 944) is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825 – that work, once considered lost, now is generally seen as an early stage of his C major symphony) and was revised for prospective performance in 1828. This huge, Beethovenian work was declared "unplayable" by a Viennese orchestra.^[54] This was a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for most of his larger-scale works during his lifetime. In the last weeks of his life, he began to sketch three movements for a new Symphony in D (D. 936A).^[55]

Impromptu in B♭ D. 935 No. 3 This Impromptu is a theme and variations based on a theme from Rosamunde. Performed by Randolph Hokanson.

The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche and human relationships, and with a deeper sense of spiritual awareness and conception of the 'beyond'. He reaches extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles. For example, the song Der Doppelgänger reaching an extraordinary climax, conveying madness at the realization of rejection and imminent death – a stark and visionary picture in sound and words that had been prefigured a year before by "Der Leiermann" (The Hurdy-Gurdy Man) at the end of Winterreise – and yet the composer is able to touch repose and communion with the infinite in the almost timeless ebb and flow of the String Quintet and his last three piano sonatas, moving between joyful, vibrant poetry and remote introspection. Even in large-scale works he was sometimes using increasingly sparse textures; Newbould compares his writing in the fragmentary Tenth Symphony (D. 936A), probably the work of his very last two months with Mahler's use of folksong-like harmonics and bare soundscapes.^[56] Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter.^[57]

Final illness and death[link]

Franz Schubert's first tomb at Währing

In the midst of this creative activity, his health deteriorated. The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis.^[58] By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was near death.^{[59][page needed]} In the late summer of 1828, the composer saw court physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon.^{[60][page needed]} Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it).^[61] At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting. He was generally unable to retain solid food and his condition worsened. Schubert died in Vienna, at age 31, on 19 November 1828, at the apartment of his brother Ferdinand. The last musical work he had wished to hear was Beethoven's String Quartet No. 14 in C sharp minor, Op. 131; his friend, violinist Karl Holz, who was present at the gathering, 5 days before Schubert's death, commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing".^[62] It was next to Beethoven, whom he had admired all his life, that Schubert was buried by his own request, in the village cemetery of Währing.^[63]

In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark.^[63] In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof, where they can now be found next to those of Johann Strauss II and Johannes Brahms.^[64] The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust.

Music[link]

Franz Schubert memorial by Karl Kundmann in Vienna's Stadtpark

Schubert wrote almost 1000 works in a remarkably short career. The largest number of these are songs (over 600). He wrote seven complete symphonies, as well as the two movements of the "Unfinished" Symphony, a complete sketch (with partial orchestration) of a ninth, and arguable fragments of a tenth. There is a large body of music for solo piano, including 21 complete sonatas and many short dances, and a relatively large set of works for piano duet. There are nearly 30 chamber works, including some fragmentary works. His choral output includes six masses.^[65] He completed only half of his eighteen operatic projects,^[66] and composed no concertos.

Style and reception[link]

In July 1947 the twentieth-century composer Ernst Krenek discussed Schubert's style, abashedly admitting that he 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 Bach or Beethoven". Krenek wrote that he reached a completely different assessment after close study of Schubert's songs at the urging of 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 molds; on the contrary he was a thinking artist with a keen appetite for experimentation."^[67]

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 manifests itself as a notably original sense of modulation, as in the second movement of the String Quintet, where he modulates from C major, through E major, to reach the tonic key of C♯ major.^[68] It also appears in unusual choices of instrumentation, as in the Arpeggione Sonata or the unconventional scoring of the Trout Quintet.

The Arpeggione Sonata, D. 821 I. Allegro Moderato 2. Adagio and 3. Allegretto Performed by Hans Goldstein (cello) and Clinton Adams (piano)

While he was clearly influenced by the Classical sonata forms of Beethoven and Mozart (his early works, among them notably the 5th Symphony, are particularly Mozartean), his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama.^[69] This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his 9th Symphony was described by Robert Schumann as running to "heavenly lengths".^[70] His harmonic innovations include movements in which the first section ends in the key of the subdominant rather than the dominant (as in the last movement of the Trout Quintet). Schubert's practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end.^{[citation needed]}

It was in the genre of the Lied, however, that Schubert made his most indelible mark. Leon Plantinga remarks, "In his more than six hundred Lieder he explored and expanded the potentialities of the genre as no composer before him."^[71] Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities burgeoned by the stirrings of Romantic nationalism.^[72] Among Schubert's treatments of the poetry of Goethe, his settings of Gretchen am Spinnrade and Der Erlkönig are particularly striking for their dramatic content, forward-looking uses of harmony, and their 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 Erlkönig.^[73] He has composed music using the poems of a myriad of poets, with Goethe, Mayrhofer and Schiller being the top three most frequent, and others like Heinrich Heine, Friedrich Rückert and Joseph Freiherr von Eichendorff among many others. Also of particular note are his two song cycles 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 song cycle published in 1828 before his death, Schwanengesang, is also an innovative contribution to German lieder literature, as it features poems by different poets, namely Ludwig Rellstab, Heinrich Heine and Johann Gabriel Seidl. The Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing or hear without being deeply moved".^[74] 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."^[75]

Schubert's compositional style progressed rapidly throughout his short life.^[76] The loss of potential masterpieces caused by his early death at age 31 was perhaps best expressed in the epitaph on his large tombstone written by the poet Franz Grillparzer, "Here music has buried a treasure, but even fairer hopes."^[77]

Schubert's chamber music continues to be popular. In a poll of classical music listeners announced in October 2008, the ABC in Australia found that Schubert's chamber works dominated the field, with the Trout Quintet coming first, followed by two of his other works.^[78]

The New York Times music critic, Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote, "Four? Schubert. You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone – including the haunting cycle “Winterreise,” which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life.... Schubert’s first few symphonies may be works in progress. But the “Unfinished” and especially the Ninth Symphony are astonishing. The Ninth paves the way for Bruckner and prefigures Mahler.".^[79]

Posthumous history of Schubert's music[link]

Interior of museum at Schubert's birthplace, Vienna, 1914

Some of his smaller pieces were printed shortly after his death, 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.^[80] 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.^[81] In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major symphony (the "Great", D. 944) and took it back to Leipzig, where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. The most important step towards the recovery of the neglected works was the journey to Vienna which Sir George Grove (widely known for the Grove Dictionary of Music and Musicians) and Arthur Sullivan made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the Rosamunde incidental music, some of the Masses and operas, some of the chamber works, and a vast quantity of miscellaneous pieces and songs.^[80] This led to more widespread public interest in Schubert's work.^[82]

Posthumous lithograph by Joseph Kriehuber

From the 1830s through the 1870s, Franz Liszt transcribed and arranged a number of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived."^[83] Schubert's symphonies were of particular interest to Antonín Dvořák, with Hector Berlioz and Anton Bruckner acknowledging the influence of the "Great" Symphony.^[84]

In 1897, the publisher Breitkopf & Härtel released a critical edition of Schubert's works, under the general editing of Johannes Brahms, enabling a wider dissemination of his music. In the 20th century, composers such as Benjamin Britten, Richard Strauss, and George Crumb either championed or paid homage to Schubert in their work. Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.^[84]

Numbering of symphonies[link]

Confusion arose quite early over the numbering of Schubert's symphonies, in particular the "Great" C Major Symphony. George Grove, who rediscovered many of Schubert's symphonies, assigned the following numbering after his 1867 visit to Vienna:

• Number 7: E major D. 729 (completely sketched but not completely scored by Schubert, with multiple historic and modern completions)
• Number 8: B minor Unfinished D. 759
• Number 9: C major Great D. 944.

Breitkopf & Härtel, when preparing the 1897 complete works publication, originally planned to publish only complete works (which would have given the Great number 7), with "fragments", including the Unfinished and the D. 729 sketch, receiving no number at all. When Johannes Brahms became general editor of that project, he assigned the following numbers:^[85]

• Number 7: C major Great
• Number 8: B minor Unfinished
• no number: E major D. 729.

	Examples of Works for violin and piano Rondeau brillant, D. 895, Op. 70 Fantasia in C major, D. 934 Performed by Denes Zsigmondy (violin) and Annaliese Nissen(piano)
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Some of the disagreement continued into the 20th century. George Grove in his 1908 Dictionary of Music and Musicians, assigned the Great as number 10, and the Unfinished as number 9. (It is unclear from his article which symphonies, fragmentary or otherwise, are numbers 7 and 8.)^[86] However, the Unfinished is now generally referred to as number 8 in the English-speaking world, with the Great at number 9. Number 10 is generally acknowledged to be the D. 936a fragment, for which a completion by Brian Newbould exists. The 1978 revision to the Deutsch catalog leaves D. 729 without a number (in spite of numerous completions), and assigns number 7 to the Unfinished and number 8 to the Great.^[87] As a consequence, generally available scores for the later symphonies may be published using conflicting numbers.^[88]

Grove and Sullivan also suggested that there may have been a "lost" symphony. Immediately before Schubert's death, his friend Eduard von Bauernfeld recorded the existence of an additional symphony, dated 1828 (although this does not necessarily indicate the year of composition) named the "Letzte" or "Last" symphony. Brian Newbould^[55] believes that the "Last" symphony refers to a sketch in D major (D. 936A), identified by Ernst Hilmar in 1977, and which was realised by Newbould as the Tenth Symphony. The fragment was bound with other symphony fragments (D. 615 and D. 708a) that Schubert had apparently intended to combine.^[55]

Commemorations[link]

In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognizing Schubert as the creator of the art song, and one of Austria's favorite sons.^[89][90] Karlsruhe saw the first production of his opera Fierrabras.^[91]

In 1928, Schubert week was held in Europe and the United States to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory".^[92] The winning entry was Kurt Atterberg's sixth symphony.^[92]

In 1977, the German electronic band Kraftwerk recorded a tribute song called "Franz Schubert", which can be found on the album Trans-Europe Express.^[93]

Schubert has featured as a character in a number of films including The Great Awakening (1941) and Franz Schubert (1953).

Catalogue[link]

Since relatively few of Schubert's works were published in his lifetime, only a small number of them have opus numbers assigned, and, even in those cases, the sequence of the numbers does not give a good indication of the order of composition. In 1951, musicologist Otto Erich Deutsch published a "thematic catalogue" of Schubert's works that lists his compositions numerically by their composition date.

• Catalogue by Deutsch number: D 1 to 500 – D 501 to 998
• List of compositions by Franz Schubert – by musical genre
• Wikipedia articles about Schubert's compositions

Notes[link]