O compositor musical mais desprezado de todos os tempos

When we think of the great names in classical music, Mozart, Beethoven, and Chopin immediately come to mind. But there is a genius who, despite having written some of the most moving and beautiful music of all time, lived almost anonymously, poor, without recognition, and without a home of his own. He is Franz Schubert, and in this video I want to show you why I believe he can be considered the most despised (or underestimated) composer of all time. ========== If you are starting out on the piano or want to deepen your technique, I invite you to check out my course "From Zero to Für Elise". There, you will find a structured path to develop your technique and musicality, made especially for adults to develop on the piano. Here are the details: https://www.metodorealdepiano.com.br/... ========== Schubert died very young, at 31. Even so, he left behind a gigantic body of work: more than 600 songs, nine symphonies (one unfinished and others forgotten in drawers), dozens of quartets, piano sonatas, and masses. And all this without holding important positions, without major travels or stable sponsorships. His life was a constant improvisation, living in rooms borrowed from friends and surviving on small music lessons, surrounded by a loyal circle of fellow artists. It's interesting to think that, while Bach was Kapellmeister, Mozart shone on the Viennese stages, and Beethoven became a revolutionary icon, Schubert lived almost in hiding. Most of his works were only published after his death. He was even a student of Antonio Salieri (yes, the same Salieri portrayed in the film Amadeus as Mozart's rival). While Salieri wrote grandiose operas, Schubert preferred the intimacy of a piano and a voice. Despite this, Schubert was incredibly disciplined. He composed every day, starting in the morning and sometimes writing two or three songs a day. If Mozart revolutionized the piano concerto and Beethoven the symphonies, Schubert completely transformed the genre of the song (the German Lied). He didn't write popular songs, but rather music based on poems by great authors like Goethe and Schiller. At 17, he had already written "Gretchen am Spinnrade," inspired by Goethe's Faust, where the piano imitates a spinning wheel and the singer's voice reveals the anguish of a young woman in love. In just three minutes, he creates a small theater piece, more intense than many entire operas. It's common to say that Schubert was merely a great melodist, a composer of short songs. This is a great injustice and a misconception, because, despite having mastered this genre very well, his larger works (such as symphonies, sonatas, and quartets) are full of innovations, surprises, and marvelous things. A beautiful example is the Symphony No. 8, known as "Unfinished," with only two movements, but an impressive density. Schubert's secret in these larger pieces lies in the way he handles time. He doesn't conduct the music like Beethoven, who advances like an architect, organizing everything in a very logical way. Schubert lets the music breathe, repeat, transform little by little, as if we were lost in a dream. Schubert's humility wasn't only in his personal life, but also in his music. He didn't write to display technique or impress. He simply offered beauty, always restrained, always noble, always with a certain measured discretion. After his death, several of his songs, such as the "Serenade" from the "Schwanengesang" (Swan Song) cycle, became very well-known and loved throughout the world. It's also interesting to consider that his work is larger in volume than Mozart's. He finished his ninth symphony at age 29, while Beethoven, at the same age, had only begun his Fifth Symphony. Even as a teenager, Schubert had already written string quartets that could easily rival Haydn or Mozart. His piano music, which some pianists view with a bit of suspicion (as if it were rudimentary), is actually so wonderful that it paved the way for the work of Chopin and Schumann, with their Impromptus, Musical Moments, and sonatas (especially those he wrote later). Among his last works is one of my favorites: the Sonata in B-flat major (D. 960). The second movement of this sonata is almost a farewell from Schubert. Pianist André Schiff beautifully describes the initial melody as sounding like someone who no longer has the strength to sing. But suddenly, the music continues, and he is reborn, resurrected in that moment. ========== Contact: Instagram:   / felipescagliusireal   Email: [email protected] ========== 00:00 The Underestimated 00:30 Life in Improvisation 01:17 Style 03:45 Different Tempo 08:05 Anti-Show-Off 09:43 Music for Piano 12:34 Full