All language subtitles for Now Hear This PBS Series 2 2of3 The Schubert Generation EN

♪♪

-Next, on "Great
Performances"...

I'm Scott Yoo.

Come with me to discover

one of the most inspirational
composers of all time.

-His music is quite magical
and supernatural.

-Franz Schubert died early
and unrecognized,

but what he left behind
was eternal.

-It's almost
as if he didn't realize

how brilliant he was, maybe.
[ Laughs ]

-I get to know the spirit
of his work

with a new generation
of musicians,

none of them older than
Schubert during his career.

Even at 18, he's already one
of the greatest composers

to ever live.
-I totally agree.

-Through their eyes,
I'll discover

what shaped his genius...

It's poetry set to music.

...and why he has moved
so many,

so deeply, ever since.

-[ Singing ]

♪ Come to me

-Every note has to be so pure...

but it's the most gratifying
music to play, too.

♪♪

-Coming up,
"The Schubert Generation,"

a new episode from the music
series "Now Hear This."

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-In the fall of 1828,
Franz Schubert died.

He was just 31 years old.

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We now consider him one
of our greatest composers,

but he spent his short,
brilliant life struggling

to make it in the musical
capital of his day, Vienna.

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[ Horns honking ]
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To understand his hardships,
his inspiration, and his genius,

I was off to see brilliant
young musicians of our time,

all of them Schubert's age
when he wrote this music.

And, just as he did,

they're working to build
their careers

in some of the musical
capitals of our time.

♪♪

I'd start in New York,
at Steinway Hall,

with rising star Kenny Broberg.

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-Bravo, man.
-Thanks.

-Sounds fantastic.

That's Schubert's
first piano sonata.

-Mm-hmm.
-So he wrote this thing

when he was like...?
-He was 18 years old.

-I don't know about you,
but, when I was 18,

I wasn't doing stuff like that.

-Yeah, it makes me feel like

I should've done more.
-Pretty incredible.

It's pretty incredible.
-Yeah.

-And what I've read
is that, apparently,

Schubert played
Haydn symphonies,

Mozart symphonies,
Beethoven symphonies,

as a violist
in his school orchestra,

under Salieri,

the guy who was
the villain in "Amadeus,"

but actually was a nice guy.
-Not really a villain.

Yeah. [ Laughs ]
-He was a nice guy.

And you can almost hear
the Haydn, you know,

all the little sort of jokes

and, you know,
sort of funny turns.

-Yeah, absolutely, you can.

But you can also hear Schubert
starting to find

his own voice a little bit.

There's this very playful
grace note pattern.

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And this is very Haydnesque.

But, with Schubert,
he takes these grace notes

and you can see him start
to make a motive of it.

He takes things that you would
normally just think

are coloring
and he makes them important.

-So the decoration
becomes its own melody.

-Yes.
-Interesting.

It astounds me that even at 18,

you can hear the greatness
in Schubert.

He's already one of the greatest
composers to ever live.

-Yeah, I totally agree.

♪♪

-Though he was writing
piano music at just 18,

Schubert began his career
even earlier,

writing art songs
in German called "lieder."

New York musicians
Kara and Peter Dugan

are on the road in Montreal

playing some of
these Schubert songs.

-Peter, were you always
playing lieder,

or were you
trying to impress Kara?

-I actually fell in love
with lieder a little bit

before I fell in love with Kara,
but she kind of sealed the deal.

[ Laughter ]

-What are you going to be
singing for us today?

-We're going to do
"Gretchen am Spinnrade,"

which is a song by Schubert.

-This is one of his
first songs, right?

-That's right.

He wrote this piece
when he was 17 years old.

-Can you imagine?
-Can you imagine?

I know, it's so incredible.

And at this point in time he had
finished his schooling,

and he was going to work
with his father and teach music.

But after reading
Goethe's "Faust,"

he had to write this piece,
and it changes his whole life.

This sort of was his first
masterpiece in the beginning

of what would be
his culmination of 600 lieder.

-In 31 years.
-Yeah.

-It's almost impossible.

-And also the whole idea
of an art song

hadn't really taken its place

as a genre until Schubert
kind of mastered that.

-Wait. This is not a folk song?
-No.

-This is not opera?
-No.

-This is not something sacred?
-It's poetry set to music.

That's what art song is.

-Melding two of the fine arts.

-Absolutely, which is one
of the things that makes it

so special for us to perform,

because we get to really dive
deep into the art of poetry

as part of our interpretation.

So Gretchen is this young,
innocent girl, basically.

She's still a teenager.
-Yeah.

About 16 years old.

-And she's been --
She's just had

her first romantic encounter
with Faust,

who has already made his deal
with the devil.

And they have their first kiss.

She comes home and she's at her
spinning wheel,

and she's feeling like, uh...

finish my sentence.
-Yes.

She's feeling overcome
with this passion

and the emotion from her
first encounter with Faust.

And she starts to talk about
how wonderful he is,

and then she finally relives
that moment of the kiss.

-Hmm. That's cool.

-There's been a perpetual motion
in the piano the whole time...

[ Playing repetitive notes ]
...just going on and on.

That's the wheel
just spinning and spinning.

And when she says
the word "kuss,"

for kiss,
suddenly everything stops,

and you get the impression that
the wheel has stopped moving.

And then it gradually restarts.

Just a little bit.
Not quite there yet.

And then...we're back
to the cycle.

-I think we're definitely not
in the Classical era anymore.

-Yeah, exactly.

Schubert was interesting in that
he was a defining character

as that shift happened
from Classical

to what we think of
as the Romantic era.

-Maybe we'll start at the
beginning of the second verse.

-Yeah, that's great.

I'll give you an extra bar
to lead you in,

and then let's do it.
-Sounds great.

[ "Gretchen am Spinnrade"
plays ]

-[ Singing in German ]

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[ Singing continues ]

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[ Men singing in German ]

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-I went downtown
to a historic Montreal bank

that's been turned into a cafe.

[ Singing continues ]

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I'd been invited to
a modern-day Schubertiade.

That's what Schubert's young
friends called their parties

where they would play
and sing his songs

and discuss the Romantic era
poetry they were based on.

♪♪

Tonight's hosts were guitarist
John Britton

and the great Canadian
bass-baritone, Philippe Sly.

[ Singing continues ]

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[ Applause ]

-Yeah.

-When I hear you guys sing,

it makes me want
to be a singer myself.

I wish I could do it.

But when you're singing
this kind of music,

you're singing great music,

but you're also speaking
great poetry.

And this is new poetry, right?

This is Romantic poetry.
-Yeah. Mm-hmm.

In a way, it's because
it's a reaction

to the confines
of the Enlightenment.

Because in the Enlightenment,

we have so much innovation
in science and in thought.

So we move away from these
higher,

lofty ideals in the
Enlightenment to Romanticism,

falling back to,
"Okay, what is it to be alive?

Why am I reacting to nature
in this way?

Do I have a soul?

What is the depth of my feeling?

Why is it that
I recognize beauty?"

-So is that why Romantic poetry

always deals with death
or nature or love...

-Exactly. Yes.

-Everything we do is reacting
with nature,

and I believe that
the Romantic poets

and musicians
were recognizing that,

and they were searching
to try not to divorce themselves

And this is a battle
that is still going on today.

People think that humans
are devoid of nature,

or somehow separate.

But we're a part of it.

The idea wasn't to control it.

It was to actually
become part of it.

-Recognize ourselves in it,
and it in us.

-Correct.
-Yeah. Totally.

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-[ Singing in German ]

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[ Singing continues ]

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[ Applause ]

-That was really beautiful.

-Thanks, Scott.
-Thank you.

-So what do you guys think
that lied was about?

Anybody?
-Love.

-Exactly.
Unrequited love.

And that is a really
important theme

especially in German
Romantic literature.

I'm going to read you
a little bit from the poem

that I just sang.

"Softly my songs implore you
through the night.

Come down to me, my love,
into the silent grove.

Whispering tree tops rustle
in the moonlight.

We won't be heard.

Do not fear.

Let your heart be moved,
my love, hear me.

Come, make me happy.

Make me happy."

-Writing music to these themes
of love and nature,

and of death,
and cosmic union --

it's amazing
that through this poetry,

Schubert was able to react
to this

and give us a more
integrated view of the world.

-It's really remarkable.
-Yeah.

I think music is the solution,
or is art,

or this kind of creative
and communal aspect of it

is the answer to this longing

that is so abundant
in German Romantic poetry.

-The only true form of union.

Because, for instance, this
music isn't alive on the paper.

It's only alive through sound
and temporally with time.

It has to be performed.

-And because it has
a finite life,

it makes it sort of holy.

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-On the way back to New York,
I stopped at Bard College

to talk
to pianist Ryan McCullough.

For him, as it's always been
for musicians,

part of making it means
teaching music to others.

-Teaching is how I learn.

I've studied with wonderful
teachers in the past,

but no one
is ever done learning.

And by teaching someone else
what you love doing,

you are teaching yourself
what you care about.

-It's interesting
because Schubert, I mean,

he studied with Salieri,
but you look at his training

and then you look at his output,

and I'm thinking one plus two
doesn't equal 620.

-Absolutely.
-But I'm wondering if maybe

it's the teaching that
helped him become Schubert.

-What I love about Schubert

is there's this
very clear classical form.

Everything is in the kind
of classical jelly mold

that he would have learned
from Salieri.

The same that Mozart had, that
Haydn had, that Beethoven had.

This was just the way
you wrote music.

But Schubert also manages
to undermine

those forms and patterns,

and do things in his music
which are utterly inexplicable.

You cannot have those moments
of chaos,

those moments where the music
gets turned inside out,

without the very basic
linguistic formulas.

And you have to have a teacher
to tell you

"This is the normal way,"
so that you can...

-Break the rules.
-...do the weird way.

Especially as he was suffering
from syphilis

and had lesions on his face,

and didn't want to go out
in public,

and was kind of hiding
on his own,

his music becomes
so other-worldly.

It's quite magical
and supernatural.

-Let's go play some music.
-Let's do it.

-Alright.
-Yeah.

-We were talking about Schubert

having all these
classical jelly molds

that he was trained
to compose in,

all the very basic
syntax of music...

this beginning...
of that A-flat impromptu.

[ Melody plays ]

Just setting up the key
that we're in.

Just like with Bach.

♪♪

We're in C major.

So Schubert does
that beautifully.

And then he'll do
something weird.

It is like you just walked into
the upside down,

or what was sky is now Earth.

Everything is just inverted,

or all the colors
went backwards.

In the beginning
of the B-flat Sonata.

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Okay, we're in B-flat major.

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-G-flat major.
-We're in G five major.

How'd we get to G-flat major?

I think the way
Schubert composes

is very much more atmospheric

than a lot
of his contemporaries were.

When Schubert composes
in the key of B-flat,

it's almost as though we are
in the space of B-flat.

It's not so much music
as language as much as it is

in music as space,
as environment.

I think that's very unusual
about his music.

And it definitely makes him a
kind of avant-garde for his day.

We don't think of it
that way now.

-Well, Schubert was new music
at one point.

-Absolutely.
All music was new music.

Usually the music
that we remember now,

that we think of as being old
and classical

and prim and proper

was at one point
the kind of like, "Ooh.

I don't know if you can do that
in public."

Publishers would make changes
to the music

because they thought it was
too out there, too difficult.

So we have to remember that
when we hear this music,

that it is difficult,
and it is complicated,

and it is subtle,
and it's maybe a little bit

beyond your ability
to comprehend.

And that should be okay.

You shouldn't be able
to understand everything.

Why would you want to?
Then you'd never come back.

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-Bravo, man.
That's like a tornado.

It's just nuts.
-Yeah, it is.

-Schubert reminds me
of the biathlon.

-Exactly.
That's it exactly.

-Really, really hard.
-Yeah.

All the motion in the music

that's coupled with this
extraordinary precision.

Not just picking out the right
notes,

but picking out the right notes
with the right sound.

He goes through so many keys
in that passage.

It's almost like he's trying
to go through all of them.

And I usually associate
with Schubert's piano writing

that you are often
imitating the voice,

that there's a voice
and an accompaniment.

This is rather
purely instrumental.

But I think we might be able
to fix that.

I feel extremely privileged
to be married to a singer

who sings
Schubert very beautifully,

and she also just gets it.

But she's here,
so we'll sing some for you.

-Hi, guys.
Nice to see you.

-Hello.
-Nice to see you again, Scott.

I thought Ryan and I
might perform

a little bit of Schubert's
beautiful song "Suleika."

It's a setting of poetry
that everyone,

Schubert certainly,
thought was by Goethe,

the famous Romantic poet.

But it turns out it's actually
by Goethe's lover,

Marianne von Willemer.

-So she was good enough
that she could fool people

into thinking
that she was Goethe.

-Absolutely.

She was a brilliant poet,
a really brilliant woman.

-That's cool.
-Yeah.

-That's cool.

-And in this beautiful poem,

we hear the longing of Marianne

as Suleika
as she awaits her lover,

and we hear the rumbles of
the east wind in the distance.

-Mm. And who does the east wind?
Do you do it or does he do it?

-Ryan does it.
-Can I hear that?

-Yes.

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-Oh, that's excellent!

-You can totally hear it.
-You can totally hear that.

-It's arrhythmic.
It starts out just as noise.

Almost like the trill in the
B-flat Sonata, is that right?

-Mm-hmm.

-Right.

Same composer.
-Yeah.

You hear the growling
of the human condition

somehow in that trill,

in the same way that you hear
coming from the distance

this amazing east wind
to cool her cheeks

and help soften her yearning.

It's really a remarkable piece.

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[ Singing in German ]

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[ Singing pauses ]

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[ Singing resumes ]

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[ Singing ends ]

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[ Leaves rustling ]

-One thing that really blows me
away about Schubert

was that by the time he's 25,

where I had hardly moved out
of my parent's house...

-He's my age, yeah.
-...he's already mid-career.

He only has six years left.

That's unbelievable.

He wrote more
than half of his songs

by the time he was 25 years old.

-Yeah, absolutely.

And by this point in his life,
he started writing more

for the piano,
more instrumental music.

More symphonies.

-At age 25, he writes
the unfinished symphony,

which of course
he never finishes.

-For reasons which we're not
completely sure why.

-Right. Right.

-Because it's absolutely
a masterpiece.

-He didn't just die right after.

-He just let it go.

But I think he sort
of still continued

to write lieder, just...

he wrote it for the piano.

He wrote it in these
character pieces.

He was still writing songs.

He was just writing songs
without words.

And he's also experimenting with
folk themes and folk rhythms.

I don't know if he was
the first, but I definitely bet

that he was the one
that influenced later people.

-Brahms.
-Yeah.

Brahms's Hungarian dances.
-Liszt.

-Liszt's Hungarian rhapsodies.

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-Across town, I went
to the DiMenna Center

to talk to violist Matt Lipman
and pianist Mishka Momen.

-So we've been talking about
Schubert's middle period,

specifically 25, 26,
27 years of age.

It's kind of sad to think
of that as his middle period,

but it was.

How old are you guys?

-I'm 27.
-I'm 27, too.

-This is hopefully not
your middle period.

-Hopefully we have more
than four years left.

-I heard that at that time,
Schubert was just broke.

He was living
on people's couches.

He didn't have his own piano
because he couldn't afford it.

I mean, this is --
he's really in dire straits.

-His life was desperate around
that time,

and I think he wrote in a letter
to a friend -- I'm paraphrasing,

"I hope when I go to sleep
at night,

never to wake up
in the morning."

-Whoa.
-Yeah, he was devastated

by this point,
and he was suffering so much.

-From his illness?

-From his illness
and from his poverty.

-He was depressed.

-I think he was
extremely depressed.

I think his life
was quite hopeless.

He was penniless.

-And I think one of
the characteristic traits

of much of his music

is that he's kind of emotionally
riding the line

between depression
or opportunity.

I think he's got one foot
in the door

of still hoping that
he can make it.

You know, 27-year-old Schubert
in 1820s Vienna

draws a lot of parallels
between what the two of us

are doing here in New York,
or in London where Mishka lives.

-So what are you going
to be playing today?

-Mishka and I will be playing
the "Arpeggione Sonata,"

which was composed in 1823
for an instrument

that apparently by 1824
had already become obsolete.

It was only in vogue
for 10 years in Vienna.

-This arpeggione.
-Yeah.

The arpeggione is basically,
as far as I understand,

a bowed guitar held like a cello
or like a viola da gamba,

but it had frets...

-Meaning the strings
are going vertical.

-This way. Yes.

So by the point the piece was
even available to the public,

no one even knew
what an arpeggione was.

-It's like a kazoo sonata
or something.

-The kazoo has withstood
the test of time

much better
than the arpeggione.

[ Laughter ]

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-Just down the hall I met

with more brilliant
young musicians --

Abi Kralik, Oliver Herbert,
and Janice Carissa.

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-Beautiful, guys.
-Thank you.

-It sounds like singing
when you play it.

-Thanks very much.

I think, actually, with
this music, that is the goal.

And when I play
something like this,

I'm always thinking about
the vocal music that he wrote.

And yet at the same time,
I think what distinguishes it

obviously is that
there aren't any words.

I think the fact that he
reserved certain music

to be played by an instrument

instead of actually sung
with words,

is a testament to something...

-Intrinsic to the music.
-...in the music itself.

Some kind of emotional quality
that actually comes through.

And part of his mastery,
of course,

is that that's very clear.

Whenever we hear
this kind of music,

we get a very particular
feeling without him

actually having
to use the words.

-Oh, nice.

-I think Schubert is one
of those composers that,

personally for me growing up
in musician household,

we save it for when I'm older,

because my mom says sometimes
you just can't rush it.

It's all about age,
and you can't cheat that.

You just have to mature
with time, and that's it.

-Don't you find it amazing
that he went from Haydnesque,

Mozartesque, early Beethoven,

all the way to mature Schubert
in only 13 years.

That's really a huge
acceleration of ability.

-Absolutely.

-He wrote this piano trio
in his second to last year.

And you're playing something
with Abi, right?

-Absolutely.
-Yeah.

We are going to attempt
at playing his "Fantasy."

And I say "attempt" because
it's incredibly hard to play.

-Not for you, Abi.
-Well, yeah it is.

It's just, it's so hard.

-It's too scary.
I don't play it.

-Emotionally, every note
has to be so pure,

yet so easy to play,
and it's just...

it's a challenge,

but it's the most
gratifying music to play, too.

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-I went to Philadelphia to the
famous Curtis Institute of Music

to meet two of their
very successful alums.

Milena Pajaro-van de Stadt
plays in the Dover Quartet.

Her husband, Brook Speltz,
is in the Escher Quartet.

-So you guys have
ostensibly made it, right?

So when you were kids,
you had this idea of,

"Oh, I'm going to be
in a quartet,

and it's going
to feel like this."

But, no, actually,
it feels like that.

Right?

-Absolutely.
Absolutely.

I was just thinking we get to
travel everywhere in the world

and play the best music
that was ever written --

and that's true.

But the traveling part
is so much less glamorous

than I ever pictured it being.

-But quartet is particularly
brutal that way, right?

I mean, you have to coordinate
four plane tickets,

plus the plane ticket
for the cello.

It's tough.

-Well, also, you have
to make yourself

available
to your quartet members.

Your colleagues rely on you just
as much as you rely on them,

for income, for financial
well-being, and for your career.

-How many days a month
do you see each other?

-It depends on the month.

-We actually, this past summer,
we went 45 straight days --

-Without seeing each other?
-Without seeing each other.

-Never again.
Never again.

-That's nuts.

But in a quartet, you see
your quartet members

more than you see
your own family.

-Oh, by far.
-By far!

-It's depressing.

I see my quartet members way
more than I see my husband.

-Wow.
-Yeah.

-That's incredible.

So you guys are going
to play some Schubert?

-Yes!
-Yes.

A little later I think we will.

-Best piece ever written.

-All right.
We'll meet you there.

-Sounds good!

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-Whoo!
You guys are smoking!

Now I know why you guys
are so famous.

Awesome.
But of course that's Beethoven.

That's not Schubert.

-Yeah.
-So Beethoven was somebody

that Schubert really admired.

-Isn't it true that Schubert,
on his deathbed,

that he heard or saw "Opus 131"
and said something like,

"What is there left
to write after that?"

-Oh, really?
-Yeah.

-I heard the story that
apparently

when Schubert and Beethoven

would pass each other
on the street,

that Schubert would look away,

because he was too intimidated
by Beethoven to look at him.

-Wow.
Isn't that incredible for that

to be one of the composers

who we revere the most
in the world,

that he would feel that way?

-But I also think that in both
the case of Beethoven

and Schubert,
they were so much more concerned

with the idea
of a piece of music,

how it sounded in their mind.

Beethoven famously said
at one point,

"What do I care for you
and your little instrument

when I'm moved by the spirit?"

He just had this in his mind
of how it would work,

and I'm sure
the instrumentalists of the time

thought this is
just not possible.

It's amazing because we feel
that way

about the "Cello Quintet" that
Schubert wrote.

It's one of those --
-Iconic.

-Yeah. It's almost as
if he didn't realize

how brilliant he was maybe.

-I feel like the "Cello
Quintet's" almost not the work

of a 31-year-old,
but the work of a 145-year-old.

-Absolutely.

-It's impossible to write

like that
without having the wisdom...

-Without having experienced
many lifetimes.

-Right?
-Yeah.

-That's the pinnacle of the art.

-It's one of the examples
of what made us

fall in love with this art form.
-Yeah.

-Brook joined us to play
what many consider

the greatest piece of chamber
music ever written.

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-This "Cello Quintet" would be
a monumental work

for any composer,
enough to cap any career...

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-But Schubert wasn't done yet.

-So the last selection that
I'm going to be playing today

is one of Schubert's
last sonatas,

written during the last
couple months of his life.

So, for me, these are Schubert's
most personal creations,

and as a result,
they're his masterpieces.

-Did he know he was going
to die at this point?

-He must have.

He'd been sick
for a very long time.

And you can just tell
from the character in the music

that he's dealing with these
intense existential issues.

Many musicologists have
theorized about this movement,

about the narrative,

that it's really about
Schubert's impending death

and about him contemplating that
and coming to terms with it.

So it starts with this mournful,
sad, lonely melody.

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A sighing melody.

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-So this...
-Yeah.

It's like a sigh.

♪ Ah-ah

♪ La-da-da-da-da

And then after this beautiful
mournful melody,

there's this shocking
outburst of grief

and rage and frustration.

This cataclysm.
-Mm.

[ Discordant note plays ]

-And eventually acceptance.

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In major key.

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An extremely moving passage.

-I'd love to hear this.

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In the fall of 1828,

Franz Schubert died.

He was just 31 years old.

He left behind more
than 1,500 works,

many of them masterpieces,

most of them unpublished.

His friends held a small
funeral,

and he was largely forgotten.

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30 years after
Schubert's death,

a young Robert Schumann
discovered his manuscripts

and was shocked
by their brilliance.

He introduced them to a new
generation

of young musicians
like Liszt and Brahms,

who immediately began
to perform them

for audiences across Europe.

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-[ Singing in German ]

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[ Singing continues ]

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[ Singing pauses ]

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[ Singing resumes ]

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-With his music now loved
around the world,

Schubert has found
success greater

than he could have ever dreamed.

And he continues to inspire
brilliant young musicians

to this day.

I'm Scott Yoo and I hope
you can now hear this.

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[ Birds chirping ]

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-To find out more about this

and other "Great Performances"
programs, visit...

...find us on Facebook,
and follow us on Twitter.

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-Next time,
on "Great Performances"...

Stewart Goodyear will play

and conduct

and improvise the solos...

-One of your jobs is
to become inspired.

-...for one of Mozart's
greatest piano concertos,

just like Mozart would've done.

When you're playing
great music,

it makes you try to be
more than you are.

♪♪

In the next episode
of "Now Hear This,"

"Becoming Mozart."

♪♪