Schubert, an enthusiastic opera-goer since childhood, in the early 1820s worked on several stage projects such as the opera Alfonso und Estrella and incidental music to the play Rosamunde. In 1821 Schubert’s music appeared in print for the first time, as his admirers issued issued 20 of his songs by private subscription. Schubert also met at this time the barytone Michael Vogl, one of the outstanding opera singers of the day, who became the foremost interpreter of his songs, often accompanied by the composer. He lived with one or other of his friends, the closest of whom were the poet Johann Mayrhofer and the law student Franz von Schober. From this time he began to attract a large circle of friends, frequently gathering in homes or coffee-houses for evenings of Schubert´s music called Schubertiads: this gave Schubert an appreciative audience and influential contacts as well as the confidence to stop teaching, which he had been pressured to do by his father who was a schoolmaster. At seventeen years of age, having already written several songs, piano pieces, string quartets, his first symphony and a three-act opera, he increased his creative pace even further: the huge output of 1814-15 includes 144 songs, among them Gretchen am Spinnrade and Erlkönig, two more symphonies, three masses and four stage works. From the start, Franz Schubert (1797-1828) was an exceptionally prolific composer.
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