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Date Due
FRANZ SCHUBERT
A MUSICAL BIOGRAPHY.
FROM THE GERMAN OF DR. HEINRICH KREISSLE VON HELLBORN.
EY
EDWARD WILBERFORCE.
AidJior of " Social Life in Munich'' "
One
loith
Another"
Sfc.
/
LONDON
Wm. H. ALLEN &
Co., 13,
WATERLOO PLACE,
S.W.
1866.
.y
r
_-
PREFACE.
The
present volume
is
considerably condensed
by Gerold of Yiemia.
struck
On
it
me
that
it
contained
much
information
to
which
the
me
answer
public
facts
interest
from
German
readers.
VI
PREFACE.
of Schubert
which
shall
What
Schindler said of
hill
;
life
presented neither
is
nor
perfectly true
and
many
in
writers
Kreissle
a confession of faihu^e.
discover that there
incident
little,
The reader
will soon
is
a remarkable scarcity of
that Schubert travelled
this life;
little
mixed
on
him the
art of music
his Kfe
was
all-m-all.
But
of
is,
mdeed, the
life
The absence
of external affairs
makes the
Great
man
great
himself, he
men
to
The
astonishmg
fertility
we have
so
many
PREFACE.
records in the course of his
life,
VU
the genius to
such
men
may
well
Of my own
speak with
all
share in this
work
I wish to
modesty.
to
words or
and that
not be found in
original,
may
perhaps be a
is
fault,
but
it is
almost
inevitable if one
to avoid translation,
and
to
give
Edward Wilberforce.
CONTENTS.
CHAPTER
I.
Pase
HomeMusical PreBirth and Parentage Early Years at ComposicocityThe Little Einger of a aeniusEirst
tionsA Eree School
in
Vienna-Want
of Music Paper
The Corpse
CHAPTER
Stupidity Most
best
Prolific
II.
SongsThe Erl KingMore than Eifty Songs in a Year- Operas Consistent Eaure Saheri' s Jubilee A Poem by BchubertHis Eirst EarningsWritten for
a Eestival
A Musical SocietyYalue of Autobiography Diary Diaries and LettersEntries in Schubert's Pictures On Eeelings of Despondency Judgment on
Saheri's
20
CHAPTER
III.
Teacher-Certificate Leaves School-Attempts to Get Post of Eriends-Schober-Mayrhofer of Help from Salieri Yogi Singer and ComposerMusical Clairvoyance
CONTENTS.
wise Father
rections
Cliild
Admirers
mily
of Pupil TeachingThe Esterhazy Fa Eomantic Episode Liszt on Schubert Stay in Hungary How to pick up National Airs Influence of other Composers The Mourning Waltzes .47
Introduces Schubert to the Pubhc Faithful Overtures in the ItaUan Style The Rossini
Yogi's
Pape
Cor-
Furore Hatred
CHAPTER
Unfavourable state of the
IV.
of
Schubert's
Times Letters
Did Groethe know of Schubert Not was too Late Effect of the " Erl King" on Creator An Operetta Plot and Music Not much Inspiration Melodrama Discovery of Schubertian Manusoripts An Oratorio Offers of Patronage Pubhc Reception A ConcertThe Audience and the ...
?
till
Thoughts on Rossini True Genius excludes Envy Schubert debarred from the Opera Schubert and Groethe
it
its
First
Critics
69
CHAPTER
Appearance of the
" Erl King"
Y.
Op. 1 Transactions with Profit and Loss Business Men and Men of G-enius A Curiosity of Literature A PubHsher's Habits Honour and Profits Trading on Reputations Creat Names Dance MusicAdmission to Society Country Excursions Grand Operas Schubert and Weber Production of Euryanthe Criticism or Hostility? First
PubHshers
The
94
YI.
CHAPTER
A
Most Important Year Drama of Rosamond The Wolf, by Mr. So-and-So Another Grand Opera Another Failure Posthumous Success Contemporary Treatment The Reception of MSS. by the Yiennese Opera Thoughts of a Librettist Impressions of the Same Genesis of some Songs A desponding Letter A despon-
CONTENTS.
kammergut Grmunden Songs
Lake
ding Diary
XI
Page
New
Yisit to
Hungary
Tour
to
in the Salz-
Salzburg
Barbarossa
The
Way
Gastein
.
119
Schubert
tries for
an Appointment
Chapel
Mass
at the Imperial
Eyewitnesses and Memories Correspondence with Pubhshers Ease and Simphcity demanded Low Terms offered Hands and Pockets emptyA Bird in the Hand Not Suited to a Parisian Pubhc
full
....
151
CHAPTER
YIII.
Composing under Difficulties Difficulty the test of Genius Schubert and Beethoven First Notice from Beethoven " Schindler's Account of their Meeting " Not at Home Beethoven at Dinner Late Appreciation Laudari a Laudato Viro Death of Beethoven His Funeral Schubert a Torch-bearer Drinking to Himself Visit to Gratz Compositions of 1827 Reasons for declining a
Musical Setting
168
Musical Activity Seventh Judgment of Schumann Schumann's Yisit to Yienna The Six Symphonies A German Critic and an EngHsh Poet The Danube Analysis of the Symphony Wonderful Talent Eternal Youth Posterity and Contemporaries Too hard to be Performed Other
Symphony
Works
Latest Sonata_s
^
Schumann's
his
Reception of a Dedication
Schubert's only Concert
Schubert
and
Family
Spring
Great
ill
Success
The
Thoughts of a Tour
Beginnings
Schindler
Schubert too
....
190
XU
CONTENTS.
Page
CHAPTER
Schubert's Illness
X.
Nothing serious apprehended The Last Schubert's Death Property he Left His Monu Schumann on Fairer Hopes Schubert's Personal Appearance Nothing Remarkable in his Face A Second Schindler on his Life ProFalstaffHis Character digality Absence of Practical Industry Instances Playing in Company Accustomed to Neglect Scliubert with his Friends Love of Wine Occasional Excesses
Days ment
Breaking Glasses Later Feelings Review of his Life
.
217
CHAPTER
Schubert's
XI.
tory
Works Sketch of the G-emian Song Its early HisEffect of the Reformat ion North GermanyRiseof German Poetry Mozart Beethoven Schubert Poets
sitions
Larger CompoMiriam Treatment of the Exodus Schubert's Songs during his Lifetime His Posthumous Popularity His Masses A Pirate at Prague Symphonies Trios Sonatas Schumann on the Sonatas A Ludicrous Ending Compared with Beethoven Other Works
chosen by Schubert Cycles of Songs
Conclusion
238
an Essay
261
FRANZ SCHUBERT.
CHAPTER
BIRTH AND PARENTAGE
PRECOCITY
I.
EARLY YEARS AT HOME MUSICAL THE LITTLE FINGER OF A GENIUS FIRST COMPOSITIONS A FREE SCHOOL IN VIENNA WANT OF MUSIC PAPER THE CORPSE FANTASIA EXACTNESS PRACTICE MAKES PERFECT NARROW CIRCUMSTANCES A TOUCHING APPEAL THE BOY COMPOSES OPERAS SALIERI CHARACTER OF AN ITALIAN SALIERI AND MOZART SALIERI AND SCHUBERT
The
The
up
who was
schoolmaster in
the
Leopoldstadt
suburb of
Lichtenthal.
He was
1
con-
FRANZ SCHUBERT.
a good master, and his
school
sidered
was
much
frequented.
At
who was
three
Fitz.
She
whom
only five
and
he married a
second wife,
who
by the
first
He was
parish
the suburb
Himmelpfortgrund,
of
Licht enthal.
The house
sign of the
in
Red
now No.
54, in
mam
is
street
leadmg
to
It
marked by a
tablet
Franz
on the
right,
This memorial
a
is
Besides
this,
Nussdorfer Strasse
The
at
first
years of Schubert's
life
were spent
home.
large
and
its
re-
of absolute poverty.
times, the
From
His
sister relates
who was
The
of
privilege
him,
own
instmct.
But
though orthodox
critics are
always sceptical on
and more
the
case
of
Schubert
was
marvellous.
When
FRANZ SCHUBERT.
all
already mastered
to be taught him.
"
When
he was
writes his
father,
" I
prepared
him
I sent
for
elementary
to school,
instruction,
and
at six
him
first
among
He was
fond of society
hajDpier than
his
hours of play in a
of joyous
comrades.
When
he was
eight I gave
the violin,
him preliminary
let
instruction on
till
and
him
practise
;
he could
hun
to
attend
the
singing
of
Herr
Michael Hlzer,
choirmaster in
Lichtenthal.
tears in his
pupil.
'Whenever
new,'
want
say,
to
'
teach
I
him anything
he knows
it
he would
find
already.
The
result has
mth
astonishment and
silence.'
"
But
in spite of this
modest disclaimer,
it
is
him
instruction in
thorough
and
the organ.
On
the
one occasion,
when he had
quite
out,
in
way he worked
it
and
exclaimed, "
finger
!
his httle
"
who had
also given
says,
him
"
lessons.
""
was astonished," he
when
after a
me
that
He
made such
had
ling
to
whom
could no longer
dream of overtaking."
Thus Franz
gifted
visited
beings
whom
first
the genius
of art
life
;
has
on their
entrance into
one
" Quern tu
Melpomene semel
videris."
FRANZ SCHUBERT.
case of Mozart
is
The
and
at the age
But, after
Mozart, Schubert
is
unrivalled.
His brother
for
Ferdinand
hands,
says
that
the
fantasia
four
written in
first
comof
piano,
and
his
"
Lament
song
this
;
first
but
he had
and
When
old,
Schubert
Lichtenthal
violm;
his
beautiful
his
his
re-
mastery of
instrument
being
still
A FREE SCHOOL
membered by
those
IN VIENNA.
who heard
to
him.
His
ad-
some time
gam him
he was
masters,
exammed by
Salieri
and Eybler.
He
acquitted
In this capacity
temptmg boon
to a
boy of
his age,
for the
Being already a
fair
the
symphonies of
Beethoven.
Schubert was
much
pleased with
derived from
at
which the
FRANZ SCHUBERT.
minor, of which
smging
in
it.
were popular
but are
in
now
eyes
for-
found
little
favour
the
of
Schubert,
of
Figaro,"
favourites with
him
felt
much
surprise as the
still
works
themselves,
derstood.
which were
imperfectly un-
Schubert's
proficiency
on his instrument,
and the
zeal
mth
him
some importance,
to
it,
of conducting
director
was attached
absent.
Avhenever the
this the
was
Nor was
only
\)
was able
to exercise over
them
in secret.
He was urged
impulse;
to composition
by an
thick
irresistible
thoughts
in
came
want of
His
this,
own
and
Even
at the age
was
enormous;
he
wrote
sonatas,
masses,
songs, operas,
for
generally
known by
It
the
name
extends to
the
one in which
two others of
10
FRANZ SCHUBERT.
several
instrumental
songs,
cide."
^'
pieces,
he
composed
the
two
and
'^
The
Parri-
Hagar's Lament"
first
is
remarkable as being
the
of Schubert's
pieces.
He
wrote
it
at the
much
struck by
it
that he at
once ordered
develop
further mstruction
m thorough-bass to
The song
itself
has
and even
in its
effect
is
when
somewhat
Some
accompaniment
Mozart.
It
remmds
us
too
much
of
to write
on every
his larger
works
begmnmg and
completion.
EXACTNESS.
This makes
it
11
1812 should be marked as witnessing the production of one song only, "
Complaint," a
We
can
in-
more
favourite study.
The
list
of religious
this
year
is
and
two string
quartetts,
two overtures,
composed
for
These
last
Schmidt,
a friend of Mozart's
and was a
he declared
them would be a
When we
12
FRANZ SCHUBERT.
lie
it
mth
And
this is the
He composed
secretly
school
and
noticed, while
behmdhand.
Every
evenmg symphonies,
were performed
;
quartetts,
m classical
When
I
effect.
phonies by
Schubert
still
in
existence
we
I copied out a I
volume of
his songs,
some of which
NARROW CIRCUMSTANCES.
13
and
performing
Beet-
hoven's works
mth
them.
That the
circumstances
of
Schubert at this
is
proved
among
dated
November
lies
24th, 1812:
''I will
say at
once what
sooner to
phrases.
tion,
on
my
heart,
and
so
come
my
I
object,
have thought
it
much
of
my
situa-
and while
is
are
many
things in which
might be im-
proved.
You know
apples,
the
dinner,
and
This
msh
I
must
make a
I receive the
14
FRANZ SCHUBERT.
my
father are
I to
m a couple of days
?
'
what am
do the
not be
ashamed/ Matthew,
I thought.
verse 4.
to allow
So
me
one or two
month?
You would
said I rest
never notice
while I should be
m my cell.
As
have
who
says,
him give
While Schubert
composed were
played
the
there on the
Sunday
afternoons.
The
father
and two of
violins.
his
brothers the
first
and
second
He
looked
was
he
if it
was
his father,
15
sufficient.
fond of going to
at that
time
he was
Family,"
much
Weigl's
"Swiss
Cherubmi's
"Medea,"
Boieldieu's
in
mind
superior to
all
others
and grandeur.
One
of the results
falls
and
will
be noticed in
another chapter.
him further
instruction
16
FRANZ SCHUBERT.
that all efforts were unnecessary.
"He knows
Salieri still
This report
made
more
in
short
time
the
chapel-master
guidance.
himself
brief
man who
minent part
Schubert's education,
may be
in
aj)propriate here.
Antonio
Salieri
was born
which he
had
came
to
opera in
known
is
confided to
SALIEEI.
17
In 1788 he
Mozart. Gluck, and written in open rivalry of was made chapel-master, a post
till
which he occupied
his death.
Saheri's industry
forty operas
and
his contemporaries
esteemed him as an able composer, an amiable he and agreeable man. To all, except Mozart,
riority
rest;
was friendly and pleasant; but Mozart's supewas too evident to allow Salieri any
upon him.
It is
remarkable that,
Salieri
spite of his
long sojourn
m Vienna,
To
was
the end of
ignorFrench and Italian words, excusing his been only ance of German by saying he had
fifty
years
Germany.
by his towards Mozart was partly atoned for mstructed appreciation of Schubert, whom he
18
He
tried, indeed, to
persuade the
made him
and practise
melodies
all this
he was older
and
riper.
But with
and was
he was proud of
his pupil,
away
for
some
an
opera,
and
master by the
Devil's
complete
"
of "
The
Country Seat."
He
is
thmg,"
he
He
quartetts,
There
is
But
their
Tlie master
was
19
German romanticism.
much
respect for a
him
Schubert loved
Salieri
was mexorable
him.
It is said, that
correcting a mass
and
rapid progress
of Schubert.
Salieri
was
first
'^
my
scholar,
me much
honour."
CHAPTER
BEGINNING OF THE SECOND PERIOD
II.
USHER
IN
A SCHOOL
HOPELESS STUPIDITY
OPERAS
JUBILEE
POEM BY SCHUBERT
FESTIVAL
EARNINGS
WRITTEN FOR A
A MUSICAL SOCIETY
AND LETTERS
VALUE OF AUTOBIOGRAPHY
DIARIES
general sentiments
INTERIM.
The
year 1813
may
first
He was now
The
USHER IN A SCHOOL.
21
to remain in
for
him
would have
new
examination.
Accordingly he
He
but, as
may
were
far
He was
class,
ABC
and the contact with children who (to vary Talleyrand's epigram), had learned nothing and
forgotten everything,
to a
youth of genius.
His
he was
and
It
own
hands.
is,
quite credible.
his
The
probability
in
that he
forgot
his
at
own
difftculties
learnmg,
and
of hopeless
and consistent
stupidity.
22
FRANZ SCHUBERT.
But while
from
was performed
on
its
church
centenary jubilee.
tioned already.
Schubert
made over
ment of a small
and
his servants
fires.
used
the
Why
is
not recorded.
is
noticeable as the
It
most pro-
of Schubert's
life.
At
23
and with
his
work
as usher.
We
can-
He
from Goethe,
poets
Schiller,
now
forgotten
Some
among
that
which
little
is
stranger than
many
should be of
value, considering
that seven
another.
It
was
either the
all his
songs, the
"Erl King."
The
ballad
is
in the possession of
is
Madame
1
;
Clara
Schubert's Op.
to
it
appeared
Herr Eandhartinger,
it
whom
passed to
Madame
Clara Schumann.
24
FRANZ SCHUBERT.
how much
it
owes to the
setting,
may be
after-
noon
house
in the
room he occupied
in his father's
m the
Himmelpfortgrund.
He
read the
and during
down on
the
work of writing.
was
One of his
friends
it
;
came
in while he
in the middle of
and the
King"
able to the
young
hearers,
though
it
was quite
* "
allowable.
to every reader
through Schu-
bert's music, if
Lewes's Life of
Goethe^ vol,
ii.
LUTZOW
WILD CHASE.
public
till
25
six years
it
at a concert given in
the opera-house.
bert's popularity.
It at
But we
come
to this
in
due time.
Some
fifty
still
1815 are
unknown.
One
Of those
may mention
Meister, which
sent
him already
in
Aviitten at the
dis-
tinctive
to the
development.
said of the
The same,
or even more,
may be
by any of
Schubert's
later masses.
second mass in
2
26
FRANZ SCHUBERT.
flat,
a Stabat Mater in
flat,
and a Magni-
ficat,
Nor was
Two
symphonies, one of
part,
and the
operettas,
One
of
to
concert in Vienna.
"
Another
Goethe's opera,
Claudme von
Villabella."
The manuscript
opera,
same
fate.
fires,
The two
and the
acts
perished in
lighting
first
alone remains.
On
first
we
" Music
by
composers.
What
charmmg
remaius
of
Schubert's
music
is
and
characteristic,
and
MINOR OPERAS.
27
Of the
year httle
is
to be said.
The
libretto of
lies
among
None of them
his
among
more
important works.
dramatic composition.
Many
is
no doubt
degree.
Even had
set
would exclude
it
On
that
of inexperience
or immaturity.
The
full
acquaintance
with harmony.
28
FRANZ SCHUBERT.
Thus he moves
in
and security
and
if
he would find
many charming
The
Schubert
that there
It is true his
comit
pleting
and
might seem as
his
two greatest
pieces,
to play them,
was driving
him
to other pastures.
None
of his dramatic
his
lifetime.
But
this
we
find
him engaged
in
new
opera.
also
marked by exthough
the
and
fertility,
SALIERfS JUBILEE.
operatic
cantatas.
29
Of
first
in date, though
for
not the
Salieri^s
in merit,
jubilee.
fiftieth
was the
into
entry
the
Emperor's
Salieri
himself
to celebrate
it
himself
some of
him
at
the early
German
that
hour.
who returned
day from
did not
At 10
o'clock
by the
him
Trauttmannsdorf- Weinsberg.
led into a
He was
there
chamber decked up
30
court,
FRANZ SCHUBERT.
presented with the great gold medal
From
Prince
Trauttmannsdorfs,
Salieri
was Sunday,
and
this
was part of
his
duty.
The mass
At
his
part
of
his
the
festival
began.
Salieri
himself
his
took
seat
at
the
piano Avith
four
On
pupils, including
Weigl and
were
Hummel and
Moscheles
Opposite
the
the
circle
of
pupils
stood
the
bust of
and
began the
pieces
festival,
and was
for
followed
occasion
by the by each of
composed
the
his scholars.
FIRST HONORARIUM.
31
by an
'
The words
as well as the
music were
his,
warmth
intrinsic value.
The
after,
and was
more important.
It
was
his
is
composed
first
to order,
about 4
those
that
The work
it
itself
who heard
it
so pleased
that he etideavoured
it
some
performed in public.
desirous of sur-
Some law
students Avere
with a musical
celebration
on
his
birthday.
One
of
moun"
32
FRANZ SCHUBERT.
Vienna, and the
poem was
sals
confided to Schubert.
The
rehear-
which was to
the
the
festival
succeeded
and
the
cantata
was
received with
much
applause.
poem was
addressed to Schubert
papers.
m one of
at
its
the theatrical
to
perform
but
declined, as the
unknown.
have disappeared.
When
last
heard
of,
they
they
The
was performed
and once
at
Innsbruck.
CHURCH MUSIC.
ance of
it
33
in the
Augarten
off badly,
rehearsal
idea.
went
third cantata
this
pubhshed
as
Op.
128.
In
church
music,
Schubert wrote
his
fourth
Mass (in C) a
Stabat
Mater.
;
The mass
the
is
comparatively
is
unimportant
successful,
in Vienna. as late as
Stabat Mater
far
more
it
in 1841,
and
1863
was performed
It
is
in one of the
Viennese churches.
chorus,
and
bass,
tenor,
and
and
five
choruses.
The
("No.
is
5) for
alternate
beautiful.
especially
The
might
2 *
34
FRANZ SCHUBERT.
it
is
so
tho-
roughly Mozartian.
This
year
Schubert composed
is
two more
as
known
the
This
probably to be interpreted by
symphony was
friends
written.
The small
which
society of
and
acquaintances
used
to
father
had
gradually
extended.
A
Haydn
larger
room had
1815
to be found,
smaller
symphonies
and
and
now
the
performers ventured
larger symphonies of
Haydn and
Mozart, the
hrst
Cherubini,
and
others.*
was
1817, and
A POPULAR SONG.
another
35
symphony
till
in
1818.
The performthe
ances went on
society
1820,
when
room the
its
had
last
disposal,
and
Schu-
bert
players.
We may
drummer was
violin, a sonata
for the
piano,
piano,
In vocal
One of
the
The Wanderer," an
we
shall learn
when
his
we come
publishers.
to
Schubert's
bargains with
this year
36
view, and
FRANZ SCHUBERT.
it is
much
to be
mshed
that other
We
do not
know
that
But,
owing to
we have
a diary or any
composer.
nished
How
letters
by
are
for
lately
future
knowledge
of
great
men, has
been
Mozart's and
is
Letters.
The biographer
tell
;
he has a story to
events,
if
there are
any outward
journeys,
or
adventures,
mterviews with
great
But the
man
mmd
know
mind
to us,
and we
curiosity,
rather a
much
the
the
rest
Was
of
his
own
great
true
or
these
thoughts,
did
they
pass
through
him
VALUE OF AUTOBIOGRAPHY.
almost without his feehng them?
heart in
fit
37
Was
or
his
was
the
mind a stranger
body?
All these
best bio-
by the
man must
in
at the
all
guard him.
cannot
With
get
penetration,
one
inside
And
from
the conse-
quence
actions,
is
that,
judging
words
and
are
we
we
man; we exaggerate
carelessness
into
masterpiece of wisdom.
in-
what we want to be
In-
guarded against
is
unintentional wrong.
man
by such
resolute
FEANZ SCHUBERT.
Even
if
is
it,
un-
and
when he
does not
know
that he
is
giving his
own
portrait he
may be
revelations.
would be no reason
He
It is the
more
to
remam.
we
are
reduced to conjecture.
diaries
All
we do know is
fate of
that
and
letters
much
of his music.
An
small
dispersed
in
pieces
according to the
demand
For-
tunately a worthier
member
was dispersed
.
distant
collections,
ENTRIES IN DIARY.
39
:
Some
"
ful clay
shall
remember
my
life.
Softly,
from
far,
of
my ears.
Schlesinger' s
my
such softness.
Thus
soul,
remain in our
our being.
us a
clear,
life
they show
on which
Mozart
we
rest
life
This quin-
may
smaller works.
had
I
also to
produce myself
on
this occasion.
Amelia.'
The
was generally
I think
less.
Though
40
myself that
FRANZ SCHUBERT.
my
'
Unresting Love'
'
is
a greater
Amelia,'
it
cannot be denied
"June
14th,
I
1816.
After an interval of
some months
more.
evenmgs
in the cool
fields
for
pany of
at ease.
my brother Carl my heart felt so well How lovely, I thought and exclaimed,
still
in delight.
The neighbour-
good mother.
course,
dis-
we came
And,
as
from a heavenly
home,
up and
it
JUDGMENT ON PICTURES.
41
at once
on outward
human
strive
How
many men
in
express their
in the attempt.
It is a gift
It is
very
common
we
for
expect
I
Anna.
Among them
all
a picture of the
me
mantle of a prince.
one must
in order
and longer
The rather
home from
Salieri's
It
must be a
fair
42
FRANZ SCHUBERT.
round him,
and
all
;
of
them
jubilee
nature and
hizarrerie
almost entirely
attri-
German
artists
them
Avith
love,
and
excites
to
To
from the
circle
its
to that artist
know
nature, and
in spite of the
most unnatural
Herr
fifty
having
been
was rewarded by
his
ON SALIERl'S JUBILEE.
majesty with a gold medal, and invited
of his pupils, male and female.
43
many
The composiwhich
came
to him.
(sic)
by a chorus from
(sic)
Limbo both
Gluckish;
by
Salieri.
The
ment
oratorio
quite
the
entertain-
" To-day
composed the
first
time
for
money.
name day
of Proflorins,
fessor Watteroth.
Viennese currency.*
''Man
passions
is
like
ball,
mth
chance
and
is
his part.
is
is
given
florins
Austrian (Conventions
Mnze)
W. W.
and C. M.
44
you, and
PRANZ SCHUBERT.
who can
say
it
is
played well or
ill?
There
The
dis-
As soon
as he has
well.
him he
will play it
Whether he
There
be no blame.
deter-
The heart
ruler, the
mmd
ought to
be.
" Take
to be.
''
men
ought
Happy he who
finds a true
fi:'iend;
happier
he
who
To
a fearful
thought
he confuses
it
coarse sensuality.
CYNICISM.
" Light tongue,
light
45
:
heart
too
light
Man
feels
he
all
the
more
bitterly.
Why
did
God
"
give us sympathy?
Town
politeness
is
a powerful opponent of
integrity
other.
The
and
based upon
"
Now
know no more.
To-morrow
I shall this ?
certainly
Is
Why is
it
my mind
?
will be to?
morrow
Because
am
full
and sleepy
Why
tahily
does not
my mind
it
think
when
my
body
Cer-
sleeps?
it
Probably
can't sleep."
Most readers
will conclude
from these
latter
now
as
in that state
coming between
Such, indeed.
46
seems the
FRANZ SCHUBERT.
case,
and
it is
quite explained
by the
Condemned
an assistant in a rudimentary
his prodigal genius
was
the actor or
the
manager, and
almost
it
does
its
is
above
aspires.
CHAPTER
LEAVES
III.
SCHOOL
CERTIFICATE
FROM SALIERI
SCHO-
BER
SICAL
MAYRHOFER
VOGL
SINGER
MU-
CLAIRVOYANCE
OWN CHILD VOGL's CORRECTIONS INTRODUCES SCHUBERT FAITHFUL ADMIRERS OVERTURES IN THE TO THE PUBLIC THE ROSSINI FURORE HATRED OF PUPIL ITALIAN STYLE
TEACHING
THE ESTERHAZY FAMILY ROMANTIC EPISODE LISZT ON SCHUBERT STAY IN HUNGARY HOW TO PICK
INFLUENCE OF OTHER COMPOSERS
UP NATIONAL AIRS
Aeter
three
unexampled
Schubert resolved to
himself from the
make every
effort to release
bondage of his
necessary for
position.
Even
if
it
was
him
to leave Vienna,
and take a
48
musical
FRANZ SCHUBERT.
appointment
far
from
home
and
500
florins
Viennese, that
himself
20
as
a year
Schubert
put
forward
one of the
candidates.
Salieri,
fol-
who
testified to
lowing
certificate
quanto nella
" lo qui
Sottoscritto affermo,
m riguardo al
Antonio Salieri,
Primo maestro
Imp. reale."
* The original
is
SCHOBER.
49
district authority
through
dwelt
of of
sent,
recommendation
the
of
Salieri's,
and
added
that
Inspector
Schools
spoke
in
favourably
Schubert's
people.
method
But,
the
treatment of
young
spite of this,
had
failed.
student of the
name
of Schober,
who had
Germany
who had
returned to
on
and taken up
his quarters
in Vienna,
bert's songs,
make
his acquaint-
ance.
He
duties as usher,
children,
the
exercises
it
of
was a
marvel
digious
how he
masses of composition.
Further
ac-
quaintance with
new
pro-
50
for
FRANZ SCHUBERT.
the
yormg genius
lay in
removal from
drudgery and
duties.
his present
round of repulsive
With
own mother
and Schubert's
he gave Schubert a
It is
room
in
his
lodgings.
said
that
the
by the son
to a
But whether
this
story
is
true,
or a
mere
we cannot
determine.
made
it
Accordingly
many
The
to
music.
MAYRHOFER.
which would have been more noticed had
51
his
Schubert's
poetic
stimulated
him
to
com-
wrote a good
was
silent
he worked
at
his
hard
(m two
One
senses of the
word)
censorial duties,
chondria.
office,
when he came
to
;
his
he
left his
and
top story.*
most attached
friends,
still
but there
more imconsider-
Vogl was
He
tlie
Danube once
before,
at
Danube was
so
warm.
52
PRANZ SCHUBEllT.
He was
blase
to
one.
have
his
songs
the
medium
shunned
of such a singer.
his acquamtance.
Yogi
Schober spoke to
Yogi
efi'e ct.
several
At
the
consented to pay a
\isit to
hummed
of
over one
two
songs.
The
first
them seemed
more, but
little
and on leaving, he
said,
There
is
little
you
them out
fine."
To
others, however, he
YOGL.
spoke warmly and
bert.
53
enthusiastically of Schu-
more;
character.
At
an early age his clear voice and perfect intonation attracted the notice of the leader of the
choir of his
parish
church,
and led to
his
In
a paid
soprano
singer,
and
at the
education
made him
To
the end
Old and
Epictetus,
New
and
Thomas a Kempis.
While
and
his learning
his
comrades.
54
FKANZ SCHUBERT.
this learning the only benefit
Nor was
he had
It
had
by which he endeavoured
which contrasted
careless
still
to rule his
life,
and
ways of
theatrical
moral
self
sceptic,
and others
and when
He
to ballads.
His
Orestes
m the
''
Iphigenia,"
Count Almaviva
in
Family."
is
is
" Nothing,"
MUSICAL CLAIRVOYANCE.
Otherwise,
55
German language
penetrates
musical clairvoyance.
How many
would have
first
They
of our
finest
poem
passed
when
guage.
Goethe's
There
'Erl
are
King,'
^
Gretchen
at
her
Spuming Wheel,'
Schiller's
'
Longing,'
The
Pilgrim,'
'
The
Pledge.'
"
clairvoyance applied
by
manner
One
laid
Schubert took
56
leisure,
FRANZ SCHUBERT.
he looked through the songs and found
This one,
for his
own
voice,
and had
his
version copied.
About a
fortnight afterwards
some
new
pieces
were
produced.
Yogi
and
laid
the
it,
copy on the
piano.
"H'm!
it
by?"
Yogi
in-
The
young composer.
Yogi guided
poems which
to
he was to
set to music,
before-
Schubert generally
came
either
and
vogl's corrections.
songs
57
with
him.
He
attached
much
im-
A new or
is
generally a better
is
of the
of the charlatan
and
it
Schubertian MSS.,
readings.
to be taken without
any drawbacks.
He
was who
world of
first
to the
art,
which supports
that-
In
life
he
all
in his
58
FRANZ SCHUBERT.
much
by
as a protector,
his being
which
is
partly explained
more
of Schubert's songs,
this
branch of com-
by
whom
most of the
It is unfortunate that so
many
of
for a
voice which
of rare
occurrence,
and that
is
in-
Schubert's
songs,
and
life
his intimate
is
connection
mth
Schubert's
Among
this
time
were
the
two brothers
Htten-
whom was
One
a composer,
on the pianoforte.
of the brothers
FAITHFUL ADMIRERS.
Hlittenbrenner possesses
59
many
of Schubert's
Some one
relates that
Schubert was
indiscreet worshipper.
He
everything of mine."
his
piano,
in attending
to
his
graved,
and
in
corresponding
the
letters
publishers; and
of
by the
latter, are
of a tyrant.
Hlittenbrenner' s attempts to procure Schubert's genius
due recognition
It
is,
in this narrative.
of fate that
that
it
was
such
misadventures
the
Schubertian
MSS.
selected
Gahy was
by Schubert
to play
com-
60
FKANZ SCHUBERT.
hands with him on the piano,
the symphonies of Beetof
hoven.
mth
which he
commended him
to the composer.
wtuoso
the
modern
own
difficulties of his
One
Fantasia,
(Op.
15),
He was
once
movement
and
said
his
seat
"the devil
may
play it!"
On
whom
Schu-
Gahy
fire
which
distin-
Rossmi ruRORE.
guished
his
61
short,
fat
friend.
Not
only
much
increased in the
companion.
is
chiefly
marked by the
in
" overtures
the
Rossini's
operas
were then
on his
visit a
and Schubert
Himself a
was one of
their
many
admirers.
fail to
wonder
such an exulting and abounding stream, though he was not unconscious of the faults which
attended
it.
But he was
returnino;
and one
nio:ht
was pitched
for
too high.
He
write
declared
similar
it
would be easy
with
him
to
overtures
equal
62
speed,
FRANZ SCHUBERT.
and
his friends took
him
at his
word.
The
result
One
of
them
was played
as
wonder-
"
a store
skill
and
force."
No
less songs,
In
greatest
to
give
lessons
in
music.
The
bitterness with
by teaching
ESTERHAZY FAMILY.
earned
63
enough,
by a musician.
Strangely
condemned
more
Perhaps he
it
thought
into drudgery,
utterly soulless
his soul
was
it is
really engaged.
Whatever
his
reasons,
certain that he
to give lessons.
vailed
upon
He
The
father
aid of a
made up
words of de
la
Motte Fouque.
The Esterhazy
64
FRANZ SCHUBERT.
their estate in
summer on
Hungary, where
He was
then twenty-one
with
the
Esterhazy
family
As
a rule
we know
singularly
little
of
He
thought of marriage.
He
or
up
in
any serious
engagement.
as rehis
like
sex,
he
did
not
show
feelings as openly as
imaginative power.
with his
we have
in love.
reason to believe
was often
Without
alludiuo:
to
may
life,
It
it
though perhaps
direct words.
The young
LISZT ON SCHUBERT.
65
his
it
countess
Caroline
valued
Schubert and
and
its
extent
it,
or reality.
Though if
Schubert's
fell
On
her com-
he replied,
doing so?
already."
"What would
Everything
is
be the use of
dedicated to
my
you
It
was
to
him
that Schubert
owed the
In 1838
Liszt
heard
Gazette
:
in the
Dans
vif, et
jusqu'
aux
dire
larmes,
les
un amateur
le
Baron Schnstein
Lieder de Schubert.
La
traduction fran-
9aise
66
FRANZ SCHUBERT.
extremement
belles avec la
musique de Schu-
La
du
Le Baron
Scli.
les
declame avec
la
What with
prolific.
which
m a more artistic
airs
form.
The
wrought
The motive of
it
was caught up
HOW
by Schubert
castle.
67
Count Esterhazy's
fire.
The
air
hummed
it
as
he went on;
next winter
it
divertissement.
airs into
he wove national
many
sym-
this year,
the
C.
It
symphony, which
is
In the
symphony the
hifluence of
Beethoven
is
not to be mistaken.
is
Another
work of
the
''
this
year
Mourmng
popularity,
without number.
68
FRANZ SCHUBERT.
mth
the other
Anselm Httenbrenner
But the waltzes
Several
ven
as their author,
and in
many
is
dis-
not yet
The
Haydn's; in Op.
of Beethoven;
7,
m amass of
in a
in a thousand
other places.
CHAPTER
IV.
UNFAVOURABLE STATE OF THE TIMES LETTERS OF SCHUBERt's THOUGHTS ON ROSSINI TRUE GENIUS EXCLUDES ENVY SCHUBERT DEBARRED FROM THE OPERA SCHUBERT AND GOETHE DID GOETHE KNOW OF SCHUBERT? " NOT TILL IT WAS TOO LATE EFFECT OF THE *' ERL KING
ON ITS CREATOR AN OPERETTA PLOT AND MUSIC NOT MUCH INSPIRATION A MELODRAMA DISCOVERY OF SCHU-
MANUSCRIPTS AN ORATORIO OFFERS OF PAFIRST PUBLIC RECEPTION A CONCERT THE AUDIENCE AND THE CRITICS.
TRONAGE
BERTIAN
for
any pubThis
He recognition of his genius was not yet. very year he was striving
m vam
to have
some
70
FRANZ SCHUBERT.
Rossini.
Many
German
opera.
In one
dated
May
against the cabals which hindered the production of his works. cult to " In spite of Yogi,
it is diffi-
canaille of Weigl,
Treitschke, &c.
my
operetta, they
The same
is
far
more
It is impossible to
deny it extraordinary
often extremely
is
genius.
original,
The mstrumentation is
and
no
fault to
usual Italian gallopades, and several reminiscences of Tancredi.^^ Schubert's admiration for Rossini
is
one of
THOUGHTS ON
ROSSINI.
71
It is
rememappears
bered by everbody
Yet a composer of
and to point
inferior.
to his
own powers
he saw the
Italian,
as
by no means
When
he
it
it
was neglecting.
He
He went
not disdain to
learn.
pedants
who censured
Rossini as
seized early
on
it
72
FRANZ SCHUBERT.
see
To
an audience bitten by a
tarantella (as
describes
the
and shouting
cannot be pleasant
when
and
it
wounds
so
many
feelings of patriotism
rivalry.
is
The
effect it
had on Beethoven
himself
much
to be regretted ; he refused to
him
a scene-pamter, and
more.
Schubert,
however,
cause to complain.
to Rossini's (as he
With
to him,
and a
One
last, as it
DID GOETHE
for
KNOW OF SCHUBERT?
Of
the
73
songs
Other recognition.
many
of these compositions
to
the poet
himself.
The
retiring
suggestion,
Weimar, with a
homage.
effect.
respectful
produced any
Goethe
laid
We
cannot
tell
whether
them
mass of similar
composer personally
to fame.
unknown
to him,
and unknown
Some
What-
we may form,
it is
certain that
with Eckermami.
Goethe did
4
74
FRANZ SCHUBERT.
;
in a letter to
Madame
linger he
it
said,
that
he could only
gave himself up to
again.
He
must
performed by
till
But
it
was not
him
way
him.
ing through
to Paris,
and
Among
these
and exclaimed,
grand
artistic
"A
this
performance.
heard
the
composition
it
once before,"
he
added,
" and
it
me
at
all.
But when
is
EFFECT OF THE
given like
picture."
this,
ON GOETHE.
75
livino
Where
King
"
it
sung so
corded.
four
little
Milder
sano-
and as she was a great friend of Schubert's, and produced pieces of his at her concerts, it
is
in cor-
which makes
it
known
And
such an
effect,
that the
them forced
tears
from
indifference
He
set
songs,
beautiful.
was a
fit
reward
76
tion
FRANZ SCHUBERT.
that one of
his
first
popularity.
His
first
as a song
come out
as the
com-
poser of an operetta.
his uifluence
and
each other,
is
m the
made
to extract
new
The mayor of a
to
of age,
his intention of
77
left
and
the child
When
daughter, has
of a bridegroom,
for sunset
(tenor),
bride
by a morning serenade.
mth
a bass voice
He recounts
The
result
is
Lieschen, and
Anton
protest
in vain, while
Franz
tells
to get
78
is
who
is
The
ready.
him breakfast
do
all
in
his
power
fills
his family
happy
This
She
and that
would be a hardship
if
pelled to marry.
been
filled
rather often
marry
Lieschen, as he has a
mfe and
son living.
Lieschen runs
off
The
village steward
requests
him
to take
away
his
money.
He
79
the
stage
for
that
purpose,
and the
who have
returned,
Franz.
Franz
mayor
it.
The
on Franz to sign a
just given
money he has
him
money.
The
left
him up
as a spy.
No
been taken
oiF to trial,
New
all
new
en-
But
solved
by the news
when brought
up
his
has given
claims on Lieschen;
the
much
is
inspired
by
this
not equal to
many
of
80
FRANZ SCHUBERT.
Still
The
operetta survived
What the
on the subject
They
called
little
thing
told the
young
opera
style
of the
studies,
and was
and
was
to be
paid
him by
his friends
the curtain.
call.
short
time
after
(1820)
he finished
much more
just
im-
we have
described.
A MELODRAMA.
Count
Palfiy, the proprietor of the
81
Theatre an
of
his
theatre,
entitle
them
to claim one.
called the
He
consented to do
so,
and wrote
though the
libretto
is
critics
fell
foul of
the senseless
death
mth
man
is
own produc-
but he
is
those
who
criticise
atit
Anyhow
82
FRANZ SCHUBERT.
more
successful compositions.
At
was being
amono;
Resurrection,"
which
Schubert
an
in
Easter cantata,
and
which
was written
friends,
February, 1820.
the most intimate
fully occupied
While
all his
even
mth
him,
no-
Schober
who
knew
thing about
Its
author,
Professor of
it
six
its
composition
as Schubert
till
never
knew
It
was not
thirty
AN ORATORIO.
sent
83
it
biographer
discovered
in
it
pile
of
before the
first
tata of
autographs.
making
in
part
Moreover, the
m
in
recollections
of
the
composer.
But
subjects,
and
especially
on Beet-
very
great,
and
Embassy
84
FRANZ SCHUBERT.
Schubert MSS.
''
Among
the
Al-
''The
Twms;" many
of " Lazarus."
string
and songs;
and
latter
the
second
part
The
was found
in the house
The
origiual oratorio
is
was
in three parts, of
the longest.
But we have
the third part
no means of
knowmg whether
by Schubert.
was
set at all
He
seems to have
made some
stituted in
sions.
and sub-
him
fully
in
domg
so,
but
this is far
more
success-
the
abomids throughout
is
general character
de-
self-deny-
ing enough to
dam up
AN ORATORIO.
his
85
less
melodies,
alluring
kind of attraction.
To prove
this
would be
But we
of
may
particularise
the
opening
recitative
and tenderness;
the
first aria,
and
is
most touching
in its expression;
the
it,
recitative of
iDoth
Mary and
of
by the utmost
part begins
effect of the
charm of melody.
vnth.
The second
trombones
tive
especially powerful.
The
recita-
and
aria
after,
he began
left
unfinished.
All
86
FRANZ SCHUBERT.
possess of
first acts,
it is
we
two
that
the
and
all
the
more favourable
the works
Besides
some
and some
religious music.
The
is
curious.
The people of
him
all
musical
anti-
pieces,
composing the
first
in half-an-hour,
and
writ-
87
sheet of blot-
ting paper.
spirits"
was
per-
Kanithner-Thor
Vienna.
bert's
This
first
had another
it
greatly
It
facilitated
search
into
for
publisher.
brought
him
sudden
gave
It
fame.
his
Men
genius
it
of
the
dethis
is
abihty and
influence
warmest recognition.
seems that
profit
it.
by
This
we
derive
any lasting
appreciation
and such
He
let
his
chances go by.
of action, and to
He demanded
tliis
perfect freedom
he sacrificed everything.
is
im-
the hardest of
all
task-masters.
88
It has
FRANZ SCHUBERT.
always been said that Mozart's mis-
Viennese
public,
but
has
been
satis-
factorily refuted
by Otto Jahn.
In the same
way
it is
were caused by
who surrounded
for his
want of
just
we have
the
agahist
short-
deserted
ones.
by true
friends,
by
false
his life
he
brmg
it
not unnatural.
He was
warmest admirer of
his genius,
and opened
his
TESTIMONIAL TO SCHUBERT.
heart to others
89
as a friend, but
cared
little
for
as a composer.
Or he
neglected the
men who
who were
At
stem,
who
the
court,
dorsed
by himself and
by Weigl,
chapel-
Salieri,
court
office,
but
distinction now,
as a
means of pro-
curing
The count
He
considered
his duty, as
it
was
pleasure
Schubert had
90
lences
to
FRANZ SCHUBERT.
the
benefit
of art and
Salieri
dramatic
music.
Weigl and
All
of
said
much
the
same.
them
dwelt
on
Schubert's
harmony.
The
judging
public
if
was soon
to have a chance of
Dr.
in
Sonnleithner,
an advocate and
professor
meetings of musical
were performed.
brother,
Leopold
He had
already
even though
them
as a gift.
They
difiicult.
However, the
success
of
the
piece
at
his
91
a hundred copies.
pay
his debts,
re-
maining.
When
was a chance of
Schubert, they
ness.
makmg
something out of
former cold-
made up
for their
their notice
at the
Viennese Opera.
Ash Wed-
society of
was
at
secretary.
It
was by
of
his permis-
and
the
mstance
his
nephew
the
and a
pro-
sprites,
vocal quartett
were
included in
the
92
FRANZ SCHUBERT.
gramme.
and was
The
''
encored with
applause.
(words by
duce any
lisher
on the public.
it
As
the pub-
had
said,
was too
difficult.
The
singers
of the
work durmg
their rehearsals,
and ex-
one hearmg.
and they
feehng as
retu^ed
if
with
an
uncomhad been
Schubert
fortable
a cold douche
weeks afterwards
and
CRITICS.
93
and performed
in
it
Yet
1821
it
of emhience
said of
it: "Herr
Schubert's
pubHc
lations
as
purpose.
is
like a driver
who goes
off
first left
and then
right,
now
turns
this
carries
on
to a
CHAPTER
V.
APPEARANCE OF THE " EKL KINg" OP. 1 TEAN3ACTI0NS WITH PUBLISHERS PROFIT AND LOSS BUSINESS MEN AND
MEN OF GENIUS A
LISHER'S
CURIOSITY OF
REPUTATIONS
TO
GREAT NAMES DANCE MUSIC ADMISSION SOCIETY COUNTRY EXCURSIONS GRAND OPERAS
WEBER PRODUCTION
HOSTILITY? FIRST
OF EURYaNTHE
FIRST
HABITS
HONOUR
AND
SCHUBERT AND
CRITICISM
OR
OPFRAS LIKE
The
1.,
in
and
protection.
Schu-
on hini
to
make him
writ6
He was
too purely a
95
had
to
manage them
for him.
It
spirit that
practice.
But
dedications
Each of them
ducats.
Schubert him-
My
dedications
me
very much."
had brought
in
more
have received
fifty
per cent.
The
was exhausted.
Schu-
bert
to be neglected,
man
to be exploite.
He
en-
96
tered
iiito
FRANZ SCHUBERT.
business relations ^\dth several of the
Peters of Leipsic.
in
Vienna
with
whom
Artaria, though
this severity.
some years
after
he relaxed he
that, while
was
Saheri's pup,
quartetts,
They
Franz
word
pupil,
(which in
Gemian
stands
for
school-boy as well),
"I
work
"
Xo
him
by
and of
makmg amends
pockets.
to Schubert
filling his
0^1
Diabelli
was certamly
kmd
of reparation.
He
80
and copy-
and
m a moment of weakness,
offer.
97
One
privations.
The
first
sum
ing to a
man
in
such
circumstances,
if
and
he rejected
there
would be no chance of a
seen these very works re-
second.
He had
gift.
fused as a
He
had
arisen.
his
arguments or
not,
he
80
by one of which
the
application to Leipsic
for
removing
his
works
Peters m^ote
as one
worth translation
of literature.
5
98
"
FRANZ SCHUBERT.
Many
known
me
me
con-
fidence in
artist.
thmg
"
let
me
the state of
my
At
the
moment when
I entered
upon
my
present busmess I
made up
my mind
to earn
as far as possible
not possible to
cannot recarry out this plan altogether, for one MSS. as one wants from the best
ceive as
artists,
many
them
we must pubhsh
for every
much
we
that
is
superficial
and provide
classical
pubhc, for
if
we pubhshed
works alone
A
because
CURIOSITY OF LITEBATUKE.
well
99
it is
known
Nevertheless, I have
not been led away by the love of gain to the profitable but empty trifles that
are
m fashion,
but have taken care that even the works for the great mass should not be wholly bad, and have always laboured for my main object,
the publication of works of superior merit.
This object
clearly every year, as I continue to form only good connections,' and my increasing financial means wUl allow me to
of mine
is
shown more
from hence there follow two things which have often hampered me.
"Now
The
first is
time,
me
in check.
In order
possible, I
have as
as
must endeavour
artists,
to have connections
with good
and keep up
my
connections
con-
make them
am
always ready to
is
both parties.
My
100'
FRANZ SCHUBERT.
majority of
my
am
Romberg, Hummel,
relation
;
become a friendly
doubly bound to
therefore
if,
send
me much
that will
brmg
in
no
profit.
my
me me
time
do these
artists
occupy
conthiually, but I
am
is
some of them
and the
rest of
my
time seldom
things, so that I
am
con-
nection
first, is
name being
I
unkno^\'ii in
my
new
sphere of action.
am
often blamed as
publisher's habits.
101
known
this
if
publishers refuse
is
them; but
do
is
blame
most unjust,
follow
for I cannot
all
things, a
man must
one plan
for
if
he
to
the
works of recognised
I print
and
though
much
I
must
leave the
to
work of
pub-
other
something,
and
many
of
this readily,
because they
older and
demanded by
dearer
artists.
am
his
man,
for then
my
which
and
I
is
profit,
for his
first.
"
Thus you
it is difficult
for
me
your proposal
mth
reo-ard
102
to
FRANZ SCHUBERT.
as I have said,
is
time
one of
my my
chief reasons;
formed of
liim, I
offer of the
young
would therefore
press for
me
to look
at,
for T print
little
known
it.
If a great
and
knoTVTi
falls
artist
writes
his
blame
rant
;
on him, for
but
if
does not
please,
the fault
mine, for
why
should
I
its
print anything if
am
not persuaded of
is
merit?
no
protection to me.
his
works
is
in faithful
all
to me,
all
beyond
question
he
is
misuse of them.
If I find
I
them
my
^\ashes, I will
keep what
anything
103
such openness
understanding.
"I
is
to send
me
only
It is true that
he
sider successful
but be that as
it
may, one
must
if I
am
to introduce a
my
credit.
make
my
al-
it
many ways by
especial
that
my
firm enjoys
are
con-
people
accustomed
to
see
me
I
new
author,
people
bestow
my
I
dealing with
him.
104
FKANZ SCHUBERT.
I
am
more
credit
culty.
careful
to
I
keep up
wbich
have acquired
I
such
his
I
diffi-
For
this reason,
demand
most
successful
at
may
my
recommendation may be
success often opens the
The
first
of his
following
career,
posers cannot be
ful
with their
first
They may
till
little
their
fame
is
established.
fifty- eight
works,
Andreas Romberg
sixty- six,
and
Bernhard
Romberg
many
other artists
who
are
much
These
artists,
who
are
deal
now
and
if I
am
and
more
prolific
TRADING ON REPUTATIONS.
I
105
must show
yet what a
if
man
is
equal to them;
and
number of
mth
As
of
to
me
them, as
it is
an unpleasant feeling to
me
make an
rest the
offer for a
work of
genius.
For the
the regularity
mth which my
may
authors stick to
me
is
it
young
artist will
not be
" That
bert's will
possible if the
work
is
printed
Vienna,
but
should
in con-
am
nection with
all
the houses.
You
will easily
5 *
106
ERANZ SCHUBERT.
this,
understand
reasons, but
and
so
experience
there
is
only
too
much, and
seldom
any exception.
With
all
respect, I
PETERS.
me
songs,
like
I
"If Herr
Schubert
sends
Beet-
many
title,
that
it
We
it.
letter in full,
and
it
is
At a
later
date
Leip-
care to let
all
the dance-
music by which he
known.
It comprises
DANCE -MUSIC.
107
for
the publishers.
time, Schu-
by the
opera
to
write
''
two
additional
Herold's Opera
Les Clochettes."
as
He
gladly
accepted
the
order,
he was desirous of
The authorship
friends.
The
who had
denied him
all
power of
composition.
A
mg
1U8
society.
FRANZ SCHUBERT.
He was
and chary of
his words,
and
at a party
he had
Thus the
re-
among
the high
middle
classes.
among them
the
who
Ladislaus Pyrker,
as a poet,
who
is
now chapel-master
in
who
is
with others of
less
wide reputation.
Many
of the younger
men
to this group,
though there
it,
Schu-
joined
In the
COUNTRY EXCURSIONS.
society of these friends he passed
109
many
pleafor,
many
wild pranks,
serious,
he was
of them.
outside
They frequented
Vienna,
or
cafes
and gardens
excursions
made longer
One of
these latter
was
to the Schloss
Och-
senburg, on the road from St. Polten to the Styrian Alps and Mariazeil, the Loretto of
Austria.
of St. Polten,
family,
who was
related to Schober's
setting
it
to music.
in question is the
fij^st
The opera
of the two
grand operas that Schubert composed, and bears the name of Alfonso and Estrella. Two acts
of
were completed at the Schloss, the third was composed in town the ensuing February.
it
own
110
words,
FRANZ SCHUBERT.
" with great innocence of
mind and
heart," and,
though
which
fell
is
by no
means
perfect.
when
it
ought to be
Influ-
a great degree
by the exshower-
Avitli
mg
broad lyric
situation
whenever the
him
to energetic
and dramatic
letter
delight
splendid melodies
says, that
they expect
much from
the opera.
Troila,
his throne
retired to a
Estrella,
is
when
she
is
general,
who
GRAND OPERAS.
Ill
gained.
all
tions,
the
man who
him back a
certain chain.
Meanwhile Estrella
valley,
where she
fall
is
met
by Alfonso.
in love,
who
has
is
when Alfonso
is
appears and
She
enemy, and
while she
is
protected
by her
father's victim,
for-
But
Troila,
who
112
is
FRANZ SCHUBERT.
persuaded by the inhabitants to remain
easily
there,
and both
kmgdom and
Estrella
are
much
The overture
one
of his
best
orchestral
twice.
to the
The
woods.
All attempts, however, to gain
it
a hearing on
till
It
was not
more
its
to have de-
The
taste of the
if it
pubhc might
had beenteought
Madame
GRAND OPERAS.
most
flattering letter,
113
that
much accustomed
comedy
to high tragedy or
French
declared that
it
to
play
it.
making
applica-
Gratz, Berlin,
and Pesth.
experience of Httenbrenner,
when he
"
tried to
have
Schubert's
first
opera,
The
Devil's
One
loss
it,
if
assured against
florins.
was under
In 1847
came
to
there, expressed to
114
FRANZ SCHUBERT.
said,
though
Through
warded
to Liszt
We
success
was mediocre.
The
critics laid
selected.
But
An
interesting fact
is
connected with
'^
Al-
Weber came
new opera
" Euryanthe,"
which was
^^^.'itten
The
success of the
new
opera
fell
EURYANTHE.
evening
115
Weber was
But
it
this
momentary
tri-
umph was
hearing,
some
and
his
as decisive
He
deit
contained
many
beauties of harmony,
was en-
Weber
himself,
by
referring to the
replied that
Weber
some
his style in
was entering on a
new
path,
and
must be
"
What
"
116
"
FRANZ SCHUBERT.
so tender,
and came so
its
from the
loveliness
'
there
is little
feeling to be found in
Euryanthe.'
"Let the
dolt learn
in judg-
sit
ment."
Schubert,
who was
of-
He
E streik"
under
his arm,
and went to
call
on Weber.
Schubert's
as Schubert
judgment
of
" Euryanthe."
But
adhered to his
melody
in " Euryanthe,"
and pointed
him
who thought
" Alfonso
117
first
opera, broke
first
"I
tell
In
spite of this
momentary
violence, the
two
parted
This
was expressed
in a letter,
The
loss of
more
to be regretted, as
it is
said to
be
greatly condensed.
Still,
" Fortunately Weber, deeply occupied as he was, remained ignorant of the dirty work going
;
118
chiefly
ERANZ SCHUBERT.
among
those
had
Franz Schubert, who was present at some of the rehearsals, said, How Weber will manage all his awkward masses, I can't conceive he had better have left it
written.
'
alone.' "
And
now
In his usual into open hostility against Weber. rough manner, which his friends called open-heartedness,
tered
when
mere mountebank.
'
The
of course to Vogler.
the rival
The man abuses Rossini,' continued composer; 'and yet, when he does contrive to
is
sure to crush
it
to death, like
a powerful enemy."
is
The animus
in
little
That
is far
more
entitled to his
Life,"
is
represented as being so
will
much
Being
charmed against
" Cenerentola,"
own
by a performance of the
left
that he got
up and
the theatre.
asked the next morning why he had disappeared so suddenly, he unwilUngly replied, " When it came to such a
pass that these confounded Italian artists please even
me
must be
in it
There
was no standing
rivalry, if
it
any longer."
it.
Here was
detraction, envy,
you
like
a different opinion
*
to that of to
Weber on
CHAPTER
A MOST IMPORTANT
VI.
OF ROSAMOND THE WOLF, ANOTHER GRAND OPERA ANOTHER FAILURE POSTHUMOUS SUCCESS CONTEMPORARY TREATMENT THE RECEPTION OF MSS. BY THE VIENNESE OPERA BY MR. SO-AND-SO
YEAR DJRAMA
THOUGHTS OF A LIBRETTIST IMPRESSIONS OF THE SAMEGENESIS OF SOME SONGS A DESPONDING LETTER DESPONDING DIARY NEW VISIT TO HUNGARY TOUR IN THE
SALZKAMMERGUT
GMUNDEN
SONGS
BARBAROSSA
TEIN THE
THE TYROL.
PASS OF LUEG
WAR
IN
The
It
was passed
in
Vieima
activity
of production,
were,
among
120
called "
FRANZ SCHUBERT.
War
"
in the Household."
The drama
poetess
to
ground-work
for
the
account
of the
performance.
five days,
and
such a drama.
pieces
It subsisted chiefly
effects,
by ad captandwn
and scenic
and
the play which had lately produced most impression there was one which turned on a tradition of a wolf,
At first
the actor
who
named on
But on seeing
his success as
an
named
"
So-and-so."
However the
first
performance of "Rosa-
DEAMA OF "ROSAMOND."
121
on the whole, Schubert had more reason to be contented with his present reception than with
The overture given was that of Alfonso and Estrella, which, as we have mentioned already, had to be repeated twice over. romance and one of the choruses were also weU
mond" went
off
very well.
received, and,
his
former dramatic
tedious,
and even
it
more
Although
Schubert had by this thne his admirers, came forward energetically in his
favour,
who
some him of Mzarrerie, and his with Weber kept away the friends
It
of that composer.
was hard
for Schubert
and to
first
be forced to content himself with a good night, and only one foUowing, for his
pieces.
smaUer
The opera of "Fierrabms" was written Barbaja, who was then the manager of the
6
for
Im-
122
perial Opera.
ail
FRANZ SCHUBERT.
But
as Barbaja's lease
after this order
came
to
had been
given,
work was
The
is
about
all
we have
to record.
first act,
which
May 23rd
to Sep-
tember 26th.
the hero
The scene
gives
liis
is
laid in Spain,
and
is
who
name
to the piece
Moorish prince.
Some
few years
and others
The
War
late,
m the
"
Household" as
The
Conspirators" as
of
its birth,
is
was named
at the time of
The
libretto
was written by
Yiennese
123
some
and of
for the
greater productiveness.
Writing
year
Vienna theatres
from
the
1801,
the
number
of his
and he knew
all
the
of the
he
is
best
known
the
" Swiss
Family,"
piece had
The
Russian,
and
Danish,
suc-
He was
Four years
after
it
had been
set
"
The
ig,
common
'
German composers
if
we would
you
"
124
FRANZ SCHUBERT.
Here
are words,
to accom-
may
my
words count
for something,
to
damage the
intelhgibility of the
by preferrmg
teristics.
roulades
to
musical
it,
and in
my
judgment the
portant
effect of the
whole
is
more im-
of his throttle.
is
for
!
what
really the
German
opera, gentlemen
it
had been
set to
music, and
bert.
by no
less a
very
Castelli
who was
a personal
this
As, however,
125
to Castelli
of the
piece but
into a
all
gloomy and
interest in
it.
sentimental
he
lost
When
his mind.
Schubert's brother
1823, the
libretto
was pubhshed by
The
placmg
it
But
made by
Schubert's
is
Another contemporary of
dramatist Bauernfeld,
its
names
production;
it
and Httenbrenner
asserts
positively that
126
FRANZ SCHUBERT.
first
was
in
1824 or 1825.
It is certain that
and perhaps
him valuable
so
assistance.
It is said that
he
was
much
own music
that
1824.
The
was changed
to
the
''
War
in
the
Household."
But
the
all
way
of
its
performance.
it
We
to the
applymg
for
an answer.
At
up
its
mind
It
^and
theatre,
tied
up
POSTHUMOUS SUCCESS.
exactly as
before.
it
127
A more
operetta as
pubhc attention
works of Schuand
its
success
first
The
when on
to light,
it
was brought
at a concert
in Vienna.
The
was
vividly excited,
tion.
dies,
atten-
The
freshness and
The
first
128
FRANZ SCHUBERT.
made
opera,
it
The Viennese
and returned
it
a year
ample of Frankfort
and a year
was given
m Munich.
and
in Munich,
Schubert's,
producing novelties.
It is to this
The
Miller's
Fair Wife."
Schubert paid a
visit
one day to
private
secretary
to
;
count,
but
now
Imperial
Chapehnaster
room
was summoned
to
his master.
Left alone,
Schubert took up a
129
with
it.
The owner came back ahnest immemissed his book, and went next mornit.
diately,
Schubert pleaded
which he showed
first
''
the
music of the
A further
way
which he overcame
Many
of the
songs belonging to
hospital,
illness.
it
to
this year is
finest of
Schu-
bert's.
piece, a
position.
pressed
him
for a song,
his friend
for a walk.
130
''
FRANZ SCHUBERT.
paper, talking all the while with
so as not to keep
Dwarf" on
his friend,
and hurrying,
him
^vaitmg.
follows (1824)
is
one of the
in
own handwritmg.
letter to
an
artist friend in
entries in a
journal,
show too
which
The
failure of so
many
low
family to
Hungary agam
this year),
drove him
almost to despair.
whom
addressed, was to
Rome.
good and
^vill
You
''
are so
kind,'' writes
Schu-
bert,
that
you
forgive
ill
me much which
from me.
In a
others would
take very
word,
I feel
A DESPONDING LETTER.
wretched being in the world.
self a
131
Figure to your-
man whose
and who
come right
again,
man
and
whom
oifers
friendship
whom
and ask
'
yourself
if
he
is
My
peace
it
is
gone,
my
heavy;
I shall find
more
every night
when
go to
hope that
may
My
" Fierra-
gomg on
Your
badly,
any money.
brother's opera
my
The
by some one
first
132
in Berlin,
FRANZ SCHUBERT.
and received with applause, so that
I
I
have
set
avail.
new
my
and
hand in instrumental
composing two
violoncello,
and
an
octett, to
which
I shall
by
this
means
way
to a grand
symphony.
"
The
is
chief
news
in
Vienna
is
that Beet-
hoven
will
new
I
mass, and a
new
God
will,
intend to give a
his
diary run
as
fol-
" Grief
sharpens
the
understanding
and
little
about the
first,
effemi-
nate or frivolous.
"
From
the bottom of
my
many
wretches
A DESPONDING DIARY.
think that what they are doing
all
is perfect,
133
and
other things
are
nothing.
One beauty
his life
;
should attend a
is
man throughout
that
true;
should light up
''March
27th.
No
we
one
understands
the
We
are going
to
each other,
misery to him
who
recognises this
"
by
My musical productions have been created my mind and my grief; the world seems
which spring from grief
alone.
is
to prefer those
" There
wisdom
Man comes
it is
for
to
believe some-
weak
reason plants
is
of proof.
Reason
"
134
"
FRANZ SCHUBERT.
March 29th.
fount,
from which
artists
drhik!
Abide with
us,
though acknowledged
enlightenment,
!
that
skeleton
on
Schubert's
powers of production.
The instrumental
the letter
pieces to
which he alludes in
the octett (Op.
149).
In May, 1824, he
Hungary, and
The
ment of
this
appreciation
family,
worked
well on his
spirits.
"It
in
is
true,"
he
says,
"that the
happy time
135
reality,
which
endeavour
to
brighten
as
far
as
for
possible with
my
God
that gift).
One
is
was
happy, though
it
and thus
experienced an unpleasant
here,
appointment
and
found
;
my
former
but I
am now
with
morning to
que's,
"'
set a
poem
of
De
la
Motte Fou-
The Prayer
at
breakfast
once,
and
was
not published
it
till
At first
it
136
FRANZ SCHUBERT.
1
as
whom
it
was
composed,
the
eldest
now
famiar to
many
summer
gut.
tourists
the
beautiful
Salzkammerrecords of
Unfortunately
we have few
from
Scott's
date from
Austria, and
at
Gastein.
Robert
Schumann
ous
;
and says of
"
The
first
movement
is
so
quiet and
into one's
dreamy
eyes
;
subjects
of
which
it is
wonder
happily
at the
GMUNDEN.
137
at Steyer,
where Schubert
end of
Some
and
letters
Schubert
various
during
the
at length,
us
much
detail
of his
life
and their
interest in hun.
At
Madame
tioned
Milder,
who
connection with
letter
from
Gmunden
as truly heavenly.
"My new
of the
Lady
Lake"
at
had great
success.
People wondered
much
my piety, which I have expressed in the "Hymn to the Virgin," and which seems to
possess all hearts
from
and
my
never forcing
myself
to
devotion,
never
composuig
hymns
or prayers unless I
am
overpowered by
138
it,
FRANZ SCHUBERT.
it
1
pubhshing
but then
is
devotion."
Later he says,
name
make
me
England.
If one could
of
pro-
but
the
^vise
and
beneficent
As
Madame
Milder, I
am
my
'
Suleika,'
tions
might
see if
it
;
for
it
be,
may
be equally ridiculous
if
the
critic, as
often
happens,
I have found
my
139
Kremsmnster, where
produced
my
variations
and marches
for
much
I
success,
my
new
which
I played alone,
and which
Some
sured
me
became voices
my
very
touch, which, if
true, pleases
me
mg which
and which
nor heart."
'
If
and
life
of
man
so
much
as not to
new
life."
A letter which
is
on
this
an
offer
Another
140
letter
FRANZ SCHUBERT.
from the painter, Moriz von Schwind,
Tieck has got a place at the theatre
states that
in Dresden,
Alfonso
and
E streik."
details of
Then comes
more
tains.
in the
moim-
"
Dear Brother,
journey to
How-
any case
my
journey on
my return
weak
as I believe I can
do
it
speaking.
"
so beautiful.
You
look over
WAY
TO GASTEIN.
141
derable
mountain, through
We did
not stop
Almost everything
is
of wood.
The wooden
wooden
stands, fastened
All sorts of
Here,
too.
From
Neumarkt, which
142
FRANZ SCHUBERT.
The country
all
lies
the
way to
higher,
the
rest.
The
villages
show traces
* "
To
defile to the
There, far up
black
mouth
of a cavern,
and
tell
him
rossa lies
the hour
when
peak, and the pear tree blossom in the valley, to descend with
his crusaders
to
Germany
See also
Vision of Barbarossa,
by
W.
Stigant.
WAY TO
of former wealth.
GASTEIN.
143
peasant's
The commonest
The
sun
spirits of
The broad
castles,
valley
with detached
enchanted
we
perpendicu-
and looks
terribly
down
its
on the wanderer.
satellites,
is
gigantic
its
grandeur almost
alleys,
crushes us.
And now,
through splendid
we
Fortifications of free-
The gates
scriptions,
priesthood.
Houses of four to
five stories
fill
144
FRANZ SCHUBERT.
which rushes
by
The town
sion
made
all
the streets.
As
after
un-
our
we
could see
little
besides the
splendid churches
Yet
the
many
of
buildmgs are
empty,
many
others
are
inhabited
lies.
by one, two,
and
WAY TO
paving- stones, so
little
GASTEIN.
are they trodden.
145
The
Cathedral
is
The body
is
of the church
is
in the
form
of a cross,
carved in stone.
The mterior
of the church
is
is
supported by
many marble
columns,
adorned
all
its parts.
The
light,
which
a glorious
all
and
is
to be
recommended
to
churches.
From
St. Peter,
lived.
the
monument
to
M. Haydn.
but
; ;
14
ERANZ SCHUBERT.
;
his
head
is
con-
is
not
You
To
describe the
loveliness
of
tliis
valley
is
many miles
m extent,
fields
and
meadows
hues
;
like so
many
them
like girdles,
alleys of
enormous
trees;
all this
tains, like
inex-
To contmue my
that followed
descrip-
The day
was the
The
147
and with
common herd
We
mth
that
this
we were
which
Adam
jt is really a
shame
to
and the
still
more
beauti-
built in a
month
this,
for his
but no
one
This
its
is
shocked at
Delightful toleration!
little
add by
In a
few hours we came to the remarkable but extremely dirty and dismal town of Hallein. The
148
FRANZ SCHUBERT.
and
rats
thin.
The
town of
frightful
We
high impass-
whose
After
fearful gorges
we had crawled
with terrible
side, so that
up an enormous
us,
hill,
mountains before
and on either
we
looked
moment,
began to
from
quake.
the
After
we had
recovered a
little
first fright,
we gazed
and we
rock,
which seemed to
close
up
at
some distance
way out
firom them.
is
so dreadfiil,
talise his
man
more dreadful
For
this
side of the
WAR
its
IN
THE TYROL.
149
far
which cleaves
noisy
way down
The Tyrol-
hidden
down with
who tried
cries of heUish
into
whence the
shots
came.
continued for
many
is
now
to
side,
But
let
us turn away
we
time,
the
walls of rock
nearer,
limited to a breadth of
turns where
it
was
least
overhangmg
rock,
wedged-in Salzach.
We
are
still
shut in by
150
FRANZ SCHUBERT.
Heavens
!
this
can
write
first
more.
As
I shall
be in Vienna the
ble in person,
and
tell
you the
rest
by word of
mouth."
The consequence
of which
is,
CHAPTER
VII.
WEIGL
IS
PREFERRED
ACCUKACY
CORRES-
IMPERIAL STYLE IN
ITS
QUESTIONED
EYEWITNESSES
AND
MEMORIES
MANDED
LOW TERMS
OFFERED
IN
HANDS FULL
AND
POCKETS EMPT'Y
A BIRD
THE HAND
NOT SUITED TO A
PARISIAN PUBLIC.
that
more
successfully.
Count Moriz
Dietrichstein,
152
chapel.
FRANZ SCHUBERT.
offer
was brought
at
pleasure.
the post.
To
he
where
his time
would no longer be
his
sacrificed.
Yet the
either,
post
really
entailed
httle
loss
of
Later in
life
among
his friends,
serious-
mthout the
pressure of care.
before
him
"
Neque
sana
Paupertas, atque
Coi-pus eget
;
seris
cum
se
carmine solo
"
153
master.
1825 had
was
tors
still
vacant.
named
in the report of
Count Harrach,
the
superin-
Of Schubert
his claim
the
his
on
by a
certi-
from
Salieri
composi-
tion;
m various churches."
This
last
sentence makes
it
way
into
with himself.
said " a
On
learning
154
FBANZ SCHUBEKT.
name, Eibler said that he had never heard
my
one of
think
my
compositions.
I certainly
do not
much
my
music.
When
came
fate of
my
took
my
leave,
thinkmg that
was
As
''
by him
as
The
was
Swiss Family."
The
place
(120), and
to live
comsue-
WEIGL PREFERRED.
cessful competitor,
155
he
this
said,
appointment, but as
it
as
Weigl,
We must
remem-
the
biographer of
Beethoven,
made by Schubert
same year
We
though as we
is
shall pro-
He
post of conductor
the
Krnthner
Thor
Theatre
was vacant,
to get
and
Schubert's friends
made a push
him the
his
appointment.
seemed
^villing to
employ him.
how-
ever, giving
definitely,
he sub-
jected
Schubert's
capacity to
trial.
The
156
FRANZ SCHUBERT.
At
the
first
rehearsal Mdlle.
Schechner
who
alter
it,
to
make
it
paniment.
Schubert refused
all
changes most
emphatically.
it
At the
first
orchestral rehearsal
herself heard,
were pressed on
he refused.
When
till
came
proved correct.
The
orchestra,
and
especially the
wind instruments,
to bear
on
by the
There
was a dead
silence
During
this
Duport
157
first to one,
then to another of
and the
chapel-masters present.
on the partition
Mdlle.
Schechner."
orchestra joined
m beggmg
now he
Schubert to yield.
He had
whole
occurrence, and
make no changes
" shut
up
it
under his
arm and
left
the house.
the appointment.
Such
is
Schindler's account.
We
shall see
one
158
FRANZ SCHUBERT.
on
this
occasion
is
the
Schubert to
whom
he introduces us
a very
different character
natured being of
whom we
An
difficult for
But he
He
adds
that, in
of conductor.
Mdlle.
mth
and
to
what she
that
it
is
certain
among
these con-
159
Schubert.
we may
safely
for
which Schindler
is
It is
He
was not
fitted
for the
much
to be regretted that he
was
their
way
This was, no
class of beings,
and which
breeches-pocket.
The
letters
Throughout
red
small
strain
on the
mmds
of the
160
Probst
1826,
of
FEANZ SCHUBERT.
Leipsic
writes,
August
26th,
mth
all his
power
But
though marked
is
by genius,
is
often
He
too
hard,
agreeable,
and
easily
mtelligible.
but at
first
we
to the public."
more reserved.
They
pecuniary
They
he
their
attempt by accepting a
CORRESPONDENCE.
certain
161
number
work
the
first
may
entrust to them.
his compliance
with this
less to
offer
MSS. next
publish
year.
to
them
He
was
sum
of eighty florins
(8)
demanded
for
each
manuscript
rather high.
the publishers of
to
Another
1828,
is
letter
worth giving
"It
162
caused
FRANZ SCHUBERT.
me
my
journey to Yiemia
left
your valuable
offer
your compositions by
cess.
my
when
had the
to
me
to receive
you promised
my
wish.
Since then I
and how
feelhigly
I
the variations
;
and
am more
will succeed in
name
readily
con-
"Will you,
therefore,
be good enough to
CORRESPONDENCE.
send
163
well com-
me
anything you
may have
and romances,
We
on the honorarium,
scale,
if
you
will bargain
on a moderate
honest
always find
me
when
in.'^
Which
is
as
much
make long
and a good
friends
sale for
a small
sum
the pubhsher.
as this letter
from Probst
''
Schottes
Mayence.
correspondence
to
opened
satisfactorily,
but
came
that
nothing.
Beginning by a statement
admirable works had been
Schubert's
to
known
them
for
many
years,
and that
if
immersed
in the
pubhcation of Beethoven's
for
some
him
to send
them
own
164
terms.
TRANZ SCHUBERT.
Schubert must have been delighted at
such an opening.
gleam of
He
com-
answered
positions.
his
Another
mises of liberality.
But
for
engageall
MSS.
As
his
it
choosing,
works were
so
enticiag.
eight
compositions,
publica-
One
new
significance.
free to
demand
ting
as
many
among
will
added
"
You
of course
name
as
moderate a
remuneration as possible."
Schubert's answer does not appear, but from
165
seems that
for four
five
male voices.
it
was too
dear, there
They
offered
him
for that
sum with
on the principle
is
always so
cir-
potent
when
acting with
those in needy
cumstances.
In their
first letter,
public.
Of course
166
PRANZ SCHUBERT.
With
His
trio
fiat.
sum
public
concerts
by distinguished
At one
of
its
private
little
knew what
a treasure
thmg
that did a
man
little profit.
A BIRD
With
monthly
IN
THE HAND.
167
owner of a musical
at
an end.
civilly is
evident
with the
same
ill-usage without
Had
it
we could
wondered.
In
all history,
demned
culties.
diffi-
known.
He
many unknown
Germany.
his
admirers in
all
other parts of
And
works were
negotia-
who
as with
chapel-masters
who
traded on
Imperial ignorance
CHAPTER
COMPOSING NDEE DIFFICULTIES
GENIUS
VIII.
DIFFICULTY
THE TEST OF
BEETHOVEN
PRECIATION
"NOT AT home"
BEETHOVEN AT DINNER
DEATH OF BEET-
HOVENHIS
OF 1827
FUNERAL
DRINKING TO HIMSELF
AND
POET
RULES
FOR
SCHUBERT
AND MENDELSSOHN.
The year
1826 witnessed the production of many admirable songs and instrumental pieces, and the
was not a
little
169
is
The one
to
which we allude
written
to
the
serenade
(Stndchen),
words of
Grill parzer's.
excursion with a party of friends, and in returning through the village of Whring, he
garden of an inn.
halt
was
called,
Fiddles
side,
and the
at every table,
and
fire
fro
mth
of
answers to
'
In the midst of
solitary friend
it,
had been
He
looked through
and suddenly
come
8
into
my
170
head,
if I
FRANZ SCHUBERT.
had but some music paper."
The
bill
of
it
One
with
all
the noise
gomg on around
At
down
the end of
letter of thanks,
accompanied by a
hundred
florins,
workings.
due order.
Unfortu-
work too
difficult for
it
as
"impracticable."
often
has been
very
difficulties
which
once
seemed insuperable.
171
at
lilacs
and
as near each
other in
as they
were
in death,
life
and yet
as their
now
separated
by the earth
that
They had
birth.
one
whom
he
felt
to be so vastly superior.
felt
From
the greatest
On
one occasion,
his
some compositions of
if
own, he
asked a friend
and on
his
friend
172
FRANZ SCHUBERT.
to
do anything
after
Beet-
Schubert's
approached
that
of
Mozart.
He was
easily pleased,
and possessed
life,
Beethoven
sarcastic
distrustful,
and
proud
the
genius
classical
and
his
and general
cultivation,
he was above
It is prob-
knew
little
the latter
till
being
again
we
173
set
Schubert
out
hands on a
much
honoured.
Diabelli,
who
The
till
he came to the
monarch.
And when
questions,
Beethoven ex-
pressed a
msh
to
for
answers
his
hand
seemed
fettered.
on a
fault in
harmony.
He
pointed
it
out in
it
owing to
command
left
of himself.
was not
till
he had
the
own
con-
174
duct.
FRANZ SCHUBERT.
This was his
for
first
and
last
meeting with
could
Beethoven,
after
that
he never
One
fact is conclusive as a
states dis-
Joseph Httenbrenner
him
his o^vn
account of
the visit to
Beethoven.
What
at
Beethoven.
He was much
and
nephew.
A letter from
also
bert
before.
175
my
first
meeting with
Beethoven," writes
Rochlitz,
"when
was
of Beethoven's.
about me.
If
you want
and more
to
see
Beethoven
more
bert,
at his ease
where
took
He
me
there.
Beethoven
friends,
who were
We
little
Beethoven took
Schu-
bert.
He was
creations,
grand
mostly on a great
scale,
while
minor compositions.
his
life,
But
pigmy found
It
their
way
last
years of his
life.
Schu-
176
bert's songs
FRANZ SCHUBERT.
were
his great consolation,
his death
and a
he asked to have
King
"As
succumbed
it
months of
made
to
impossible for
his
very
first
it
exert
wonted
to find
it
activity,
was necessary
some amuseI
ment
suited to him.
Hence
came that
put
before
him a
collection of
all,
Schubert's songs,
about sixty in
script.
many
of
them
still
in
manu-
of providing
also to give
him
to
enable
him
on his
talent,
by exalted admirers
suspicious.
way
to
make him
songs of
at their
Schubert's
was astonished
number, and
LATE APPRECIATION.
177
he was surwith the
already.
But
was
if
filled
For
away
The Bounds
of Humanity,"
''
Viola,"
The
He
!
cried out
: '
There
'
'
If I
had had
music
! '
set it to
And
leisure
to exercise himself
many poems,
High
praise
Of
these greater
not mere
lyrics,
178
FRANZ SCHUBERT.
which would
entitle
them
to be performed at
them a favourable
What would
"
Ballads
from
"
The Surety,"
others
it
''
Elysium,"
lately published?
As
formed
grew
so
much
worse,
However,
he spoke
much of
Anselm Httenbrenner, on
news of Beethoven's
serious
receiving
illness,
the
hurried
away from
Gratz, arrived
remamed
man
He
SCHUBERT A TORCH-BEARER.
179
painter,
visit.
It
was
at
them
signs.
At
"Ramble among
name
among
these torch-
among
those
who give
their
name
to
the volume.
A vast mul-
by the Scotch
gate.
At
three o'clock in
the afternoon of
March
moved
forwards.
180
cross-bearer
FRANZ SCHUBERT.
came
first,
players, followed
by a
Next
by the
in order
coffin,
came the
which was
From
coffin
the
to the
mourning,
on their arms.
Besides Schubert
among
the
num-
The brother
of Beethoven followed as
chief mourner.
At
by Grillparzer
poem, and
laid three
Hummel
coffin.
wme.
memory of the
great
man whom
DKINKING TO HIMSELF.
to the tomb,
181
who should
soonest
He drank
to himself
Gratz.
Dr.
Carl
and
his wife
she practised composition, and played Beethoven's sonatas with a fine touch, and thorough
appreciation
of
their
meanmg.
at
Beethoven
Vienna
1817, and
He was
him under
to
their roof.
The
friend
who was
when
visit.
182
FRANZ SCHUBERT.
son,
The
who
is
still
living,
remembers
his un-
he was pacified by a
now
Schubert's
stay-
his
life.
Music
who
On
''
Gratz Waltzes."
after his return
''
was immediately
that
from
Gratz,
Winter
COMPOSITIONS OF 1827.
Journey," that dark, gloomy picture, so
183
differ-
He
also
flat,
always seemed to
me
his latest
and
Swedish popu-
forms the theme of the second moveSchubert had heard some Swedish
is
ment.
airs
now
director of the
Lind's
first
teacher,
much
that he
made no
trio.
letter
poem
''The First
Sound."
Writing to
had
poem,
184
FRANZ SCHUBERT.
but because a
fine field
was afforded
for Beet-
painting.
Speaking of Weber's
setting,
Mannheim,
Leipsic,
:
Munich, and
Frankfort,
RochHtz said
"
our
artist will
it
the
is
almost
the
col-
unknown, and he
is
the last
man in
the proposal.
He
"The
First
Sound" would
necessarily call
up
Schubert
Had
In-
his
own
185
To
suggest,
he
said,
not to prescribe
is
When
the
surrenders
it
entirely.
Subsequent objections
made
his
meaning
it
clear in the
is
course of his
own workmanship,
his fault,
fail
to
To come
forward,
ing the
poet,
is
tion of superiority.
leaves his
o^vn
work
unintelligible,
it
first, is
own workmanship.
186
FRANZ SCHUBERT.
It is well that a
man who
poem by
But
is
conscious of
clear,
careful notes to
it is
wards to
that,"
say,
"I meant
said,
where something
was
and
in
And
if
you were
poem
is
properly written,
if
it is
suggests
a
own
music;
the composer
man
of genius,
poem
will suggest to
him
much
and
if
poem
it,
into a
to
and
is
his
words on the
first
187
much
as follows:
"Your
Herr
Haslinger
conveyed
to
you
sei
my my
my
employ your
greater poem.
art
on the embellishment of a
tells
He
permit
me
to
that
you are
will-
ing to do so
subject.
is
me
come
I
at once to this
have in
my mind
it
"
The
in the
I will
fifth
volume of
my
collected works.
state the
way
it
:
in
which
myself the
music
for
prescribe the
manner of
;
setting
(I have
no
right to do so)
own
inspiration,
whether
it
disagrees in part or
my
proposal.
Overture:
188
or horn.
into
FRANZ SCHUBERT.
Next, beginning softly and going
off
darkness
more
dious
Whether the
by an
allegro,
I will
is
not determine;
if
the
second course
serious,
and
first
movement.
till
Now
softly
declamation
mthout music
tra
comes in
from
this there
Here a
longer,
interlude.
\
shorter,
and
without music"
and
so on.
The
equalled
by
Midnight
Review."
The
poem
represents
the ghost of
Napoleon reviewing
189
by midnight on the
Champs
Elysees,
up by many
the
pictorial illustrators.
poem
to Schubert,
poem
it.
As
his neglect of
Kochlitz's
the "Midnight
Review" was
is
followed
by Mendelssohn.
"It
difficult to
set a descriptive
which
the
latter
his
feel
abstention.
equal to the
take
make good
CHAPTER
LAST
IX.
YEAR
OF
SCHUBERT's
LIFE
MUSICAL
OF
ACTIVITY-
SEVENTH
SYMPHONY
JUDGMENT
THE
ENGLISH
SCHUMANN
SCHUA GER-
SIX SYMPHONIES
MAN
CRITIC
AND AN
POET
THE
DANUBE
TALENT
ANALYSIS
OF
THE
SYMPHONY
WONDERFUL
ETERNAL YOUTH
YEAR
LATEST
POSTERITY
SONATAS
AND CONTEMPORARIES
RECEPTION
TOO
OF
HARD TO BE PERFORMED
DEDICATION
SCHUMANN'S
AND
HIS
SCHUBERT
FAMILY SCHUBERT's
THOUGHTS
BEGIN-
ONLY CONCERT
OF A TOUR
GREAT SUCCESS
THE SPRING
ABANDONED
NINGS OF ILLNESS
LACHNER AT PESTH
LETTER FROM
SCHINDLER
We
with
now
new
earthly
life.
He had
trip
returned from
Styi^ia
new
exer-
tions.
Another
was meditated
for this
SEVENTH SYMPHONY.
191
autumn of 1828,
and
to
health,
which
was
somewhat
His
indis-
had grown
but
which came
so
many
others,
The most
the great
Sym-
phony
in C.
But
it
would be impertinent to
It is true that
Schumann
visited
Vienna
at a sad
wi'itten
his
On
his
return
from
the
churchyard
of
192
FRANZ SCHUBERT.
it
Whring,
struck
Schumann
that Ferdinand
still
living.
"I^oon," he
writes,
''went to
the
call
on him.
He knew me from
the
Journal under
the
name
of
relics.
Finally he showed
me some
of the treasures of
still
did not
off.
know where
to
begin,
where
to
leave
Among
me
the parti-
many
of which
at-
and the
SEVENTH SYMPHONY.
only letting us hear his songs, and
193
little
or
Who
I
this
symphony of which
left in
am
dust
and obscurity,
to a speedy
Gewandhaus Concerts, or
glance
much
less
So
it
happened.
at Leipsic,
was heard,
universally, admired.
The
energetic firm of
and thus
it is
now
as
lying before us
shall perhaps
complete
all
its parts,
we
Rather
late in the
day
for such
an epithet to
194
FRANZ SCHUBERT.
Schu-
mann
openly
proceeds
;
it
at once
this
and
sym-
phony knows
all
of music, this
panegyric.
may seem
a scarcely credible
often,
Composers have so
their
all
and so
to
much
abstain
to
from
of
symphonies
after
Beethoven; and
with
more
development
exercise a
did
not
decided influence on the mass, or on the progress of that genus), all the rest, or nearly
all,
were tame
reflections of Beethoven's
method
and
this
mthout
produce
passable
imitations
of
the
JUDGMENT OF SCHUMANN.
Berlioz belongs to France,
occasionally
as
195
and
is
only named
madcap.
"
What
dare say
many
many-sided in
the
many
symphony from
own
it
side,
and
hit the
symphony
of Beethoven, but,
artist,
he created out
symphony
for
may
lead to the
work not
being understood,
is
without having
development, or having
known
its
pre-
decessors.
may
196
FRANZ SCHUBERT.
them
will
have
its
Schubertian
significance;
aye,
the
Viennese copyists of
far for the
suburb of Vienna.*
"
to be bestowed
But
Vienna you
to their
speak of
praise of
they
know no end
:
Franz Schubert
by themselves, they
one or the other.
refresh
don't think
much
of either
let
Be
this as it
may,
us
ourselves
now
St.
Stephen's,
lovely
women,
pageantry, and
the
way
it
it
was carried
off
by
C minor.
197
hills,
enwound
this
German
masters,
must be a
Often,
when
it
gazed on
into
came
my
mind how
wandered
Alps;
must have
that
distant chain of
how
often Mozart
may have
followed
which
Danube
"
:
rolling fair
Enwind her
isles
Compare
And
That not
in any
mother town
and
fro
With
statelier progress to
The double
198
FRANZ SCHUBERT.
up
at the
tower of
St. Stephen's,
and shook
his
The
pictures of
Stephen's, and
and
breathed
upon
Avith
is
famt
odour of
Catholic incense
that
a picture of Vienna;
and
mth
that
charmmg
aq-
At
the
touch of
Schubert's
symlife
clear,
blossoming, romantic
the
tovm
rises
more
just
in
the symdiffer-
phony.
Different ages of
form such
the
man seems
to
local.
THE DANUBE.
199
But
if
we
is
that
in
symphony there
lies
concealed
as they
;
have
that
remember
that
we
would admit
this,
the symphony.
contams
life
in all its
throughout, the strongest expression of individuahty, and a romanticism shed over the
learned
to
associate
Franz Schubert.
And
this
200
to an end,
FRANZ SCHUBERT.
and that
for the best of all reasons,
may have
is,
plenty to
this feel-
think about.
How
refreshing this
one
is
is
so often
vexed
being disappointed.
It
would be
impossible to guess
management of the
know
that the
others,
ripest force of
manhood.*
"It
is
that, little as
mental works
should
during his
lifetime,
Schubert
body of the
like
the
I
alternation
of
human
voices
and
chorus.
'-
"
March
written
on the partition;
and
201
human
many
of Beeth-
it is
Another sign
symphony
is its
Observe
Schubert's
in
it
how
correctly
itself.
and
wisely
genius manifests
powers,
he avoids
all
gro-
we
works of Beethoven.
He
gives us a
work
again.
everyone
to the
who
gives
symphony.
sight of
anything unusual
brilliancy
is
likely to confuse)
by the
new world
into
which we are
9 *
202
FKANZ SCHUBERT.
it
leaves a delicious
play of magic
we
be duly unis
ravelled.
produced
veiled in mystery.
is
The
transition
perfectly new,
tempo
does not
seem to
change
It
we have
movements; one
would have
whole symphony to
through
it.
But
touching tones.
There
is
one place in
distance, as if
Everything
else
as
if
D-lidms:
"
No symphony
ETERNAL YOUTH.
since those of Beethoven.
203
teurs vied
in
praising
it,
and
heard the
it
had
a
let fall
may
pass
before
the
symphony
is
is
naturalised in
no
it
bears in
it
the seeds
phony when
mentioned,
it
was
really young.
As we have
over
to
Schubert
made
it
the
difiicult.
The composer on
send-
in
but
204
FRANZ SCHUBERT.
On
seventh as too
difficult,
he recommended the
witness
its
performance.
the
that
It
was not
till
eleven
years
after
composition of the
it
Seventh
light,
Symphony
was brought
to
as
Schumann has
March, 1839,
haus at
it
narrated.
On
the
22nd of
Leipsic,
met mth on
all
Even
the
It
symphony a proper
was announced
reception in Vienna.
for a concert lq
December,
But
paid
at the
artists
orchestral
rehearsal,
the
movements were
given, with
and
was not
till
OTHER WORKS.
of Vienna had an opportunity of hearing
its
205
it
in
completeness.
Nor was
The
there
much
ap-
plause
even
then.
symphony which
the
Mendelssohn and
Schumann considered
after the
symbeen
has never
yet
of
its
composer.
Mass
in C,
in
flat,
Miriam's Song of
''
Hymn
to
the Holy
Ghost"
for
eight
voices,
the last
vocal pieces.
The
were
in-
mann.
Diabelli as
it
was natural
much
interest to
them
as possible,
we have
206
FRANZ SCHUBERT.
for
some excuse
doubting
if
Schumann,
" the
Any
one Avho was ignorant of the time of their production would probably judge otherwise.
I
the trio in
flat
me
Schubert's last
work,
racteristic.
superhuman
so
for
so
much, and
much
may
I
work of
if
his
hands.
he
composed them on
itself
music
it.
to
beheve
seem
to
me
strikingly different
in their
from
much
LATEST SONATAS.
to
207
which on
all
common
together
new
They go
rippling on
stream as
if
coming,
always
Such was
their effect
on
me.
He
closes cheerfully,
easily
and
plea-
santly, as if
The
secret of this
judgment
is
that Schu-
and
by
Anselm
208
FRANZ SCHUBERT.
of his pieces, the
flat.
At
mmdful
The
"
My
you
brother
is
very clever," he
^vrote,
" both as
If
He
is
Remember that
my
me."
Schubert's compositions, especially his songs,
efi*ect
in various concerts
and
them on the
gested to
his
piano.
him
Schubert's only concert.
209
own
interests,
and he
At
last,
as his friends
mass of songs he
He
gave a
Union
own
in a
composition.
The
programme advertised
day, ran as follows
"
tett,
1.
:
newspaper of the
First
movement of
new
String Quar^
and Lmke.
2.
Four songs:
;'
a.
'The Crusade;'
;'
h.
6?.
'The
Frag-
Stars
c.
'
'
accompaniment.
'
Serenade,' words
by
Grillparzer, soprano
Dlle. Josephine
solo
New
Trio
for
Pianoforte,
Violin and
210
FRANZ SCHUBERT.
Violoncello, performed
by Messrs.
Booklet,
Bhm and
5.
'
Linke.
the
Stream,'
On
words
by
Rellstab,
Lewy
junior.
6.
'
ker,
by Herr Yogi.
7.
'
Battle Song,'
by Klopstock, double
cho-
The
hall
was
full to
was
so brilliant that a
was proposed.
The present
two which
expenses
and
last; the
were got up
of his tomb.
As the
ward
to a
summer
The
trip
either
in
to
Gratz or
place.
Gmunden.
friend
the
latter
THE SPRING.
with
211
whom
again.
to
come
and
lest
his host,
sum
daily for
board and
journeys.
The
friend
:
him
to Gratz writes
" The
employes in
my
chancery
remem-
Dr.
summer
in
Gmunden and
the
surrounding
prevented him.
at a mass,
He
is
is still
here,
working hard
and
money he
may come)
212
in
FRANZ SCHUBERT.
order
to
take
instant
flight
for
upper
Austria."
all
chance of a
still
visit in
clung to the
But
had
to be abandoned.
Instead of
and cheermg up
and
Unfortunately, too, he
moved
the
at this
damp and
to
much
illness.
illness
prevented Schu-
an
expedition
to
the
capital
of
Hungaiy.
as
Lachner,
opera.
The
invitation
proceeded
from
Anton
Schindler,
the
bio-
THOUGHTS OF A TOUR.
grapher of Beethoven, whose
sister
213
was one of
Before leaving
performance,
if it
could possibly be
managed.
was
up Lachner' s
solicitations.
(it
My
runs),
our
friend
Lachner
is
too
busy
with the
I
name
this
great
work
add
my
own and my
receive
plenty of
room
for us all
at
one
table,
and we
which
is
You
must, there-
214
fore,
FRANZ SCHUBERT,
make arrangements
by the diligence
if
;
to start
on the 22 nd
at latest
please let us
know two
the
days beforehand
24th.
"
This
is
one part
is
the other
follows.
As your name
make
in
propose to
you.
You must
cert here,
vocal pieces.
it,
A good
known
result
is
expected from
and
as
it is
love of your
own
you
tell
to
embark
m such
raise
an undertakmg,
let
me
will
most wilhngly
by gettmg
five or
by -the thought of
trouble
letters if
this,
you think
it
necessary,
To
not
m this way
215
Come
!
along
will
is
No
You
There
be supported with
our power.
young
sings
dilettante
who
your songs
part
my
sister ditto
you have,
fat
chops,
and accompany
glees also
performed.
Your
eff'ect.
would
to produce their
Many of them
need not write
known
here already.
is
You
not necessary.
to God.
And
all
with this
we commend you
We
be refractory.
Hoping
to see
you soon
in the
Your
sincere friend,
"
Anton Schindler."
Lachner returned
216
to
FRANZ SCHUBERT.
had been
ill
for three
to-
was
their
last
meeting on
to
up
the
Kmthner
this
Thor
Theatre.
While he was on
journey a
letter
from a
common
death.
fiiend
CHAPTER
Schubert's illness
X.
apprehended
nothing
serious
THE
left
LAST
his
able IN
ms
face
A second
falstaff
HIS character
ABSENCE OF
PRODIGALITY
INSTANCES
PLAYING IN COMPANY
ACCUSTOMED TO NEGLECT
LOVE
GLASSES
OF
WINE
LATER FEELINGS
BREAKING
LIFE.
It was in
began to
feel
He
became subject
and a rush of
trip
he took
mth
his brother
and two
10
218
FRANZ SCHUBERT.
and the grave of Haydn,
it
friends to Eisenstadt,
certainly
to
Vienna
Dining at an inn
down
and
fork,
fish
he had
just
begun eating
filled
him with
if
a sensation
From
any
this time
food,
took
exercise.
On
to
the 3rd of
a long walk
his
composed by
Going home,
after
walkmg
for three
hours, he complained
much
of weariness.
Even then he
illness, for
of writing fugues.
He had
lately taken
much
him
to his bed,
219
no
pain, the
want of
His
illness lasted
nine days.
The
first
few
and even
mind was
active.
He
of an
new book
On
the 16th of
November
By the
even-
when he
is
hap-
penmg
to
me?"
He wanted
to
go out, and
tried to
if
he would recover
he
But Franz
hand
looked
to the
will
be
my
ending."
220
FRANZ SCHUBERT.
passed away the next day, the 19th of
at three in
He
November, 1828,
having not
year.
the afternoon,
Two
to
days afterwards
the
his at
body was
Wahring,
conveyed
churchyard
to
whom
he so
when
he had answered
his oAvn
all
assurances that
his
was indeed
room and
is
own
not true,
of his
Beethoven
is
not here."
Many
ftiends
mth many
garlands.
affection,
musical composi-
among
grave.
monument
over his
PROPERTY LEFT.
221
itself,
could be defrayed
The property
more than 6.
this
on
It
money
procure
it
A
first
were given,
concert was so
led to a second.
What mth
the
sums thus
ings, a
collected
offer-
in the church-
yard at Whring.
222
FRANZ SCHUBERT.
But yet
fairer hopes.
Here
lies
Franz Schubert.
31st, 1797.
Born Januaiy
Aged
31 years."
this inscription
has proad-
much
Schumann closes
his discussion
might await
countenance.
his
last
if
And
hopes
lie
buried beneath
it,
we
first.
will
To
But
at the time
when Grillparzer
unknown
to the pubhc.
It
PERSONAL APPEARANCE.
223
was natural
fatal
still
more
if
some
In the case
of Schubert,
we
are as
much
struck by constant
progress as by early
fertility.
He was
not only
by the
The
Winter Journey."
has given us,
we have no need
Schumann
be
those
"
He
who,
hke
him,
achieved."
of Schubert
fat,
was
His round,
puffy
lips,
and
frizzly hair,
224
FRANZ SCHUBERT.
his remains
When
were
disinterred, in 1863,
his skull
the doctors
who examined
its
were
as-
tonished at
his skull,
feminine organisation.
Neither
bump
The
and confirmed by
He was under
and
the
middle
height,
round-backed
round
and short
fingers.
was
began to sparkle.
'tallow-ketch'
in
"
He was
exactly like a
one
who knew
FalstafF
had
mind;
''but
his
eye
within."
Schubert's character.
225
and
relations vied
in
praising
him
as a
good
a true
free
friend,
good-tempered,
well-meanmg,
held sacred.
and sentimentalism.
He had
not
the opportunities
men and
thmgs, of
makmg
great
courts
and potentates.
Nor had he
time
to
Ave
composmg than
to
sterner studies.
this
But
that
10*
226
FRANZ SCHUBERT.
came
to
scious inspiration, as if he
in
was
what Yogi
voyance.
'^
It is true,"
was neither
hill
nor valley
level plain,
in Schubert's
life,
nothmg but a
at
over which he
moved
an even pace.
His
flat
and smooth as a
to
be irritated by external
of his character.
Li^dng at home
till
from thence to
his seventeenth
the Lichthenthal
school
and an admirable
227
what he
chose,
and remaining
gave him
free
and independent, as
his publisher
sicians.
datmg from
did
not
hamper
magic
his genius;
circle,
life.
for
domestic
his life
Durmg
was
of musical
teacher,* which
much
He made no
Upper Austria.
'^
One reason
of
the
obscurity
to
which
* This again
is
all
tuition
long
betre 18'20,
Esterhazy family.
228
FRANZ SCHUBERT.
an unbend-
made him
absolutely
well-meanmg
friends.
This characteristic
intercourse, as well
it
often appeared
social
is
not to be
attri-
Schubert on
his
all
no ground
for such
an accu-
know
the feelings of
much in
He was
it
quick to
however cautiously
was ad-
ministered, and he
praise
;
was
positively mdifferent to
tenance."
PKACTICAL INDUSTRY.
Looking over the
is
229
it
list
of Schubert^s works,
fertility
He
generally
sitting
on
and extemporismg.
He
worked
ruption.
till
mthout inter-
work
declare
givmg
expression.
in his art, he
was
He was
own
works.
He
scarcely ever
made any
corrections,
as is proved
by the
One
many
inferior to
230
what has gone
FRANZ SCHUBERT.
before.
But the
shorter pieces,
seem
file
to have
to
make
them perfect.
Some mstances
of
Schubert's
astonishing
Kmg"
nade."
But there
"If
fertility,"
says
test of genius,
Schubert
geniuses.
He
be able to
is
best an-
swered by Schubert.
music flowed from
difficult as
it.
Whatever he touched,
^schylus, Klopstock,
hand, and
they
W.
Mller."
One of
his
overtures
in
is
PRODIGALITY.
tliree
231
me
late
for
dinner."
Another time he
all
Avi-ote
a terzett in
about
it till
the last
moment.
This wonderful prodigality was often overlooked
his
when
own
pieces at
The
own breast.
But he never
was ap-
this neglect.
If the singer
fell
to the share
The composer
sat reserved
and
side-
room
was done.
On
one
occasion
the
hostess
would wound
his feel-
conveymg
at once her
it
232
FRANZ SCHUBERT.
But Schubert
was too
much accustomed
by
it.
Among
no such
restraint,
and
hi
no lack of recognition.
and humours of
all
kinds abounded.
Though
sit
and extemporise
it.
deli-
His
like
afternoons were
almost
always
pleasure
spent,
German
ment.
afternoons,
and amuse-
and when
the
wme
in
LOVE OF WINE.
insr
233
to the
enofaofements
winds.
It is certain that
so far as to call
him a drunkard,
and there seems reason to believe that he sometimes exceeded the bounds of moderation. same, however,
is
The
said of Beethoven,
;
who was
habitually moderate
but was
led,
by example
or temptation,
to
year of his
certainly
life.
Yet Schubert's
frequent.
more
When
it
there
was
the table,
was necessary
He could
Some
indulgence
aches,
suffered, to the
Wilhelm Chezy,
name we have
mentioned apropos of a drama to which Schubert furnished the music, gives, in his auto-bio-
234
graphical
FRANZ SCHUBERT.
recollections,
strange
picture of
Schubert's revels.
as
" He
was
as devoted to
mne
But
loveliest art.
he loved to
sit
retired in a
m comfort to silent
when
the
laughmg
tyrant, who,
hmnour
and squeezmg
When
more than
his
friends
approved,
would
make
of
secret
reckoning,
and
keepmg
his
hand low
down, so that
hold out as
measures.
would
many
fingers as
he had drunk
is,
as well as
by
poor,
and
is
yet particu-
LATER FEELINGS.
lar
235
much upon
them, and a
man who
is
constantly intoxicated
many master-
We
must
beset
men
of genius, to
whom
and whose
makes
recruiting.
What was
has
may have
it
want, and
more
to Schubert's cha-
We
see this
marked
the series of
Much
we may
such an
effect
at
if
it.
We
had
strange
he
long before
life
this, to
despondency.
The events
of his
as far as there
were any
236
events in his
"
FRANZ SCHUBERT.
life
have been
first;
told,
and we think
against
who came
in contact with
him were
so as to earn a competence
agers, chapel-masters, or
put
off
promises
and dying at
at
prolific,
are already
killed
Yiemia
her
who were
sent unto
Neither
Mozart
by the
city in
settled
and
if
that city
was so
to
still
more unjust
To
the
EEVIEW OF HIS
LIFE.
237
who were
the
we may add
on
name and
history of a third
visited,
whom
the
CHAPTER XL
Schubert's works
sketch
of
of the
early history
effect
of the reformation
poetry mozart
germany
hoven
rise
german
schubert poets
chosen by schubert
miriam
cyHIS
cles of songs
larger compositions
SCHUBERT's
treat-
SONGS DURING
HIS
MASSES
A PIRATE AT PRAGUE SYMPHONIES TRIOS SONATAS SCHUMANN ON THE SONATAS A LUDICROUS ENDING
COMPARED WITH BEETHOVEN
All
to take a surleft
behmd
how
was
is
justified
This survey
the more
necessary, as so
still
many
as
miknown, and
was impossible
to con-
GEEMAN SONG.
vey a just idea of
239
its
highest developis
His genius
most strongly
absence of competitors, or
We
of this branch
times of the
centuries
spread
of
Christianity,
though
many
till
phases of
its
existence,
it
and
it
was not
present
attained
its
The
real his-
its
when
shook
itself free
recitations of
and master-singers.
an energetic popular
burst into
life;
own
songs,
240
liar
FRANZ SCHUBERT.
tunes and of fixing them on paper.
But
into
a more
form.
In the sixteenth century 'the Reformation gave a new significance to religious chants.
Choruses were got up, and the chorale was to
But
as
power on the
The
to the heart
of the people.
NORTH GERMANY.
and Sebastian Bach,
Mozart and Weber,
found, and
it
241
this national
element
is also
youth
had
of of
been
supported
entirely
by the
north
Germany.
The north
possessed a body
while in South
Germany and
kind usual in
effect in
Italy,
and
had much
More-
preserving the
German
song.
German
The
began to make
itself felt.
242
FRANZ SCHUBERT.
revived the old feeling for the
when Herder
new
new
period
began.
At
first
the north of
Germany
retained
its
supremacy.
south,
efforts
in
other
branches,
showed a superior
genius.
The
both
all
in
and eclipsed
does not seem to have been acquainted withGoethe's poems, and was not inspired
by the
much weaker
poraries.
lyrics
of
Goethe,
Beethoven
poems
to music, one of
also
over.
He
made use
of
many
instrumental pieces.
243
and from
his greater
mastery of instrumental
when they
and confined
to the sphere to
strictly belong.
It was,
man
the
song
When we name
before us the
song,
name
of Schubert,
we have
German
a master
who brought
within those
narrow
lunits a
occasional
songs of
other masters,
Schubert's
songs form a
continuous
cham,
from
their
close
mutual
connection.
is
The
about
number
600.
of
of Schubert's
known songs
many
others to
whom
Schubert's
244
Schubert's
FBANZ SCHUBERT.
great fellow-countryman,
less
Goethe.
He
set
no
as has already
Schiller's.
been
The poems of
Mayr-
years of Schubert's
life,
which accounts
for
But, of
all
these
Schiller,
and
less
famous
poets, not
And,
be spared without
fame,
much
loss to the
composer's
advance
which form a
own
unity of
Fair
We
allude
to
the
"Miller's
CYCLES OF SONGS.
245
the songs
from the
"
"Lady
of
the
Lake,"
and
the
Winter Journey."
work imparted
We
accompaniment to
exactly imitated.
is
often supposed to
and
bitter feel-
ings in
less
its
composer
an
air of
bounded landscape,
Yet, in power of
The
full
of
in
Schu-
bert's style,
composers,
who have
hymns and
246
in plenty
FRANZ SCHUBERT.
from Schubert's pen; many of them
for friends
were written
and
social gatherings.
place
in
the
story
of
Schubert's
life.
After
the
cantatas
of
Prometheus
of
and
is
Lazarus,
''Miriam's
Song
Triumph"
most important.
are
The words
of this cantata
by
Grillparzer,
Red Sea by
of
the
delivered
people at their
history of the
The
triumph.
was natural
from bondage.
but he
247
people.
ficant for
And
is
highly signi-
aU ages
his character is
one with
which
all
and musicians.
The
first
minds us
In the second,
and the
air of confidence
and
Israelites,
while
of the
mounds
the danger
loose again,
sea.
their strength,
again, the
opening chorus
known
durin:
248
his
FRANZ SCHUBERT.
lifetime
as
composer of songs,
it
is
astonishing
how
hundred of
his songs
his death.
When we
remamed un-
known
for
many
hard
It is
done him.
plain that he
his character,
was esteemed
and that even
was
imperfectly known.
his
fame as
was well
established.
Fragments
by
diiFerent
mth
favour by
to con-
But
this
in the
it
was
SCHUBERT^S SONGS.
^49
more
We
not
his
may
fully
say
it
boldly, even
now Schubert
either
is
or projDerly
appreciated,
in
There are
and
Many
up
ment,
offering
them nine
operas,
six
sym-
phonies,
for a small
sum.
He
The
opinion
entertained
by an imperial
11 *
250
later,
FRANZ SCHUBERT.
perhaps unconscious, echoes.
Scarcely
Some
of
them
Ipng dormant
twenty-two
years.
But
of Schubert's
masses,
by
recent comjx)ser.
in
his
as
o^m
composition, stamped
it
it
as his
own work
Austrian Archduchess.
daring to do
steal
so,
The mere
fact of his
speaks volumes.
slight
Many men
many
as
steal
mth some
disguise;
it.
But
no man
anything
if
he was
Prague chapel-master bears witness to the universal ignorance of Schubert's masses, while
establishes their intrinsic value.
it
HIS MASSES.
251
many
detached pieces.
is,
But
is
admirable as
much
of this music
it
not
mental works,
many
eloquently described
by Robert Schumami.
drawn
irresistibly
from them
that in
him the
is
instruments
more remarkable.
are, to
His instruseries of
mental works
some extent, a
form,
the
concentrated
masters.
This characteristic
it
may
displease
worthy
to
be
The
Symphony
and
2S2
sonatas in
FRANZ SCHUBERT,
A minor
two
and
G major,
Of
The two
were performed
life,
their composer's
harly
known
They
were composed
other,
Of
the trio
m B flat
Schumann
says
:
is
^'
A glance
fi-esh
at Schubert's trio,
and
The
trio
E flat, though
But
the style does not betray an earher period. the two trios are materially diiFerent.
first
The
movement, which
the
work
in
flat
is
the
heart-breaking anguish,
SONATAS.
a rise and
fall
253
feelings.
of lovely
is alike,
human
though
The
scherzo in each
was written
but appeared
I will
earlier.
On
ments
not decide.
In a word the
;
flat is
this
one
is
Of Schubert's
C, Op. 15,
is
fantasias the
grand Fantasia in
last
movements
is full
of
beauties.
so well
composed the
and
it
accompaniment
for
it,
has fre-
that shape.
The
work
just cited.
Dream-
and
first
pervades the
minuet.
two
trio of the
254
FRANZ SCHUBERT.
The
sonata in
A minor,
Op. 42,
the
is
one of the
finished.
disis
as
most
The
first
movement
is filled
with a certain
though
that
whom
we had
sonatas.
better
Schumann
all
"
As we
as
must
the
three
sonatas
using a thousand
yet consider
sufices,
we must
and
spirit
of
all
it is
Schubert's
organic,
let
similar
works.
Everything in
the same
life.
everythmg breathes
But
the
man who
has no
imagination of his
own
last
movement.
it is
The most
closely related to
first
the one in
A
it
minor.
The
part
is
so
still,
so
dreamy
same
tears;
at the
A LUDICROUS ENDING.
time
it
is
composed so
lightly
we wonder
en-
contrast
them
so strangely.
"
What
a very different
life
sparkles in the
vigorous sonata in
seizing us
D major, stroke
upon
it.
stroke,
And
and
it
so overflowing that
it
difficult to
bring
to an end.
The
last
is
suit
the
whole and
enough.
Any
one
who should
take
seriously
Florestan thinks
style of Pleyel
and Zanhal
Eusebius finds
passages
are
that
the
strongly
contrasted
being humorous.
is
^Perhaps Schubert
^ongs than in
more
original in his
equally
as
purely
256
FRANZ SCHUBERT.
As a
composer
especially
he surpasses
in
this
that
he
^vi^ote
thoroughly for
the
it
piano
comes
while
in Beethoven
we were
to say anything
more
these
about
the
internal
characteristics
of
creations
we should
say this.
sensi-
tions.
he sees or touches
is
casts,
mth
It is difficult to
go through the
list
of Schu-
CONCLUSION.
bert's other compositions
257
without trenching on
said abeady.
We
think that
an
more
wonderful
fertility,
which were
so little appre-
owner Was
living,
and even
duly recognized.
that
Once
we have
said
a
is
mere detailed
unsatisfactory;
all
we have
we have
left
many
of
from
all analysis.
The same
choice
is
not
left
For though
life is
may be
sought there
by
all
who would
really
know
258
ledge of the
FKANZ SCHUBERT.
man would
be imperfect
if it
did
his
short
life
and
his
marvellous
activity, his
APPENDIX
APPENDIX.
ON MUSICAL BIOGRAPHY
AN ESSAY.
The
objections
:
which
to
musical biographies.
readmg a
Life and
Letters."
are
made
have
not
the
same
chance
of
applying.
life
than
men
of letters.
They
upon
to
show
262
APPENDIX.
and
illustrious,
and
sometimes
brings
their
employment
close
about
courts
them
in
actresses,
and
their
Assuming
that biography
is
to present us
its
with an interestmg
picture
of
subject,
far this
mthin
how
requirement
musicians.
to decide.
fulfilled
by the
lives
it is
of
What
easy
Biography
not to be
made an
engme
What
we want
to learn is the
it.
We
nor do
we want
biography
the
first
is
the
first
thmg
and
thing to be sought
by the biographer
; :
: ;
ON MUSICAL BIOGRAPHY.
is
263
test
that his
pre-
scribed
by Tennyson.
"
Poet's name,
And
Of sounder
can claim
choice,
A A
life
Through
deedful
life,
a silent voice
And
Of those
die
Nor
seal
'tis
but just
The many-headed
Ah, shameless
!
for
worth
No public life was his on earth, No blazon 'd statesman he, nor king.
!:
"
264 He
APPENDIX.
gave the people of his best
My Shakspeare's curse on clown Who will not let his ashes rest Who make
The
it
and knave
to
be
little life
bank and
brier,
The
And
Than he
and loud,
And
To
crowd
But the
is
not aimed
The
fitting
presentation of great
men
many
lives
have
to
seem worthless.
any
Avere to
imply from
altogether
life is
to kings
grievous error.
Of all
others,
kmgs and
states-
men
They
ON MUSICAL BIOGRAPHY.
have two
often
lives,
265
life,
and
when
best fitted to
life
is
most
worthless,
the
most
suited
for
oblivion.
lives
The true
life,
poet,
but one
and as
to
the
public.
The
fact
genius has
his kind,
as being apart
from
to his kind.
In this
if
way
he were
he would be too
much
his
Sometimes
to us,
make
his verse
more dear
and the
coldest
light of
struggles.
The man
who
is slidino^
and
fallino^
and
and he
fights his
way on
as he feels the
is
There
scarcely
life
266
APPENDIX.
one. as for the
other.
If this
man had
not stumbled,
we
him
to recover
himseK
this tone,
Written in
biography would be
if
most
instructive.
But
man
resents in-
struction being
made out
pubUc
we must
ask
example.
The
a crime
is
held up to execra-
the
man who
may do
it
by
stealth,
fame.
find
and
We
have only
five
more
of
than
men
five, to see
All
who have a
whom
ON MUSICAL BIOGRAPHY.
Dante
tells
267
Che
bad ones.
If those
who
know
who have
be either imperfect
m pomt
of imformation, or
feeling.
down biography
of every great
man
and
if
materials,
filled
they
seize
lifetime,
it
was
Newman assigned
268
only
APPENDIX.
of his opinions
was
This, however,
question.
As
far as I
am
One
;
of
autobiography
them
if
And
as musical Kves
are
marked by a
Weber, which
hope
may be
life
first
consists in a classified
some grand
comj^osition,
or
in
describing a
ON MUSICAL BIOGEAPHY.
man's works by means of rhapsodies.
is
269
There
instead of
poser,
havmg
we have
In the
the
composer
without
retires
the
music.
first
case the
man
with
symphonies
may
be told in the
fullest detail.
who went
larly
his profitable
One
a small French
Life of Rossini
by a notorious "biographer;"
it is
striking passage in
:
a vehement
270
APPENDIX.
may
certain.
Who
are
the witnesses?
rities
What
And,
its
it
use
may
took
Perhaps
the
it
when
celeste
first
fierce
make them
impreo--
nable.
life,
Othermse,
if
he was
gomg
to write
my
how
Royal
I once re-
the
first
its
subject; the
utilized
first
kmd
has a chance of
bemg
at
We
ON MUSICAL BIOGRAPHY.
the
lives
271
that
as
have
been
written
by the
finished
Germans
materials
rather
than
made
The
letters
bio-
happy
charmmg
different
tone,
and stand
need of a con-
stant commentary.
There can be
little
doubt that
if
Schubert
this Life
would
of Mozart.
men
of
letters,
lies in
our
glimpses
of the
inner
life.
Leaving home
his
father
who watched
career with the deepest interest, Mozart naturally wrote long and full letters about hunself,
272
and
all
APPENDIX.
that he
The
very
much
of
them.
How much we
and to the
is
are
evident by the
sudden
In
his
youth,
when he had
little
to say
and when
his correspondence
full.
In
''
his
later years,
when he was
composing
the
''
Don Juan,"
ripest
way
to
make
own
part extremely
are
There
as
is
much
we should
do.
Work and
had
sarcastic tones.
Even
ON MUSICAL BIOGRAPHY.
273
When a boy,
At Mamiheim
flattering.
Who
He
" "
Our second
plays miserably."
A
''
''And who
that?"
Our
first
organist."
still
"
Why
at
he plays
worse."
But
Vienna
in after years,
first
when
his
works
among
living composers,
him by
the
and
''
his
rivals
commanded
market.
for
It
Germany," he remarks
'4f
bitter ii^ony,
we Germans
riously to think in
German, to act
Germans,
12
"
274
to speak
APPENDIX.
And
in
If
Germany,
my
beloved
will
know I am proud,
name
Fi'^nce or
England must be
talented
made
richer
by another
German
man
nation.'^
have been
^vritten
by Schubert?
The one
point
at
which
is
all
fully recognised
and almost
recognition.
wanted both.
lirst
we
Life of Rossini."
The
Rossmi furore
at
ON MUSICAL BIOGRAPHY.
275
man
whom
is talk-
Moscow and
that of
London and
that of Vienna,
This man's
and he
is
How
was
it
When
credi,"
he produced his
at
first
repeated
its
caught
it
up from
their
mouths
people in the
till
courts of justice
hummed it over
the judges
had
to enjoin silence.
When
he wrote the
was
in the
he had no fear
was
living
that amiable
276
APPENDIX.
certamly the least
The
is
the Yenetians
that they
want music
to consist
above
all
of ao^reeable airs,
more
lio^ht
than
impassioned.
They had
;
wanted
in the Italiana
spectacle
more suited
of
all
the
Thus
in
at the
same time
Verona, Vicenza
that in
and Treviso.
We must confess
whom
many
of
ment
too highly
in
our
saw
this sort of
musical
madness
tors
seize
with
ON MUSICAL BIOGRAPHY.
the
first
277
access of
my
much
joy in a
mean
it
all.
saw.
We
were
The
by the
extra-
in the
no pleasure
in the
such a performance"
Here
is
Now for
the
this
278
APPENDIX.
lightest
whose
works caused
such
popular
Beyle's
by
his music.
description of Rossini's
happy.
''
It
was a
life
in France.
all
months
At
his arrival
he was received,
dilettanti of
by the
the
the
stupidity
of
the
libretto.
by his
dies, Gozzi,
You
have given
me verses
but not
situations,'
the poet
would pour
forth excuses
and come
After fifteen
life,
Rossini
ON MUSICAL BIOGRAPHY.
279
He makes them
sing
Sometimes there
is
no one
in the
sing,
first
representation,
knows the
work on the
com-
and
He
rises late,
who, do what he
instant.
will,
for
an
He
and
dines
mth them
tavern,
home very
him
his
friends
accompany
voices
vised,
the
great
At
last
he
is
at
home, and
it is
280
APPENDIX.
mornmg,
that he
He
urates
them
do^yn on
little
At
lenoth comes
takes his
The maestro
as full
as
it
the theatre
is
can hold.
Some bivouac
From
to^vll
moment
the
the
the very
in the theatre.
first
new
opera: after
next town."
Receives his 32
:
that
is
the moral.
Four
than 120.
ON MUSICAL BIOGRAPHY.
This
is
281
No
was
for
made
haste to
marry
money; and
after j)ocketing
what he could of
down
the
Mose^
SemiTell.
raniide^ the
The
life
to the opposite
if
conclusion.
he
became bankrupt
of speculation. the
was the
result
"Messiah"
and
left
the greatest
religious
Italians in the
Even with
this
stands in pleasing
his greatest suc-
some of
to
a singular
like prophets,
282
Rossini
APPENDIX.
made
his fortune
by leaving
Italy.
What might
left
made
if
he had
Vienna?
some of
his best
works
to light,
and founded
Its
most striking
effect,
however, was to
Haydn
first
described
time free
rivals."
But musical
home.
London
was
fatal.
In
all
of
He,
too,
It
may seem
Beethoven,
natural
such a musician as
for
whose
majority
till
through the
ON MUSICAL BIOGEAPHY.
miiids of the few admirers
iiito
283
the minds of
those
who
at second-
that
all
such a
But
classes
Weber wrote
and
We
find his
difficulties against
is,
that
we always
with analysis
It is
or
quotation
life
of
his
is
not in every
that this
Some musical
lives
present
little
life
at
the
command
is
of the biographer.
An
life
mstance
of this
of Beeth-
284
APPENDIX.
collections of letters of
very
common with
work
is fatal
of his
into notes,
and founding a
Then,
tliin,
upon them.
too,
he
very
diiFuse.
He
twenty-two
life,
in
pages.
Beethoven's birth at
Bonn
His
speci-
which
to
a quality
in
common
all
German
heroes,
brmgs
slight
he took an mterest in
politics
justifies
regime^
Bonn
is
hmt
Cologne
ON MUSICAL BIOGKAPHY.
catalogue of the musicians and
285
of letters
men
who
members of
Now, have
included
have,
if
facts of this
a musical biography?
is
They may
Life and
bio-
the biography
called "
The
Times of Beethoven."
But we judge a
and, while
learnt
we
we have
by experience
other.
We may
judge by Mozart's
;
what
anything
or his cir-
cumstances;
his
own
experience, or affecting
him
strongly,
spoilt
by
intrinsic
interest,
286
APPENDIX.
This would be avoided
if
and the
letters of great
men would
there
certainly
to
Where
is little
be
told,
letters,
The
artistic
way
to-
gether
and
letters;
the
from Arnold's
life,
are
to
make
in their
Yet, even
if
the ability
wantmg, an
and a
may be
we want
he
lived,
a picture of the
man and
of the
life
we may
ON MUSICAL BIOGEAPHY.
of the
287
life
man
except
which he gave
recognised,
all
of the deepest
thematic catalogues
singers.
Snnal
l^ife
in ^Umirlj.
THE
PRESS.
OPINIO^'S OF
Mr. Wilberforce is a very pleasant and agreeable writer, whose opinion is worth hearing on the subject of modern art wliich enters largely into the matter of liis dit^course. Saturday Hevietv. The " Social Life" is altogether an admirable photographic picture, sharp and clear and true in every line of light and shade.' Spectator. Mr. Wilberforce, who dedicates his well-written volume to his uncle the Bishop of Oxford, brings fresher memories, and brighter power to give
Athenaeum. expression to them. Mr. "Wilberforce has written a clever and characteristic account of this famous city of art. He has had good opportunities for observation, and has used them carefully. The book is comprehensive in its points of view; and it contains the promise of much instructive study of the real characteristics Guardin7i. of German society. We conclude by recommending this pleasant book to all our readers. What we have said of it, and what we have extracted, give no adequate notion of its liveliness, sense, and extent of real and practical information. Edinburgh Courant. Written throughout in a pleasing, lively strain, it is evidently the work of a keen observer who benefits the Germans whilst he amuses his owu Reader. countrymen Mr. AVilberforce brings together a number of amusing experiences of
Munich
life.
Press.
is favourably known by his Sketches of Brazil to many They will find his account of readers of light descriptive books of travel. Munich one of the most agreeably written works of this cla^s. London
Mr. Wilberforce
Revieio.
....
Guardian.
This
is
tells it well.
Daily News.
almost felt that we were again in company with the late Captain Marryatt, so much does Mr. Wilberforce's manner of describing the search for and cutting out a pirate resemble that of one of our best standard writers of fiction." BelVs Weekly Messenger. In spite of Brazilian pirates and Arctic perils .... Tliere is nothing '' Reader. sensational" in this novel. Mr. Wilberforce's first novel may be ranked as a success for more than " One with Another" is a fresh and vigorous book, worthy of one reason. Illustrated Times. good attention.
Upon opening
we
-m
927.81
Scti7li
MUSIC
HALf
V"
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^^
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