Page:A Dictionary of Music and Musicians vol 3.djvu/254

242 Operas or Singspiele came between 1789 and 93; some were written with Gerl. [App. p.781 "Add that in the 'Harmonicon,' vol. ix. p. 298, there is an account of a Mass by him which was finished by Mozart."] [ C. F. P. ]

SCHARWENKA,, born Feb. 25, 1847, at Samter, Posen, East Prussia. His taste for music showed itself early, but he was unable to cultivate it seriously till the removal of his family to Berlin in 1865, when he entered Kullak's 'New Academy.' On completing his course he remained on the staff of the Academy, and is now teacher of the rudiments and of composition. His works are chiefly for PF.—dances and other drawing-room pieces; the latest being an 'Album polonais,' op. 33. But he has also published songs; 3 concert pieces for violin and PF. (op. 17); a serenade (op. 19); studies for violin, and for cello, and has written two symphonies. Herr Scharwenka is also an accomplished caricaturist, and has illustrated 'Anton Notenquetscher,' a satirical poem by Alex. Moskowski (Berlin, 1881), with some very comic woodcuts. [ G. ]

SCHARWENKA,, was also born at Samter, Jan. 6, 1840 [App. p.781 "1850"]; and like his brother was at Kullak's Academy at Berlin, where he was known, while still a pupil, for his PF. playing and his compositions. He made his first appearance in public at Berlin, in 1869, and remained for some time in the Academy as a teacher, until compelled to leave it for his military duties in 1873. After this he began to travel, and was soon renowned as a fine and brilliant player, and a 'young composer of remarkable endowments.' In 1877 he produced his first Concerto for the PF. (in B♭ minor, op. 32), playing it to the meeting of German musicians at Hanover in May; it was played in England for the first time by Mr. Dannreuther at the Crystal Palace (both place and player well-known in this country for their chivalrous welcome of new works) Oct. 27, 1877. In 1878, Feb. 14, Scharwenka himself played it at the Gewandhaus, Leipzig. In 1879 he made his first appearance in England, played the same work at the Crystal Palace, March 1, and played at the Musical Union, April 29. In 1880 he returned and played at the Philharmonic Feb. 19, and elsewhere. In 1881 he made a third visit and played his second Concerto (in C minor, op. 56, which he had produced at the Gesellschafts concert at Vienna Dec. 12, 1880)—at the Philharmonic, Feb. 24. His stay was shortened by his recall to Germany for his military duties (a cruel anomaly for an artist!), but he found time to appear several times, and deepened the favourable impression which he had previously made.

Scharwenka's published works number 52. Opus 1 is a Trio in F♯ minor for PF., violin and cello, and op. 2 a Sonata for PF. and violin, in D minor. He has published a second PF. trio (in A minor, op. 45), a quartet for PF. and strings (in F, op. 37), a sonata for PF. and cello (E minor, op. 46); 7 original PF. duets; 2 sonatas (in C♯ minor and E♭, op. 6 and 36), 2 scherzos, and a large mass of studies, dances, romances, and other pieces all for PF. solo. The first PF. concerto is op. 32; the second is not yet printed. [App. p.781 "a Symphony in c minor, op. 60."] [ G. ]

SCHAUROTH, (Adolphine), a Bavarian lady of noble family, a great pianoforte player, with whom Mendelssohn flirted (seriously, even for him) and played duets, during his visit to Munich in June 1830. She and Josephine Lang are the two most prominent figures in his letters of that date. He reached Venice on Oct. 10, and on the 16th wrote the well-known 'Venetianisches Gondellied' (Songs without Words, bk. i. no. 6), which on the MS., though not in print, bears the words 'für Delphine Schauroth.' Their acquaintance was renewed on his return in the following October, and the G minor Concerto, written at Munich, is dedicated to her. She was born at Magdeburg in 1814, and was a pupil of Kalkbrenner. Before 1835 she married Mr. Hill Handley, an Englishman, but the union does not appear to have been happy, and was soon dissolved. Schumann, in noticing her Sonate brillante in C minor (Diabelli) and her Caprice (Ibid.), in his 'Neue Zeitschrift für Musik' (ii. 125; v. 132), while kindly quizzing her consecutive fifths, false relations, and other marks of inexperience in composing, pardons them all for the thoroughly musical nature—'Musik in ihrem Wesen,' 'der eigentliche musikalische Nerv'—which her pieces display. Indeed he goes so far as to class her with Clara Wieck as 'two Amazons in a brilliant procession.' In 1839 she played the E♭ Concerto at a concert given in Munich for the Beethoven monument, with great brilliancy and success (A. M. Z. xli. 488). In 1870 she gave a recital at Leipzig on Mendelssohn's birthday, in reference to which the Signale speaks of her own pieces and two of Chopin's as having special charm. She is now (1881) living at Charlottenburg. It is matter of great regret that a life which began so brilliantly should, to all appearance, be so much overclouded at its close. [App. p.781 "She appeared in England when only nine years old, and gave a concert on July 2, 1823, playing Beethoven's E♭ quartet for PF. and strings, and an air and variations by Kalkbrenner."] [ G. ]

SCHAUSPIELDIRECTOR, DER, 'Comödie mit Musik in 1 Act' (The Manager, a Comedy with Music in one Act); containing an overture and 4 numbers; words by Stephanie, jun., music by Mozart. Produced at a Court festival at Schönbrunn, Feb. 7, 1786. Over the terzet (No. 3) is the date, Jan. 18, 1786. It was adapted to a French libretto under the name of 'L'Impresario,' and produced in Paris in 1856. [See vol. i. p. 768.] A careful version of the entire piece from the German original, by W. Grist, was brought out at the Crystal Palace, London, on Sept. 14, 1877, as 'The Manager,' and repeated several times there and elsewhere.

An interesting little work, full of details on this opera and Mozart in general, is 'Mozart's Schauspieldirector, von Dr. R. Hirsch' (Leipzig, 1859). [ G. ]

SCHEBEK,, a distinguished and influential Austrian amateur, Doctor of Law,