Page:A Dictionary of Music and Musicians vol 3.djvu/355

SCHUBERT. At length the summer and the money came to an end, Vogl went off to Italy for his gout, and Schubert, meeting Gahy at Linz, returned with him and the MS. Symphony to Vienna in an Einspänner, to find Schober and Kupelwieser both once more settled there. The first thing to be done was to replenish his purse, and this he soon did by the sale of the seven songs from 'The Lady of the Lake,' which he disposed of on Oct. 29 to Artaria, for 200 silver gulden—just £20! Twenty pounds however were a mine of wealth to Schubert; and even after repaying the money which had been advanced by his father, and by Bauernfeld for the rent of the lodgings during his absence, he would still have a few pounds in hand.

During Schubert's absence in the country his old friend Salieri died, and was succeeded by Eybler. The Court organist also fell ill, and Schwind wrote urging him to look after the post; but Schubert makes no sign, and evidently did nothing in the matter, though the organist died on Nov. 19. He obviously knew much better than his friends that he was absolutely unfit for any post requiring punctuality or restraint. In the course of this year he was made 'Ersatzmann,' or substitute—whatever that may mean—by the Musik-Verein, or Gesellschaft der Musikfreunde. Of what happened from this time till the close of 1825 we have no certain information. He set two songs by Schulze (Lf. 13, nos. 1, 2) in December; and it is probable that the Piano Sonata in D (op. 53), and the noble funeral march for the Emperor of Russia (op. 55), whose death was known in Vienna on Dec. 14, both belong to that month. What gave him his interest in the death of Alexander is not known, but the march is an extraordinarily fine specimen. A piece for the Piano in F, serving as accompaniment to a recitation from a poem by Pratobevera, a series of graceful modulations in arpeggio form, also dates from this year.

The compositions of 1825 may be here summed up:—Sonata for PF. solo in A minor (op. 42); ditto in D (op. 53); ditto in A (op. 120); unfinished ditto in C ('Reliquie,' Nott. p. 211); a funeral march, 4 hands, for the Emperor Alexander of Russia (op. 55). Songs—'Des Sängers Habe,' by Schlechta, and 'Im Walde,' by E. Schulze; 7 from 'The Lady of the Lake' (op. 52); another from Scott's 'Pirate'; 'Auf der Brücke,' by Schulze; 'Fülle der Liebe,' by Schlegel; 'Allmacht' and 'Heimweh,' by Pyrker; two scenes from 'Lacrimas,' by W. von Schütz; and 'Abendlied für die Entfernte,' by A. W. Schlegel; 'Die junge Nonne,' 'Todtengräbers Heimweh,' and 'Der blinde Knabe,' all by Craigher; 'Der Einsame,' by Lappe; and, in December, 'An mein Herz' and 'Der liebliche Stern,' both by Ernst Schulze. It is also more than probable that the String-quartet in D minor was at least begun before the end of the year.

The publications of 1825 are:—In January, ops. 32, 30, 34; Feb. 11, ops. 36 and 37; May 9, op. 38; July 25, op. 43; Aug. 12, op. 31; and, without note of date, ops. 29 and 33. Op. 29 is the lovely A minor Quartet; and it is worthy of note that it is published as the first of 'Trois quatuors.' This was never carried out. The two others were written, as we have already seen (p. 340a), but they remained unpublished till after the death of their author.

1826 was hardly eventful in any sense of the word, though by no means unimportant in Schubert's history. It seems to have been passed entirely in Vienna. He contemplated a trip to Linz with Spaun and Schwind, but it did not come off. The weather of this spring was extraordinarily bad, and during April and May he composed nothing. The music attributable to 1826 is, however, of first-rate quality. The String Quartet in D minor, by common consent placed at the head of Schubert's music of this class, was first played on Jan. 29, and was therefore doubtless only just completed. That in G (op. 161), Schubert himself has dated as being written in ten days (June 20 to June 30), a work teeming with fresh vigour after the inaction of the preceding two months, as full of melody, spirit, romance, variety, and individuality, as anything he ever penned, and only prevented from taking the same high position as the preceding, by its great length—due to the diffuseness which Schubert would no doubt have remedied had he given himself time to do so. One little point may be mentioned en passant in both these noble works—the evidence they afford of his lingering fondness for the past. In the D minor Quartet he goes back for the subject and feeling of the Andante to a song of his own of 1816, and the Finale of the G major is curiously tinged with reminiscences of the Rossini-fever of 1819.

The 'Rondeau brillant' in B minor for PF. and violin (op. 70), now such a favourite in the concert-room, also belongs to this year, though it cannot be precisely dated; and so does a piece of still higher quality, which is pronounced by Schumann to be its author's 'most perfect work both in form and conception,' the Sonata in G major for PF. solo, op. 78, usually called the 'Fantasia,' owing to a freak of the publisher's. The autograph is inscribed, in the hand of its author, 'IV. Sonate für Pianoforte allein. Oct. 1826, Franz Schubert'; above which, in the writing of Tobias Haslinger, stands the title 'Fantasie, Andante, Menuetto und Allegretto.' We may well say with Beethoven, 'O Tobias!' [App. p.786 "See an interesting letter from Ernst Perabo, the present owner of the MS., with extract from the Andante, in the 'M. Musical Record,' April, 1888."]

By the side of these undying productions the 'Marche héroique,' written to celebrate the accession of Nicholas I. of Russia, and the Andantino and Rondo on French motifs—both for PF. 4 hands, are not of great significance.

An attack of song-writing seems to have come upon him in March, which date we find attached