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356 7 by Rellstab, 6 by Heine, and 1 by Seidl—unquestionably Schubert's last. They were issued in May 1829, and, to judge by the lists of arrangements and editions given by Nottebohm, have been as much appreciated as the Schöne Mullerin or the Winterreise. A stream of songs followed for which we must refer the student to Mr. Nottebohm's catalogue. The early part of 1830 saw the execution of a bargain between Diabelli and Ferdinand, by which that Firm was guaranteed the property of the following works: op. 1–32, 35, 39–59, 62, 63, 64, 66–69, 71–77, 84–88, 92–99, 101–104, 106, 108, 109, 113, 115, 116, 119, 121–124, 127, 128, 130, 132–140, 142–153; also 154 songs; 14 vocal quartets; the canons of 1813; a cantata in C for 3 voices; the Hymn to the Holy Ghost; Klopstock's Stabat Mater in F minor, and Grosse Halleluja; Magnificat in C; the String Quintet in C; 4 string quartets in C, Bb, G, B♭; a string trio in B♭; 2 sonatas in A and A minor, variations in F, an Adagio in D♭, and Allegretto in C♯—all for PF. solo; Sonata for PF. and Arpeggione; Sonata in A, and Fantasie in C both for PF. and violin; Rondo in A for violin and quartet; Adagio and Rondo in F, for PF. and quartet; a Concert-piece in D for violin and orchestra; Overture in D for orchestra; Overture to 3rd Act of the 'Zauberharfe'; Lazarus; a Tantum ergo in E♭ for 4 voices and orchestra; an Offertorium in B♭ for tenor solo, chorus and orchestra.

Another large portion of Ferdinand's possessions came, sooner or later, into the hands of Dr. Eduard Schneider, son of Franz's sister Theresia. They comprised the autographs of Symphonies 1, 2, 3, and 6, and copies of 4 and 5; Autographs of operas:—the 'Teufel's Lustschloss,' 'Fernando,' 'Der Vierjährige Posten,' 'Die Freunde von Salamanka,' 'Die Bürgschaft,' 'Fierabras,' and 'Sakontala'; the Mass in F; and the original orchestral parts of the whole of the music to 'Rosamunde.' The greater part of these are now (1882) safe in the possession of Herr Nicholas Dumba of Vienna.

On July 10, 1830, Diabelli began the issue of what was entitled Franz Schuberts nachgelassene musikalische Dichtungen; and continued it at intervals till 1850, by which time 50 Parts (Lieferungen), containing 137 songs, had appeared. In 1830 he also issued the two astonishing 4-hand marches (op. 121); and a set of 20 waltzes (op. 127); whilst other houses published the PF. Sonatas in A and E♭ (op. 120, 122); two string quartets of the year 1824 (op. 125); the D minor Quartet, etc. For the progress of the publication after this date we must again refer the reader to Mr. Nottebohm's invaluable Thematic Catalogue (Vienna, Schreiber, 1874), which contains every detail, and may be implicitly relied on; merely mentioning the principal works, and the year of publication:—Miriam, Mass in B♭, 3 last Sonatas and the Grand Duo, 1838; Symphony in C, 1840; Phantasie in C, PF. and violin, 1850; Quartet in G, 1852; Quintet in C, and Octet, 1854; Gesang der Geister, 1858; Verschworenen, 1862; Mass in E♭, 1865; Lazarus, 1866; Symphony in B minor, 1867; Mass in A♭, 1875.

No complete critical edition of Schubert's works has yet been undertaken. Of the pianoforte pieces and songs there are numberless publications, for which the reader is referred to Mr. Nottebohm's Thematic Catalogue. Of the Songs two collections may be signalised as founded on the order of opus numbers:—that of Senff of Leipzig, edited by Julius Rietz, 361 songs in 20 vols., and that of Litolff of Brunswick songs in 10 vols. But neither of these, though styled 'complete,' are so. For instance, each omits ops. 83, 110, 129, 165, 172, 173; the 6 songs published by Müller, the 40 by Gotthard; and Litolff also omits ops. 21, 60. Still, as the nearest to completeness, these have been used as the basis of List No. I. at the end of this article.

Schumann's visit to Vienna in the late autumn of 1838 formed an epoch in the history of the Schubert music. He saw the immense heap of MSS. which remained in Ferdinand's hands even after the mass bought by Diabelli had been taken away, and amongst them several symphonies. Such sympathy and enthusiasm as his must have been a rare delight to the poor desponding brother. His eagle eye soon discovered the worth of these treasures. He picked out several works to be recommended to publishers, but meantime one beyond all the rest rivetted his attention—the great symphony of March 1828 (was it the autograph, not yet deposited in the safe-keeping of the Gesellschaft der Musikfreunde, or a copy?) and he arranged with Ferdinand to send a transcript of it to Leipzig to Mendelssohn for the Gewandhaus Concerts, where it was produced Mar. 21, 1839, and repeated no less than 3 times during the following season. His chamber-music was becoming gradually known in the North, and as early as 1833 is occasionally met with in the Berlin and Leipzig programmes. David, who led the taste in chamber music at the latter place, was devoted to Schubert. He gradually introduced his works, until there were few seasons in which the Quartets in A minor, D minor (the score of which he edited for Senff ), and G, the String Quintet in C (a special favourite), the Octet, both Trios, the PF. Quintet, and the Rondeau brillant, were not performed amid great applause, at his concerts. Schumann had long been a zealous Schubert propagandist. From an early date his Zeitschrift contains articles of more or less length, always inspired by an ardent admiration; Schubert's letters and poems and his brother's excellent short sketch of his life, printed in vol. x (Ap. 23 to May 3, 1839)—obvious fruits of Schumann's Vienna visit—are indispensable materials for Schubert's