Page:A Dictionary of Music and Musicians vol 4.djvu/802

786 SCHOTTISCHE. The last bar of lines 2 and 4 of the musical example should be identical. The right notes are F, G (appoggiatura), F, E, F.

SCHRIDER or SCHREIDER (possibly ), organ builder. See vol. iii. p. 539b, article .

SCHRÖDER-DEVRIENT,. Line 3 of article, for December read Dec. 6.

SCHRÖTER,, a celebrated singer of the Weimar court in its most brilliant days, was the daughter of a musician, Johann Friedrich Schröter. According to her latest biographer, Keil (Vor hundert Jahren, Leipzig, 1875), Corona was born Jan. 14, 1751, at Guben, whence the family shortly afterwards migrated to Warsaw and finally to Leipzig. Corona's voice was trained by her father, and she sang when she was but 14 at a Leipzig Grosses Concert (1765). From the following year until 1771 she was engaged at these concerts, Schmehling (La Mara) being retained as principal vocalist. Goethe had become acquainted with Schröter in 1766; ten years later he conveyed to her the offer of the post of Kammersängerin to the Dowager Duchess of Weimar. Here she made her first appearance Nov. 23, 1776, and soon became the idol of the place. Associated with Goethe himself in the production of his dramas, she created amongst others the part of Iphigenia, completely realizing the poet's ideal (see Auf Mieding's Tod). Her co-operation in 'Die Fischerin' included the composition of all the music. It was on July 22, 1782, that she was heard as Dortchen, and that 'Der Erlkönig,' with which the play opens, was sung for the first time. After 1786 Schröter sang little in public, but devoted herself to composition, painting, and a few dramatic pupils. Schiller heard her read Goethe's Iphigenia in 1787, and Charlotte von Schiller, a year or two later, found much to praise in the musical settings of 'Der Taucher' and 'Würde der Frauen,' and their expressive rendering by the famous artist. In the meantime Schröter's health had broken down, and her death, when aged 51, at Ilmenau, Aug. 23, 1802, was not unexpected.

Her songs were published in two books. They are melodious and simple settings of poems by Herder, Matthison, Klopstock, etc. Book I. (25 Lieder, Weimar, 1786) contains Goethe's 'Der neue Amadis' and 'Der Erlkönig.' The list of subscribers furnishes the names of many notabilities of the day connected with Weimar and other German Courts. The second collection of songs was published at Weimar, 1794.

Corona's brothers, Johann Samuel (vocalist) and Johann Heinrich Schröter (violinist) visited England; the former died here in 1788. Besides the life by Keil, Düntzer's 'Charlotte von Stein and Corona Schröter' may be consulted for details of her social and artistic successes. In 1778 Schröter handed to Goethe her MS. autobiography, which has never been made public, perhaps has not yet been discovered among his papers, although Goethe noted the receipt of it in his diary. [ L. M. M. ]

SCHROETER,, born at Torgau towards the middle of the 16th century, became Cantor of the Cathedral of Magdeburg about 1564, in succession to Callus Dressler, also a composer of some importance. Schroeter's chief work is 'Hymni Sacri,' Erfurt, 1587, and consists of 4- and 5-part settings of those Latin Church Hymns which had also been received into the worship of the Lutheran Church. Winterfeld says of these hymns, that they belong to the best musical works of the time; the harmony is rich, clear, and dignified, and shows an unmistakeable advance on the path of the older masters. They are in the same style as the Hymns of Palestrina and Vittoria, only the choral melody is mostly given to the upper voice. Some of these hymns, as well as some of the German psalms of Gallus Dressler, Schroeter's predecessor, are re-published in Schöberlein and Riegel's 'Schatz des liturgischen Chorgesangs,' Gottingen, 1868–72. Four Weihnachts-Liedlein of Schroeter's are received into the repertoire of the Berlin Dom-Chor, and are published in Schlesinger's 'Musica Sacra,' No. 11. A German Te Deum for double choir by Schroeter, previously existing only in manuscript, has been printed by Otto Kade in the Noten-beilagen to Ambros's 'Gesch. der Musik,' No. 28. [ J. R. M. ]

SCHUBERT,. P. 324a, l. 15 from bottom of text, omit the word Schiller's. P. 331b, add to first paragraph, also a fine overture in E minor published in Series II. of the complete edition. P. 333b and elsewhere, for Gundelberg read Gundelhof. P. 334a, l. 8, the hexameters are Kanne's. P. 339b, l. 14 from bottom, read Count F. von Trover. P. 341b, l. 26, after fond add so fond as to have encored it on first hearing, and himself sung in the encore (Spaun). P. 343b, l. 9 from bottom of text, add 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. P. 346a l. 16 from bottom, for Diabelli read Haslinger. P. 351a, l. 32, for alone read in themselves. P. 355a l. 34, for still fairer read much fairer. Add that Schubert was reburied on Sept. 23, 1888, in the central cemetery of Vienna. P. 359a, note 2, add It was taken, or begun, while Schubert took refuge in the artist's house from a thunderstorm (Pohl). P. 359b, l. 25, add He had a beautiful set of teeth (Benedict). P. 362 b, at bottom, the sentence beginning 'They show no æsthetic artifices,' etc., is not correct. See the 'Rondo brillante,' op. 70, where part of the introduction is quoted in the Rondo: also in op. 100 the subject of the slow movement is introduced into the Finale, and others. P. 367a, add to note, His poems were collected:—'Poetische Betrachtungen in freyen Stunden, von Nicolaus: mit einer Vorrede … von Friedrich von Schlegel.' Wien, Gerold, 1828. P. 369b, add to list of authors of poems, W. Müller 44.