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SCH advantage. Thus encouraged, Schubert wrote with still greater ardour, and with such rapidity, that between 1812 and 1820 he composed above a hundred works of grand purpose and large proportions. His opera of "Die Zwillinge" was produced at the court theatre in Vienna, June 14, 1820, and his melodrama with choruses, "Die Zauberharfe," was given on the 19th of August in the same year. These were preceded by "Der Spiegelritter" and "Das Teufelslustschloss," the dramas by Kotzebue; and "Claudine von Villa Bella," the drama by Göthe; "Die Freunde von Salamanca," "Don Fernand," and "Der vierjährige Posten," appear also to have been written before Schubert completed his twenty-third year, but not to have been publicly performed. In 1822 Schubert composed the grand opera, in three acts, of "Alphons und Estrella;" he wrote choruses for the drama of Rosamunde, which was performed in 1823; and the one act opera, "Die Verschworenen" (first printed in 1862), was written in 1824, as was also the grand opera of "Fierabras," which he considered his best composition for the stage. Fétis names two other dramatic works of Schubert; and he left three operas unfinished. He composed several masses, and set some of the Psalms and other portions of the Roman service; he wrote twelve symphonies, of which the one in C has been played in London: and the number of his quartets for string instruments; trios for pianoforte, violin, and violoncello; sonatas, fantasias, and other pieces for the pianoforte, in almost every variety of form—can scarcely be estimated, since, even up to the present date, some hitherto unknown products of his genius are from time to time being brought before the world. Schubert also composed some cantatas, among which "Prometheus" is specially admired; and a large number of four-part songs. The class of works, however, by which his name was first made famous in Germany and throughout Europe, is his Lieder (little songs), of which he wrote several hundreds. The deep poetical purport manifest throughout all these, the melodious originality and vigour, and the enforcement of the expression by novel forms of accompaniment, distinguish them from all other vocal music. The rich variety of imagination they display is not less conspicuous, each song being an individual type, such as might have formed the nucleus of a composer's style. In short, as the inventor and the perfecter of the characteristic German Lied, Schubert has placed himself in a foremost rank among musicians, and carved out a path to the unfailing sympathy of his countrymen—sympathy which is shared by every one who understands the language of the poems he set to music. It is said of him, that his musical perception of the lyrical capabilities of a poem was instantaneous, and that his chief pleasure in composition was in giving musical expression to his prompt sense of the poet's meaning. The court singer, Vogl, who was one of the first to discern the individual genius of the composer, took peculiar pleasure in singing his songs, and thus stimulated him to produce more, in doing which, Schubert equally gratified himself and his admirable interpreter. The faculty of stamping a decided character upon everything he wrote, is not less evident in his instrumental music than in his songs. He failed, however, in the power of conducting an extended movement; thus his longer compositions, while teeming with ideas, are diffuse in form and incoherent in design; whereas the capability of knitting together the various incidents of a piece and condensing them into a consistent unity, which his instrumental works prove him to have wanted, was not called into requirement in his songs, each of which is composed of a single thought, self-complete and self-sufficient. Of his immensely numerous productions, a very small minority were printed during his life, and we owe in a great degree the publication of those which have appeared since his death to the enthusiastic zeal of Schumann, who, when he was at Vienna in 1840, took particular pains to collect Schubert's works, and to make arrangements for their passing through the press. Schubert is said to have been subject to fits of melancholy abstraction, during which he would wander into the country, and there find relief in thinking of music. At other times he was fond of conviviality; and it is insinuated that habits of intemperance tended to shorten his life. His wonderful rapidity of invention may be regarded as unfortunate for his artistic character, since it tempted him to indulge in the act of producing, rather than to give that care and study to his work which is essential to perfect creation; and this feature in his artistic character seems to agree with the moral qualities above described. It is stated that, in the year preceding his death, he had a long and severe illness, during the confinement of which, he reflected earnestly upon his deficiencies as a man and as a musician, and that he came forth from his sick room with strong resolves for a worthier future. Accordingly, he placed himself under the tuition of Sechter, and began a course of strict contrapuntal study, in the belief that this would give him such mastery in the art of construction, as would enable him to fulfil in his subsequent works what he had only dreamed of in those he had previously produced. He had an equally high purpose in his new rule of life; but he was attacked by a violent malady, to which he fell a victim after a few days' illness. His obsequies were attended by all the musicians of distinction in Vienna, who lamented in his early death a great bereavement to their art; a single grave parts his remains from those of Beethoven. As Schubert's works become from year to year more widely known, so does his truly unique genius receive more general acknowledgment; and thus it may confidently be said that his reputation has not yet reached its summit.—G. A. M.  SCHUBERT,, an eminent Bavarian botanist, was born at Hohenstein on 26th April, 1780. He was educated at Weimar, and afterwards studied theology at Leipsic. Subsequently he commenced the study of medicine at Jena. He practised first at Altenberg, and then at Freiburg. In this latter town he prosecuted the study of geology with vigour. He repaired to Dresden and lectured there on natural history in 1807. He was chosen professor of natural history at Erlangen, and subsequently at Munich. He has published many works, partly religious and partly scientific; among them may be noted the following—"Die Kirche und die Götter;" "Views of the Night-side of Nature;" "Universal History of Life;" "Journeys in the East;" and "Travels in the south of France and Italy." He died in July, 1860, in his eightieth year.—J. H. B.  SCHULEMBOURG,, Count of, was born on the 8th of August, 1661, at Cendan, near Magdeburg. He commenced his military career in the Danish service, and subsequently accepted a command in Poland, under Sobieski. In 1704 he commanded the Saxon troops, and successfully resisted the attacks of Charles XII. of Sweden. He was present at the battle of Malplaquet, having been placed in 1708, the year previous to that battle, at the head of nine thousand Poles in the service of the Dutch. In 1711 he entered the service of the republic of Venice, and bravely defended Corfu against the Turks, who attacked the island in 1716. The count visited England in 1726, and was received with great honours by King George I. His sister was married to the earl of Kendal. He died at Venice in 1743.—W. J. P.  SCHULTENS,, a celebrated Orientalist, was born at Groningen in 1686. Having studied at his native place, at Leyden, and afterwards at Utrecht, he became a preacher at Wassenaer, near Leyden, in 1711. In 1713 he became professor of the Oriental languages at Franeker, and in 1717 university preacher also. In 1720 he was invited to Leyden, where he taught Hebrew and the Oriental languages till his death on 26th January, 1760. Schultens opened up a new path for the student of the Oriental languages, by comparing cognate dialects with the Hebrew, especially the Arabic, and so facilitating a better acquaintance with the sacred tongue. This method of criticism had a beneficial influence on German scholarship. Schultens' works are all connected with Oriental or Biblical literature. They are "Origines Hebraicæ," 2 vols. 4to; "Institutiones ad fundamenta linguæ Hebraicæ;" "Commentarius in Librum Job, cum nova versione," 2 vols. 4to; "Vetus et regia via Hebraizandi, contra novam et metaphysicam hodiernam," 4to; "Proverbia Salomonis cum versione integra et commentario," 4to; "Monumenta Vetustiora Arabiæ," 4to. He also published the life of Saladin in Arabic, with a Latin version, folio; a portion of the Makamat or Consessus of Hariri; a new and improved edition of Erpenius' Arabic Grammar, &c. Schultens was a profound Oriental scholar in his day. His opinion about Hebrew, Arabic, Syriac, and Chaldee being the remains of a more ancient language taught to man by God, was erroneous; but Gousset's view, which he combated, was equally incorrect. As a commentator on the Old Testament he does not excel; his interpretations of Hebrew words being constantly overlaid with Arabic and far-fetched references.—S. D.  SCHULTENS,, grandson of the preceding, was born at Herborn, 1749. He was educated at Leyden, where he applied himself very diligently, not only to Hebrew and Arabic, but Greek and Latin. He came to England to consult the Arabic 