Grove's dictionary of music and musicians

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250 SCHAUSPIELDIEECTOR, DER SCHEIBE
padagogische ' Association, Doctor of Music
(America), and bears the title of Kitter hoher
Orden. H. v. h.
SCHAUSPIELDIEECTOR, DER, 'Oomodie
mit Musik in 1 Act ' (The Manager, a Comedy
with Music in one Act) ; containing an overture
and four numbers ; words by Stephanie, jun.,
music by Mozart. Produced at a Court festival
at Schbnbrunn, 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. ii. p. 462.] 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
Schmospieldirector by Dr. R. Hirsch (Leipzig,
1859). G.
SCHEBEK, Edmund, a distinguished and
influential Austrian amateur,- Doctor of Law,
Imperial councillor, and secretary to the
Chamber of Commerce at Prague, was born
Oct. 22, 1819, at Petersdorf in Moravia. He
began his musical career as head of a Society
fit Olmiitz, and continued it at Prague, where
in conjunction with Weiss, the superior of the
Capuchins, and Krejoi, he revived much of the
best old Italian church music. He devoted
his attention specially to the construction of
the violin, in relation to which he published
very interesting treatises On the Orchestral
Instruments in the Paris Exhibition of 1855 ' ;
On the Ore'monese instruments, Apropos of the
Vienna Exhibition of 1873, and The Italian
Violin manufacture and its German origin.^
He also published a valuable little pamphlet
on Froberger (1874). Dr. Schebek possessed a
fine collection of ancient stringed instruments,
Beethoven autographs, etc. a.
SCHEBEST, Agnes, born at Vienna, Feb.
15, 1813, became attached at a very early age
to the Court Theatre at Dresden, first in the
chorus, and then as singer of small solo parts.
Here she had the inestimable advantage of frequently
hearing and seeing the great Schroeder-
Devrient. In 1833 she left Dresden for Pesth,
and from 1836 to 1841 starred throughout
Germany with very great applause. Her voice
was a fine mezzo-soprano, her style and method
were good, her best parts heroic, with much
energy and passion. In 1841 she married the
great theologian Dr. David Strauss (himself a
keen amateur, and author of an interesting
paper on the Ninth Symphony), and died Deo.
22, 1869, at Stuttgart. She left an account of
her career. Aus dem Leben einer Kilnstlerin
(1857), and Sede und GehWrde (1862). g.
1 Die OrcheBtBr-ftutrumente auf der Partaer WeltavwteJlwng tm
Jahre 1855 (Vienna, Staatudrllckerei, 1858).
3 DerQeigenbau in Italian wad tein deutacher ETrsnruna (Vienna,
18ra«ndl8f4).
SCHECHNEE-WAAGEN, Nanette, dramatic
singer, born at Munich in 1806. She
was employed in the chorus-scenes of the opera,
and, on the occasion of Madame Grassini's visit,
was chosen to second her in some selections
from Cimarosa's ' Gli Orazii e Curiazii.' Scheohner's
beautiful voice made a great impression,
and won for her a patroness in the Queen of
Bavaria. After some study in singing and in
Italian, she appeared in Italian opera in Munich,
until 1827, after which she devoted herself to
German opera. In 1826 she was in Vienna, if
a curious story, related by Schindler, of a scene
in the theatre there, Apropos of an air written
for her by Schubert, may be believed. [See
ScHUBEKT.] It is related by F6tis that, when
she first appeared in Berlin in Weigl's Schweizerfamilie,'
the first act was played to an
'
almost empty house ; but such enthusiasm did
her Emmeline arouse in the few listeners, that
the report of it spi'ead to the neighbouring
cafes during the entr'acte, a large audience was
drawn to the theatre for the rest of the performance,
and the singer's success was complete.
Her Donna Anna, Euryanthe, Fidelio, Reiza,
Vestalin and Iphigenie in Tauris excited great
admiration in Berlin and Munich. In 1832
she married Waagen, a lithographer and
painter. Her voice was powerful, even massive
in its tones, and her acting earnest and natural.
She took a place in the first rank of German
singers, but her brilliant career lasted no longer
than ten years. A severe illness injured her
voice ; she retired from the stage in 1835, and
died April 30, 1860.
Mendelssohn heard her at Munich in 1830,
and while he found her voice much gone off
and her intonation false, says that her expression
was still so touching as to make him
weep.^ L. M. M.
SCHEIBE, JoHANN Adolph, born at Leipzig
in May 1708, the son of an organ-buUder,
was educated for the law at the Nicolaischule,
and at the University, where Gottsched was at
the time professor. In 1735 he set out to try
his fortunes as a musician, visiting Prague,
Gotha, Sondershausen, and settling in 1736 at
Hamburg as a teacher. He composed incidental
masic to various plays, and wrote a grand
opera which only reached the stage of being
twice rehearsed. In 1737 he began the publication
by which he is famous in the history
of German opera. Der Oritische Mimkus, as
it was called, came out as a weekly periodical,
and carried further the war against Italian
operatic conventions which Gottsched had declared
in his Vemiinftigen Tadlerinmen. In
1740 he was appointed Oapellmeister to the
Margrave of Brandenburg-Culmbach, and also
visited Copenhagen, where he settled two years
later, and in 1742 became director of the court
opera, retaining this post till 1749, when he
3 Letter. Jnne 6, 1838,