Grove's dictionary of music and musicians

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1816 SCHUBERT 1816 287
'
Diego Manzanares,' ' Wo irrst du duroh einsame
Sohatten ? ' his setting of which is dated July
30, 1816.1 Schubert evidently WM fond of his
cantata. It was performed at Innsbruck by
Gansbaoher, and at Vienna by Sonnleithner in
1819. Schubertwished to give it at the Augarten
in 1820, and had sent it somewhere for performance
at the time of his death. He was paid 100
florins, Vienna currency (or £4) for it, and he
notes in his journal that it was the first time
he had composed for money.
The third event was the composition of a
cantata on a larger scale than either of the others.
It was addressed to Dr. Joseph Spendou, in his
character of Founder and Principal of the Schoolmasters'
Widows' Fund, and contained ejght
numbers, with solos for two sopranos and bass,
a quartet and choruses, all with orchestral
accompaniment. Whether it was performed or
not is uncertain,^ but it was published in 1830
in PF. score by DiabeUi, as op. 128. The other
compositions of the year 1816 are as numerous as
usual. There is a fine trio for S.S.A. and PF.
to the words of Klopstock's 'grosses Halleluja'
(Lf. 41, No. 2)
; a Salve Eegina in F, to German
words, for four voices and organ ^ (Feb. 21,
1816) [another, to Latin words, for unaccompanied
chorus (Feb. 1816), and a Stabat Mater
in F minor (Feb. 28, 1816) to Klopstock's
translation of the Latin hymn.] The last of
these is written for soprano, tenor, and bass
solo, and chorus, and for an orchestra of the usual
strings, two flutes, two oboes, two bassoons, one
contra-bassoon, two horns, three trombones, two
trumpets and drums. These, however, are not
uniformly employed ; the trumpets and drums
only appear for a few chords in Nos. 9 and 12
No. 5, an eight-part chorus, is accompanied by
the wind alone, and No. 6, a tenor air, by the
stiings, with oboe solo. This work was performed
in 1841 by the Musik-Verein of Vienna,
and in 1863 at the Altlerchenfelder church, but
was not published until the appearance of
Breitkopf & Hartel's edition. [Among other
works of this year are a setting of the Angels'
Chorus from Fatist, ' Christ ist erstanden ' (June
1816), a, fragment of a Requiem in E|? * (July
1816), which ends with the second bar of the
second Kyrie, a Tantum ergo in C (Aug.), a
Magnificat in C (Sept. ), and a duet, Auguste
'
jam coelestiun ' (Oct.), strongly tinctured by
Mozart."]
Of operas we find only one in 1816, probably
because only one libretto came in his way. It
is called Die ' Biirgsohaft,' and is in three acts.
The author of the words is not known ; and the
quotations in Kreissle show that they are in great
part absolute rubbish. Schubert continued his
1 He returned to thla poet in 18S0, 182S, 1828, 182a
2 Kreisale, i. 88. Bays that it wa&
3 Nottebohm's Catatague, p. 226.
* Pint printed by Scliuinaiin as Appendix to bia newspaper, the
N.Z.M., for June 18, 1639.
s In Brahms'B poBfiesslon. The date is quoted from the Catalogue
of the accurate Nottebohm. I am hound to aay that I saw no date,
and Brahms judged it to he later than 1816.
task to the third act, fifteen numbers, and there
stopped. The autograph, in Herr Dumba's
possession, is dated May 1816.
The Symphonies of 1816 are two—the fourth,
in C minor, entitled 'Tragic Symphony,' and
datedApril 1816 ;8 and the fifth, inBl>, for small
orchestra, dated Sept. 1816-Oct. 3, 1816.' The
fii'st of these isa gi'eat advance on itspredecessors
the Andante is individual and very beautiful, and
the Finale wonderfully spirited. The other,
though full of Mozart, is as gay and untrammelled
as all Schubert's orchestral music of that day. It
is sometimes entitled Without Trumpets or
'
Drums,' and is said to have been composed for
the orchestra at the Gundelhof, which grew out
oftheSchubert Sunday afternoon quartete.* Both
were often played at the Crystal Palace, under
Manns's direction, and were among the favourite
works in the ripertmre of that establishment.
string quartet in F ; a striugtriomBi>, apparently
very good ; a rondo in A for violin solo and
quartet (June 1816) ; a violin concerto in C ;
three sonatinas for PF. and violin (op. 137) ;«
PF. sonata in F, two movements of another in
E ; various marches for PF. ; twelve Deutsche
(waltzes) ; six Ecossaises, with the inscriptions
'
Composed while a prisoner in my room at Erdberg
' and Thank God '— probably the ' relic of
some practical joke—are still existing.
Very little of the above, however interesting,
can be said to be of real, firat-rate, permanent
value. But when we approach the songs o f 1 8 1
the case is altered. There are not quite so many
with this date as there were with that of 1815,
but there are over a hundred in all, and among
them are some of his finest settings of Goethe,
the three songs of the Harper, in Wilhelm
'
Meister' (op. 12, Sept. 6), Mignon's 'Sehnsucht'
song (op. 62, No. 4);
'
Der Fischer ; '
'DerKdnig
m Thule' (op. 5, No. 6), ' Jagers Abendlied,' and
'Sohafers Klagelied' (op. 3), 'Wanderer's Nachtlied'
(op. 4), 'Schwager Kronos' (op. 19). Of
Schiller there are the beautiful ' Ritter Toggenburg,'
Thekla's song (op. 58), etc., and to name
only one other, the far-famed 'Wanderer,' by
Schmidt of Lubeok.
These magnificent pieces are well known to
every lover of Schubert, but they are not more
valued than such exquisitely simple and touching
little effusions as ' An eine Quelle ' of Claudius
(op. 109, No. 3), 'Der Abend' of Kosegarten
(op. 118, No. 2), or 'Der Leidende' of Hblty
(Lief. 50, No. 2), all equally bearing his stamp.
The lists of the songs of these two years throw
a curious light on Schubert's musical activity
and mode of proceeding. Dr. Johnson was said
when he got hold of a book to ' tear the heart
out of it,' and with Schubert it was very much
8 April 1816.—Adsgio molto and AUegretto vivace in C minor ; Andante
in Ab ; Menuet and Trio in Eb ; Finale in C—The autograph
has vanished.
' Sept. 1816.—Fine den 3. Oct. 1816. Allegro, Bb : Andante con
moto, Eb ; Menuet and Trio, Q minor and 6 major ; Finale, Allegretto
vivace, Bb. Autograph with Peters & Co.
s Hanslicl^, Concertvesen, p. 142.
A