Grove's dictionary of music and musicians

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318 1828 SCHUBERT 1828
Seidl, Schober, and others. On Jan. 30, 1829,
a concert was given by the arrangement of Anna
Frohlich in the hall of the Musikverein ; the
programme included 'Miriam,' and consisted
entirely of Schubert's music, excepting a set of
flute variations by Gabrielsky, and the first
Finale in Don Juan ' ' ; and the crowd was so
great that the performance had to be repeated
shortly afterwards. The proceeds of these concerts
and the subscriptions of a few friends
sufficed to erect the monument which now stands
at the back of the grave. It was carried out by
Anna Frohlich, Grillparzer, and Jenger. The
bust was by Franz Dialler, and the cost of the
whole was 360 silver florins, 46 kr. The inscription
^ is from the pen of Grillparzer :
DIE TONKUNST BEGRUB HIER EINEN RBICHEN BESITZ
ABER NOCH VIEL SCHOENERE HOFFNUNGEN.
FRANZ SCHUBERT LIEGT HIER.
GEBOREN AM XXXI. J^NNER MDCCXCVII.
GESTORBEN AM XIX. NOV. MDCCCXXVIII.
XXXI JAHRE ALT.
MUSIC HAS HERE ENTOMBED A RICH TREASURE,
BUT MUCH FAIRER HOPES.
FRANZ SCHUBERT LIES HERE.
BORN JAN. 31, 1797 ;
DIED NOV. ig, 1828,
31 YEARS OLD.
The allusion to fairer hopes has been much
criticised,, but surely without reason. When
we remember in how many departments of
music Schubert's latest productions were his
best, we are undoubtedly warranted in believing
that he would have gone on progressing for
many years, had it been the will of God to
spare him.
In 1863, owing to the state of dilapidation
at which the graves of both Beethoven and
Schubert had arrived, the repair of the tombs,
and the exhumation and reburial of both, were
imdertaken by the Gesellschaft der Musikfreunde.
The operation was begun on the
12th of October and completed on the 13th.
The opportunity was embraced of taking a cast
and a photograph of Schubert's skull, and of
measuring the principal bones of both skeletons.
The lengths in Schubert's case were to those in
Beethoven's as 27 to 29, 2 which implies that as
Beethoven was 5 ft. 5 in. high, he was only 5 ft.
and ^ an inch. Schubert was reburied in the
central cemetery of Vienna on Sept. 23, 1888.
Various memorials have been set up to him
in Vienna. The tablets on the houses in which
he was born and died have been noticed. They
were both carried out by the Miinnergeaang
Verein, and completed, the former Oct. 7, 1858,
the latter in Nov. 1869. The same Society
erected by subscription a monument to him in
the Stadt-Park, a sitting figure in Carrara
1 We have given the inscription exactly as it stands on the monument.
KrelBsIe'a version (p. 463), followed by Gumprechtand others,
is incorrect in almost every line.
2 See Actenm&uige DargtelluMg der Auagrabwng vmA Wiederheeimeizvmg
derirdiachenRestevonBeethovenwidScJmbert.yiwiiia.,
Gerold, 1663.
marble by Carl Kuntmann, with the inscription
'
Franz Schubert, seinem Andenkeu der Wiener
Mannergesangverein, 1872.' It cost 42,000
florins, and was unveiled May 15, 1872.
Outside of Austria his death created at first
but little sensation. Eobert Schumann, then
eighteen, is said to have been deeply affected,
and to have burst into tears when the news
reached him at Leipzig ; Mendelssohn too,
though unlike Schubert in temperament,
circumstances, and education, doubtless fully
estimated his loss ; and Rellstab, Anna Milder,
and others in Berlin who knew him, must have
mourned him deeply ; but the world at large
did not yet know enough of his works to understand
either what it possessed or what it had
lost in that modest reserved young musician of
thirty-one. But Death always brings a man,
especially a young man, into notoriety, and
increases public curiosity about his works : and
so it was now ; the stream of publication at
once began and is even yet flowing, neither the
supply of works nor the eagerness to obtain
them having ceased. The world has not yet
recovered from its astonishment as, one after
another, the stores accumulated in those dusky
heaps of music paper (valued at 8s. 6d.) were
made public, each so astonishingly fresh,
copious, and different from the last. As song.s,
masses, part-songs, operas, chamber-music of
all sorts and all dimensions—pianoforte-sonatas,
impromptus and fantasias, duets, trios, quartets,
quintet, octet, issued from the press or were
heard in manuscript ; as each season brought
its new symphony, overture, entr'acte, or balletmusic,
people began to be staggered by the
amount. 'A deep shade of suspicion,' said
TU MusicaZ World of Jan. 24, 1839, p. 150,
' is beginning to be oast over the authenticity
of posthumous compositions. All Paris has
been in a state of amazement at the posthumous
diligence of the song-writer, F. Schubert, who,
while one would think that his ashes repose in
peace in Vienna, is still making eternal new
songs.' We know better now, but it must be
confessed that the doubt was not so unnatural
then.
Of the MS. music—an incredible quantity, of
which no one then knew the amount or the particulars,
partly because there was so much of
it, partly because Schubert concealed, or rather
forgot, a great deal of his work—a certain number
of songs and pianoforte pieces were probably
in the hands of publishers at the time of his
death, but the great bulk was in the possession
of Ferdinand, as his heir. A set of four songs
(op. 106) was issued on the day of his funeral.
Other songs— opp. 101, 104, 106, 110-112,
116-118 ; and two PF. Duets, the Fantasia in
F minor (op. 103) and the 'Grand Rondeau'
(op. 107)—followed up to April 1829. But
the first important publication was the