Grove's dictionary of music and musicians

—
'
well-known ' Schwanengesang,' so entitled by
Haslinger—a collection of fourteen songs, seven
by Rellstab, six by Heine, and one by Seidl
unquestionably Schubert's last. They were
issued in May 1829, and, to judge by the lists
of arrangements and editions given by Nottebohm,
have been as much appreciated as the
' Schone MiiUerin ' or the ' Winterreise. ' A
sti-eam of songs followed—for which we must
refer the student to Nottebohm's catalogue.
The early part of 1830 • saw the execution of
a bargain between Diabelli and Ferdinand, by
which that Firm was guaranteed the property
of the following works ; opp. 1-32, 35, 39-59,
62, 63, 64, 66-69, 71-77, 84-88, 92-99, 101-
104, 106, 108, 109, 113, 115, 116, 119, 121-
124, 127, 128, 130, 132-140, 142-153 ; also
154 songs ; 14 vocal quartets ; the canons of
1813 ; a cantata in C for three voices ; the
Hymn to the Holy Ghost ; Klopstock's Stabat
Mater in F minor, and Grosse Halleluja ; Magnificat
in C ; the String Quintet in C ; four
string quartets in 0, B|>, G, B|> ; a string trio
in B|> ; two sonatas in A and A minor, variations
in F, an Adagio in D|>, and Allegretto in
Cjt— all for PF. solo; Sonata for PF. and
Arpeggione ; Sonata in A, and Fantasie in C
both for PF. and violin ; Eondo in A for violin
and quartet ; Adagio and Eondo in F, for PF.
and quartet ; a Concert-piece in D for violin
and orchestra ; Overture in D for orchestra ;
Overture to third Act of the ' Zauberharfe '
;
'
Lazarus ; '
a Tantum ergo in Elj for four voices
and orchestra ; an Offertorium in Bl? for tenor
solo, chorus and orchestra.
Another large portion of Ferdinand's possessions
came, sooner or later, into the hands of
Dr. Eduard Schneider, son of Franz's sister
Theresia. They comprised the autographs of
Symphonies 1, 2, 3, and 6, and copies of 4 and
5 ; Autographs of operas :—The ' Teufels Lustschloss,'
'Fernando,' ' Der Vierjahrige Posten,'
'
Die Freunde von Salamanka,
'
' Die Biii-gschaft,
' Fierrabras,' and
'
Sakontala ' ; the Mass in F
;
and the original orchestral parts of the whole of
the music to ' Rosamunde. ' The greater part of
these are now(1882) safe in the possession of Herr
Nicholas Dumba of Vienna.
On July 10, 1830, Diabelli began the issue of
whatwas entitled 'Franz Schubertsnachgelassene
musikalische Dichtungen
'
; and continued it at
intervals till 1850, by which time 50 Parts
.), containing 137 songs, had ap-
In 1830 he also issued the two astonishing
4-hand marches (op. 121) ; and a set
of 20 waltzes (op. 127) ; whilst other houses
published the PF. Sonatas in A and El^ (opp. 120,
122) ;
the two string quartets of the year 1824
(op. 125) ; the D minor Quartet, etc. For the
1 The list which follows is taken from Kreinle, p. 5€6 (ii. 245), who
apparently had the original document before him. The only date
given by Krelasle is 1£0O, but it most have been early in that year,
since op. 121, which forms part of the bargain, was issued in
February. Some of the numbers In the list had already been issued
afi the property of the publishers.
—;
SCHUBERT 319
progress of the publication after this date we
must again refer the reader to Nottebohm's
invaluable TheTnatic Catalogue (Vienna, Schreiber,
1874), which contains every detail, and may
be implicitly relied on ; merely mentioning the
principal works, and the year of publication :
'
Miriam, ' Mass in B|?, three last Sonatas and the
Grand Duo, 1838 ; Symphony in C, 1840
Phantasie in C, PF. and violin, 1850 ;
Quartet
in 6, 1852 ;
Quintet in C, and Octet, 1854 ;
'
Geaang der Geister,' 1858
'
Verschworenen,'
;
1862; Mass in E|7, 1865; 'Lazarus,' 1866;
Symphony in B minor, 1867 ; Mass in Ab, 1875.
Before the complete critical edition of Schubert's
works issued by Breitkopf & Hartel was
finished, there were many publications of songs,
pianoforte pieces, etc., for which the reader is
referred to Nottebohm's Thematic Catalogue. Of
the Songs two collections may be signalised as
founded on the order of opus numbers :—that
of Senff of Leipzig, edited by Julius Reitz, 361
songs in 20 vols, and that of Litolff of Brunswick—songs
in 10 vols. But neither of these,
though styled complete ' ' are so. For instance,
each omits opp. 83, 110, 129, 166, 172, 173 ;
the six songs published by Miiller, the forty by
Gotthard ; and Litolff also omits opp. 21, 60.
Schumann's visit to Vienna in the late autumn
of 1838 formed an epoch in the history of the
Schubert music. He saw the immense heap of
MSS. which remained in Ferdinand's hands even
after the mass bought by Diabelli had been taken
away, and amongst them several symphonies.
Such sympathy and enthusiasm as his must have
been a rare delight to the poor desponding
brother. His eagle eye soon discovered the
worth of these treasures. He picked out several
works to be recommended to publishers, but
meantime one beyond all the rest riveted his
attention—the great symphony of March 1828
(was it the autograph, not yet deposited in the
safe keepingoftheGesellschaftder Musikfreunde,
or a copy ?) and he arranged with Ferdinand to
send a transcript of it to Leipzig to Mendelssohn
for the Gewandhaus Concerts, where it was produced
March 21, 1839,^ and repeated no less
than three times during the following season.
His chamber -music was becoming gradually
known in the North, and as early as 1833 is
occasionally met with in the Berlin and Leipzig
progi-ammes. David, who led the taste in
chamber music at the latter place, was devoted
to Schubert. He gradually introduced his
works, until there were few seasons in which
the Quartets in A minor, D minor (the score of
which he edited for Senff), and G, the String
Quintet in C (a special favourite), the Octet,
both Trios, the PF. Quintet, and the Rondeau
brillant, were not performed amid great
applause, at his concerts.
Schumann had long
2 March 22 in the AUg, Jfus. Zeitwng, March 21 in Schumann's
paper. The Symphony was repeated Dec. 12, 18S9, March 12, and
April 3, 1840. Mendelssohn made a few cuts In the work for performance.