Grove's dictionary of music and musicians

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320 SCHUBERT
been a zealous Schubert propagandist. From
an early date his Zeitschri/t contains articles of
more or less length, always inspired by an ardent
admiration ; Schubert's letters and poems and
his brother's excellent short sketch of his life,
printed in vol. x. (April 23 to May 3, 1839)
—obvious fruits of Schumann's Vienna visit
— are indispensable materials for Schubert's
biography ; when the Symphony was performed
he dedicated to it one of his longest and most
genial effusions, ^ and each fresh piece was
greeted with a hearty welcome as it fell from
the press. One of Schumann's especial favourites
was the El> Trio ; he liked it even better than
that in Bb, and has left a memorandum of his
fondness in the opening of the Adagio of his
Symphony in C, which is identical, in key and
intervals, with that of Schubert's Andante.
The enthusiasm of these prominent musicians,
the repeated performances of the Symphony,
and its publication by Breitkopfs (in Jan. 1850),
naturally gave Schubert a strong hold on
Leipzig, at that time the most active musical
centre of Europe ; and after the foundation of
the Conservatorium in 1843 many English and
American students must have carried back the
love of his romantic and tuneful music to their
own countries.
Several performances of large works had taken
place in Vienna since Schubert's death, chiefly
through the exertions of Ferdinand, and of a
certain Leitermayer, one of Franz's early friends
such as the Eb Mass at the parish church of
Maria Trost on Nov. 15, 1829
' ; Miriam,' with
Laohner's orchestration, ataGesellschaft Concert
in 1830 ; two new overtures in 1833 ; an overture
in E, the Chorus of Spirits from ' Rosamunde,
the Grosses Halleluja, etc., early in 183 5, and four
large concerted pieces from ' Fierrabras ' later in
the year ; an overture in D ; the finale of the last
Symphony ; a march and chorus, and an air and
chorus, from 'Fierrabras, 'in April 1836 ; another
new overture, and several new compositions from
the 'Remains,' in the winter of 183>38. As
far as can be judged by the silence of the Vienna
newspapers, these passed almost unnoticed.
Even the competition with North Germany
failed to produce the effect which might have
been expected. It did indeed excite the Viennese
to one effort. On the 15 th of the December
following the production of the Symphony at
Leipzig its performance was attempted at Vienna,
but though the whole work was announced,^
such had been the difficulties at rehearsal that
the first two movements alone were given, and
they were only carried off by the interpolation
of an air from Lucia ' ' between them.
1 Qei. Schriften, iii. 195. Schuniann's expreaaloiis leave do doubt
that the Symphony in C was in Ferdinand's posaesaiun at tlie time
of hia visit. This and many others of his articles on Schubert have
been translated into English by Miss M. E. von Olelui, and Mrs.
Rttiier.
2 The MS. parts In the posaesslon of the Muslkvorein show the
most cruel cuts, possibly with a view to this performance. In the
Finale, one of the most esflential and effective sections of the movement
is clean expunged.
But symphonies and symphonic works can
hardly be expected to float rapidly ;
songs are
more buoyant, and Schubert's songs soon began
to make their way outside, as they had long since
done in his native place. Wherever they once
penetrated their success was certain. In Paris,
where spirit, melody, and romance are the certain
criterions of success, and where nothing dull
or obscure is tolerated, they were introduced by
Nourrit, and were so much liked as actually to
find a transient place in the programmes of the
Concerts of the Conservatoire, the stronghold of
musical Toryism.' The first French collection
was published in 1834, by Kichault, with translation
by Belanger. It contained six songs
'Die Post, ' 'Standchen, 'Am ' Meer, ' 'Das Fischermadohen,'
'Der Tod und das Madchen,' and
' Schlnmmerlied.' The
' Erl King ' and others
followed. A larger collection, with translation
by EmU Deschamps, was issued by Brandus in
1838 or 1839. It is entitled 'Collection des
Lieder de Franz Schubert,' and contains sixteen
— 'Lajeunereligieuse,' 'Marguerite,' 'Leroides
aulnes, ' ' La rose, ' ' La serenade, ' ' La poste, ' ' Ave
Maria,' 'La cloche des agonisants,' 'La jeune fille
et la morte,' 'Rosemonde,' 'Les plaintes de la
jeune fille,' 'Adieu,' 'Les astres,' 'Lajeune m^re,'
'
La Berceuse, ' ' !^loge des larmes. * ' Except that
one—
' Adieu ' ' —is spurious, the selection does
great credit to Parisian taste. This led the
way to the 'Quarante melodies de Schubert'
of Richault, Launer, etc., a thin 8vo volume,
to which many an English amateur is indebted
for his first acquaintance with these treasures
of life. By 1845 Richault had published as
many as 150 with French words.
Some of the chamber music also soon obtained
a certain popularity in Paris, through the playing
of Tilmant, Urban, and Alkan, and later
of Alard and Franchomme. The 'Trio in Bb,
issued by Richault in 1838, was the first instrumental
work of Schubert's published in France.
There is a 'Collection complete' of the solo
PF. works published by Richault in 8vo, containing
the Fantaisie (op. 15), ten sonatas, the
two Russian marches. Impromptus, Momens
musicals, five single pieces, and nine sets of
dances. Liszt and Heller kept the flame alive
by their transcriptions of the songs and waltzes.
But beyond this the French hardly know more
of Schubert now than they did then ; none of
his large works have become popular with them.
Habeneck attempted to rehearse the Symphony
in C (No. 10) in 1842, but the band refused
to go beyond the first movement, and Schubert's
name up to this date (1881) appears in the
3 'La jeune religieuse' and 'Le TOi des aulnes' were sung by
Ifourrit, at the Concerts of Jan. 18, and April 26, 1685, respectively
—the latter with orchestl-al accompaniment. On March 20, 1836,
Mai-gmirite was sung by Mile. Falcon, and there the list stops.
^ This list is copied from the Paris correspondence of the A.M.Z.
1839, p. 894.
5 This song is made up of phraaes from Schubert's aongs and will
probably always be attributed to blm. It standa even in Pauer's
edition, Bi^t it is by A. H. von Weyrauch, who published it himself
in 1824. See Nottebohm'a Cataloipui, p. 264