Grove's dictionary of music and musicians

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322 SCHUBERT
PF. pieces were added, and the Octet, the
Quintet in C, and the two Trios were repeated
season by season, and enthusiastically received.
The Quartet in Bb, the trio in the same
key, the Sonata for PF. and Arpeggione, etc.
were brought to a hearing. A large number
of songs were made familiar to the subscribers
to these concerts through the fine interpretation
of Stockhausen, Mme. Joachim, Miss Sophie
Lowe, Mr. Sautley, Mr. Henschel, and other
singers. At Halle's admirable recitals at St.
James's Hall, from their commencement in
1861 all the published Sonatas were repeatedly
played ; not only the popular ones, but of those
less known none have been given less than
twice ; the Fantasia in C, op. 15, three times ;
the PF. Quintet, the Fantasia for PF. and
Violin, the Impromptus and Momens musicals,
the '5 pieces,' the '3 pieces,' the Adagio and
Kondo, the Valses nobles, and other numbers
of this fascinating music have been heard again
and again.
The other principal publications in England
are the vocal scores of the six Masses, the PF.
accompaniment arranged from the full score by
Ebenezer Prout, published by Augener & Co.
the 1st, 2nd, 3rd, 4th in 1871, the 6th (Eb)
in 1872, and the 5th (Ab) in 1875.1 The
Masses have been also published by Novellos,
both with Latin and English words ( ' Communion
Service ') ; and the same firm has published
'Miriam,' in two forms, and the 'Rosamunde
' music, both vocal score and orchestral
parts. Messrs. Augener have also published
editions of the PF. works, and of a large number
of songs, by Pauer.
Schubert was not sufficiently important during
his Ufetime to attract the attention of painters,
and although he had more than one artist in
his circle, there are but three portraits of him
known. 1 . A poor stiff head by Leopold Kupelwieser,
full face, taken July 10, 1821, photographed
by Mietke and Wawra of Vienna, and
wretchedly engraved as the frontispiece to
Kreissle's biography. 2. A very characteristic
'
half-length, three-quarter-face, in water-colours,
by "W. A. Eieder, taken in 1825, and now in
possession of Dr. Granitsch of Vienna.^ A
replica by the artist, dated 1840, is now in
the Musikverein. It has been engraved by
Passini, and we here give the head, from a
photograph expressly taken from the original.
3. The bust on the tomb, which gives a very
prosaic version of his features.
His exterior by no means answered to his
genius. His general appearance was insignificant.
As we have already said, he was probably
not more than 5 feet and 1 inch high,
his figure was stout and clumsy, with a round
back and shoulders (perhaps due to incessant
writing), fleshy arms, and thick short fingers.
His complexion was pasty, nay even tallowy
his cheeks were full, his eyebrows bushy, and his
nose insignificant. But there were two things
that to a great extent redeemed these insignificant
traits—his hair, which was black, and
remarkably thick and vigorous,' as if rooted
in the brain within ; and his eyes, which were
truly 'the windows of his soul,'and even through
the spectacles he constantly wore were so bright
as at once to attract attention.* If Rieder's
portrait may be trusted—and it is said to be
very faithful, though perhaps a little too fine—
they had a peculiarly steadfast penetrating look,
which irresistibly reminds one of the firm rhythm
of his music. His glasses are inseparable from
his face. One of our earliest glimpses of him
is ' a little boy in spectacles ' at the Convict ;
he habitually slept in them ; and within eighteen
months of his death we see him standing in the
window at Dobling, his glasses pushed up over
his forehead, and Grillparzer's verses held close
to his searching eyes. He had the broad strong
jaw of all great men, and a marked assertive
prominence of the lips. He had a beautiful
set of teeth (Benedict). When at rest the
expression of his face was uninteresting, but
it brightened up at the mention of music,
especially that of Beethoven. His voice was
something between a soft tenor and a baritone.
He sang 'like a composer,' without the least
affectation or attempt.'
His general disposition was in accordance
with his countenance. His sensibility, though
his music shows it was extreme, was not roused
1 ReTiewed by Mr, E. Prout in Concordia for 1876, pp, 8, 29, 109,
etc
2 He bought It in Feb. 1B61 (or 1205 flOTine, or about £120, It is
about 8 inches high, by 6 wide. It waa talcen, or begun, while
Schubert took refuge in the artist's house from a storm (Pohl),
' All three portraits agree in this. An eminent suiweon of our
own day is accustomed to say, 'Never trust a man with a great
head of black bair, be is sure to be an enthOBJaslL'
* W. T. Chezy, Brinnerunffeti— 'with eyes so brilliant seat the
first glance to betray the fire within,' ^ Bauemfeld,