Grove's dictionary of music and musicians

y the small things of life. He had little of
that jealous susceptibility which too often distinguishes
musicians, more irritable even than
the ' irritable race of poets. ' His attitude towards
Bossini and Weber proves this. When
a post which he much coveted was given to
another,' he expressed his satisfaction at its
being bestowed on so competent a man. Transparent
truthfulness, good -humour, a cheerful
contented evenness, fondness for a joke, and a
desire to remain in the background—such were
his prominent characteristics in ordinary life.
But we have seen how this apparently impassive
man could be moved by a poem which appealed
to him, or by such music as Beethoven's CB
minor Quartet.^ This unfailing good-nature,
this sweet lovableness, doubtless enhanced by
his reserve, was what attached Schubert to his
friends. They sidmired him ; but they loved
him still more. Ferdinand perfectly adored
him, and even the derisive Ignaz melts when
he takes leave.' Hardly a letter from Schwind,
Schober, or Bauemfeld, that does not amply
testify to this. Their only complaint is that
he win not return their passion, that 'the
affection of years is not enough to overcome his
distrust and fear of seeing himself appreciated
and beloved.'* Even strangers who met him
in this entowrage were as much captivated as
his friends. J. A. Berg of Stockholm, who
was in Vienna in 1827, as a young man of
twenty-four, and met him at the Bogners',
speaks of him* with the clinging affection
which such personal charm inspires.
He was never really at his ease except among
liis chosen associates. When with them he was
genial and compliant. At the dances of his
Mends he would extemporise the most lovely
waltzes for hours together, or accompany song
after song. He was even boisterous— playing
the 'Erl King' on a comb, fencing, howling, and
making many practical jokes. But in good
society he was shy and silent, his face grave ; a
word of praise distressed him, he would repel
the admiration when it came, and escape into
the next room, or out of the house, at the first
possible moment. In consequence he was overlooked,
and of his important friends few knew,
or showed that they knew, what a treasure they
had within their reach. A great player like
Booklet, after performing the Bl> Trio, could
kneel to kiss the composer's hand in rapture,
and with broken voice stammer forth his homage,
but there is no trace of such tribute from the
upper classes. What a contrast to Beethoven's
positio* among his aristocratic friends— their
devotion and patience, his contemptuous behaviour,
the amount of pressing necessary to
make him play, his scorn of emotion, and love
of applause after he had finished ! [See vol. i.
p. 223%.] The same contrast is visible in the
1 Welgl. 2 See pages 285. 316.
4 Schvjnd, in K.H. p. 345 (iL 28).
B
3 K.H. p. 149 (i. 1611.
In a letter to the vriter.
SCHUBERT 323
dedications of the music of the two—Beethoven's
chiefly to crowned heads and nobility, Schubert's
in large proportion to his friends. It is also
evident in the music itself, as we shall endeavour
presently to bring out.
He played, as he sang, ' like a composer, ' that
is, with less of technique than of knowledge and
expression. Of the virtuoso he had absolutely
nothing. He improvised in the intervals of
throwing on his clothes, or at other times when
the music within was too strong to be resisted,
but as an exhibition or performance never, and
there is no record of his playing any music but
his own. He occasionally accompanied his songs
at concerts (always keeping very strict time), but
we never hear of his having extemporised or
played a piece in public in Vienna. Notwithstandingthe
shortness of his fingers, which sometimes
got tired,* he could play most of his own
pieces, and with such force and beauty as to
compel a musician who was ''
listening to one of
his latest Sonatas to exclaim, ' I admire your
playing more than your music,' an exclamation
susceptible of two interpretations, of which
Schubert is said to have taken the unfavourable
one. But accompaniment was Ms forte, and of
this we have already spoken [see pp. 3046, 3096,
etc.]. Duet-playing was a favourite recreation
with him. Schober, Gahy, and others, were his
companions in this, and Gahy has left on record
his admiration of the clean rapid playing, the
bold conception and perfect grasp of expression,
and the clever droll remarks that would drop
from him during the piece.
His life as a rule was regular, even monotonous.
He composed or studied habitually for six or seven
hours every morning. This was one of the
methodical habits which he had learned fi-om his
good old father ; others were the old-fashioned
punctilious style of addressing strangers which
struck Hiller ^ with such consternation, and the
dating of his music. He was ready to write
directly he tumbled out of bed, and remained
steadily at work till two.
'
When I have done
one piece I begin the next ' was his explanation
to a visitor in 1827 ; and one of these mornings
produced six of the songs in the ' Winterreise ' !
At Invo he dined—when there was money enough
for dinner—either at tlie Gasthaus, where in
those days it cost a Zwanziger ' ' (8^d.), or with
a friend or patron ; and the afternoon was spent
in making music, as at Mme. Lacsny Buchwieser's
[p. 3096], or in walking in the environs of
Vienna. If the weather was fine the walk was
often prolonged tUl late, regardless of engagements
in town ; but if this was not the case, he
was at the coffee-house by five, smoking his pipe
and ready to joke with any of his set ; then came
an hour's music, as at Sofie Miiller's [p. 3036] ;
6 Bauemfeld. 7 Horzalka. s,ff. p. 128 (I. 132).
8 KHmOerleben, p. 49. -'Schubert Ifind mentioned in loyJoumMl
as a quiet 7?w»n—possibly not always so, though it was only amongst
bis intimates that he brokeout. When I visited him in his mod est
lodging he received me kindly, but so respectfully, as quite to
frighten me.'