P. 370b, add The articles on Schubert's masses by Mr. E. Prout in the 'M. Musical Record' for 1871, and the 'Concordia' for 1875, are too important and interesting to be omitted. Ibid. Add to the letters, 1828. Ap. 10 | Vienna | Probst | MS. copy in the writer's possession. P. 371b, for Auf der Brücke read Auf der Bruck.[1] P. 374a, to Tod und das Mädchen, Der, add 1817. P. 375b, in No. 7 of the Symphonies read entry in last column as MS. (See pp. 334, 335.) Lower down, No. 16 of the Sonatas, for Op. 40 read Op. 140. P. 378b, after 471 add Der Tod und das Mädchen | . | Op. 7, no. 3 | February. P. 379a, No. 496, the date of Furcht der Geliebten should be Sept. 12, 1815 (Autog. at Sotheby's). P. 380a, 1822, Eitner ('Monatshefte,' etc., 1888, p. 33) mentions an autograph of 'Du liebst mich nicht' (op. 59, no. 1) in G♯ minor, and dated July 1822, but whether this is the original autograph or a duplicate by Schubert is not certain. P. 382a, l. 1, for Köpfermann read Kopfermann.
A complete edition of Schubert's works in 22 classes was announced by Breitkopf & Härtel on 'Schubert's death-day, 1884.' Up to Feb. 1889, the following have been published:—Series I. 8 Symphonies in 2 vols. II. 10 Overtures, etc. VII. 5tets, 4tets, and Trios, 2 vols. VIII. 8 Rondos, Sonatas, etc., for PF. and one instrument. IX. PF. 4-hand compositions, 32 in all, in 3 vols. X. 15 Sonatas for PF. solo. XI. Miscellaneous PF. works. XIII. Masses, 7, in 2 vols. XIV. 21 small church works. XV. Dramatic music: (1) 'Teufels Lustschloss'; (2) 'Der vierjährige Posten'; 'Fernando'; 'Die Freunde von Salamanka'; (6) 'Fierrabras.'
The history of Schubert's music owes very much to Max Friedländer, Dr. in Philosophy, who was born at Brieg in Silesia Oct. 12, 1852, and studied singing under Manuel Garcia in London and Julius Stockhausen in Frankfort. Friedländer has travelled much and is widely known as a baritone singer. He sang at the Crystal Palace on April 19, 1884, and elsewhere in London. He has taken up musical investigation, especially in connection with Schubert; and has edited the new edition of Peters' collection of Schubert's songs; with a supplement of variations; Schubert's duets; Schubert's quintet, 'Nur wer die Sehnsucht'; Gluck's Odes; Revised edition of the text to Schumann's songs; 100 Deutsche Volkslieder (not before published); Stockhausen's Gesangstechnik (with the author). He is understood to be devoting himself to the collection of materials for an exhaustive biography of Schubert, for which he is well qualified.
SCHÜTZ, Heinrich. See vol. iv. p. 45, and add as follows:—His father and grandfather occupied a good social position at Weissenfels, whither his father removed with his family on the death of the grandfather in 1591. In his thirteenth year (1598) Heinrich was taken into the service of Landgraf Moritz of Hesse-Cassel, as narrated in the former article.
Add to vol. iv. p. 45 a, l. 9 from bottom:—The Landgraf, as a man of culture, interested in all new movements in literature and art, wished himself to gain a closer acquaintance with the new Italian style of music, and hoped through Heinrich Schütz to be able to transplant it to Germany and into his own Court chapel, and thus vivify German art by a new alliance with Italian. In Schütz he found the man for his purpose. Schütz accepted the Landgraf's offer and proceeded to Venice, where he remained under Gabrieli's tuition from 1609 until his master's death in 1612. Gabrieli showed his esteem for his pupil by sending to him from his death-bed a ring to wear to his memory, and Schütz on his part ever professed the highest veneration for his master. In 1612 he returned to Cassel, and was appointed organist to the Landgraf, but either uncertain himself as to his real vocation for music or induced by his friends, he had still some thoughts of taking up again the profession of law. Perhaps the Landgraf's chapel was too narrow a sphere for him to work in; it was fortunate therefore that in 1614 he received the invitation to undertake the entire direction of the capelle of the Elector Johann Georg of Saxony at Dresden, at a salary of 400 gulden. The Landgraf was unwilling to part with him, and would at first only allow him to accept this position temporarily. He recalled Schütz in 1616, but on the earnest petition of the Elector finally consented to his remaining permanently at Dresden. Schütz's first endeavour at Dresden was to reorganize the electoral music, and indeed, as he had been engaged to do, on the Italian model, for the purpose of introducing the new concerted style of music vocal and instrumental. He procured good Italian instruments and players, and sent qualified members of the capelle to Italy for a time, to perfect themselves in the new style of singing and playing.
To p. 45 b, l. 7 from bottom, add:—For his purpose Schütz uses the means of expression afforded by contrast of different choirs, or contrast of solo voices with full choir, or contrast of voices with instruments, either the simple Basso Continue, i.e. for organ, lute, or theorbo, or strings with occasional trumpets, etc. The work on the subject of the Resurrection is entitled 'Historia der fröhlichen und Siegreichen Auferstehung unsers einigen Erlösers und Seligmachers Jesu Christi.' The occasion for the composition of this work would seem to have been the practice, still kept up at Dresden, Leipzig and other churches in Saxony, of singing the story of the Resurrection at Easter as that of the Passion in Holy Week. A 'Geistliches Gesangbuch' of 1612 informs us that 'Every year on Easter-day at Vespers, before the sermon, there is sung in our Christian congregations the Resurrection, so splendidly set by Antonius Scandellus.' This Antonius Scandellus, or Scandelli, had been one of Schütz's own predecessors at Dresden from 1568–80, and had written both a Passion and a Resurrection. His 'Resurrection' must have continued in use even
- ↑ 'Auf der Bruck. Der 25sten Julius. 1814.' See 'Poetisches Tagebuch,' p. 79; in Sämmtl. poet. Werke von Ernst Schulze. 8vo. Leipzig, 1822.
