to the instrument, whether as regards composition or performance, his care in never overlooking an awkwardly fingered or pedalled passage, and his reverence and enthusiasm for the great music he delighted to teach, combined with other eminent qualities to place him in the foremost rank. It was his much-appreciated custom to play any composition by Bach which the pupil might ask to hear after each lesson, which in itself was a practice of priceless value as to inaccurately printed passages, tempi, and registration of those glorious works. Having given instruction to some of the first organists of the day, Schneider could relate interesting anecdotes of them and of many great composers, including Mendelssohn, who was one of his most devoted admirers. In the year 1861, the fiftieth of Schneider's artistic career and 73rd of his birth, a remarkable testimony to his powers was shewn in the presentation to him of a 'Jubel- Album fur die Orgel,' containing about thirty original pieces, all in classical form, by some of his best pupils, including Töpfer, Van Eyken, Faisst, Fink, Herzog, Merkel, E. F. Richter, Schellenberg, Liszt, A. G. ritter, Schaab, Hering, Naumann, Schurig, and Schutze (editor). The subscribers were 750, and included the names of the late king and royal family of Saxony.
Schneider's very few published works comprise an 'answer of thanks' to this collection, in the form of a fugal treatment of 'Nun danket alle Gott'; a Fantaisie and Fugue, op. 1; Do. Do. in D minor, op. 3—a masterly work; 'Twelve easy pieces for use at divine service,' op. 4, etc. etc.
SCHNYDER VON WARTENSEE, Xavier, so called from his castle at the S.E. end of the Lake of Constance, was born at Lucerne, of a noble family, April 18, 1786. His career would naturally have been one in accordance with his rank, but the Revolution, and a strong inward feeling, drove him in the direction of music. Until 1810 he had no teaching but what he could get from books and practice. In that year he went to Zürich, and then to Vienna, with the wish to become a pupil of Beethoven. He was however compelled to take lessons from Kienlen—perhaps a better teacher than Beethoven would have been. After a few years in the Austrian capital he returned to Switzerland, made the campaign of 1815 against the French, then became teacher in the Pestalozzian institute at Yverdun, and at length in 1817 settled at Frankfort, and lived there as teacher of composition and director of various musical institutions till his death, Aug. 30, 1868. During this latter period he was much esteemed as a teacher, and had many pupils, among them our countryman Pearsall.
Schnyder appears to have been a man of exceptional ability, but his life was too desultory to admit of his leaving anything of permanent value, and there was always a strong amateur element about him. His compositions are numerous and of all classes: an opera 'Fortunatus' (1829), an oratorio for men's voices—both brought to performance, and the opera to publication; symphonies, which were played in Frankfort; solo and part-songs, etc. He wrote much, both poetry and prose, and many of his articles on musical subjects were contributed to the 'Allg. musik. Zeitung' and 'Cæcilia.' He was also a wit, and Hauptmann has preserved one story which is worth repeating, considering the date of its occurrence. After one of the early performances of Tannhäuser, Schnyder was asked his opinion. 'Well, said he, I put Wagner above Goethe and Beethoven. Yes; he composes better than Goethe and writes verse better that Beethoven.' A romance and duet and a song from Fortunatus are given in the A. M. Z. for 1832, and the former of the two is reprinted in the Musical Library, iii. 133. They are both melodious and well accompanied.
SCHOBER, Franz von, an Austrian poet, the youngest child of four, born at Torup, near Malmoe, in Sweden, May 17, 1798. His mother lost her fortune during the French occupation of Hamburg—the same which drove the Mendelssohns to Berlin—and Franz had but a desultory education. She returned to Austria, and he became tutor in the Festetics and Urmenyi and other Hungarian families. He first knew Schubert as early as 1813, by meeting with some of his songs at the house of Spaun; he at once made his personal acquaintance, and induced Schubert to live with him for a few months, till the return of Schober's brother. This was the beginning of an intimacy which lasted till Schubert's death, and during the greater part of which he had always his room in Schober's house. The two, being so nearly of an age, became very intimate; Schober was devoted to him, and Schubert set several of his poems to music,[1] besides the libretto of 'Alfonso and Estrella.' He was chief mourner at the funeral of his friend in 1828. In 1843 we find him at Weimar with Liszt, and in the service of the Grand Duke. In 1856 he settled in Dresden for a few years; in 1860 removed to Pesth; in 1869 to Munich; and since then has lived in Gratz and other places. His works embrace poems (8vo. 1842, 1865), and various occasional pamphlets.
SCHOBERLECHNER, Franz, born at Vienna, July 21, 1797. Hummel composed for him his 2nd Concerto, in C, which he performed in public with success when only ten years old. The precocious child was taken under the patronage of Prince Esterhazy, and sent to Vienna, to study under Forster. From 1814 he travelled in Austria and Italy. While at Florence he composed a requiem, and a buffa opera, 'I Virtuosi teatrali.' In the next year, having been appointed chapel-master to the Duchess of Lucca, he wrote 'Gli Arabi nelle Gallie,' and subsequently, at Vienna, in 1820, 'Der junge Onkel.' In 1823 he went to Russia. He seems to have written to Beethoven, before starting, for letters of introduction. The maestro, however, wrote across his letter, 'an active fellow requires no other recommendation than from one respectable family to another,' and gave it back to
