Another important and very beautiful piece is the 23rd [1]Psalm, set for 2 sopranos and 2 altos with PF. accompaniment, at the instigation of the sisters Fröhlich, and dated at the beginning '23 Dec. 1820'—perhaps with a view to some private concerts given, now or later, at the old hall of the Musikverein. Another is the 'Gesang der Geister über den Wassern' of Goethe (op. 167). This fine and mystical poem had a strong attraction for Schubert. He set it for 4 equal voices in 1817; then he reset it for 4 tenors and 4 basses with 2 violas, 2 cellos, and bass, in Dec. 1820; and lastly revised this in Feb. 1821 . It was first produced on March 7, 1821, and found no favour, to Schubert's disgust. It was again performed on March 30, before a more receptive audience, with a far better result. It was revived at Vienna in 1858 by Herbeck, and in England was performed with success on March 22, 1881, under the direction of Mr. Prout. It is enormously difficult, and, though perfectly in character with the poem, will probably never be attractive to a mixed audience. Another work of 1820 were some antiphons (op. 113) for Palm Sunday (March 26), composed for Ferdinand, who had been recently appointed Choirmaster at the Altlerchenfelder Church, and found the duties rather too much for him. They are written with black chalk, on coarse gray wrapping-paper; and the tradition is that they and two motets were written in great haste, just in time for the service. On Easter Sunday Franz attended and conducted the mass for his brother.
The Fantasie in C for PF. solo (op. 15), containing Variations on Schubert's own 'Wanderer,' is probably a work of this year. It was written for von Liebenberg, a PF. player, to whom Schubert dedicated it. This fine piece has lately been brought into vogue by Liszt's arrangement of it for PF. and orchestra as a concerto; but it is doubtful if it is improved by the process. Schubert never could play it; he always stuck fast in the last movement; and on one occasion jumped up and cried 'let the devil himself play it!' Another piece is an Allegro for strings in C minor, dated Dec. 1820, the first movement of a quartet, of which there exist besides 41 bars of the Andante, in A♭. The Allegro is of first-rate quality, and Schubert in every bar. It was published in 1868 by Senff. The MS. is in Mr. Brahms's fine collection of autographs.
The songs of 1820, 17 in all, though not so numerous as those of previous years, are very fine. They contain 'Der Jüngling auf dem Hugel' (op. 8, no. 1), 'Der Schiffer' (Lf. 33, no. 1), 'Liebeslauschen' (Lf. 15, no. 2), 3 grand songs to Mayrhofer's words, 'Orest auf Tauris,' 'Der entsühnte Orest,' and 'Freiwilliges Versinken' (Lf. 11), and 4 Italian Canti, written for Frl. von Homer, who afterwards married Schubert's friend Spaun, and since published with one which was probably written under Salieri's eye as early as 1813. The most remarkable of all is 'Im Walde' or 'Waldesnacht' (Lf. 16), a very long song of extraordinary beauty, variety, force, and imagination.
With February 1821 Schubert entered his 25th year, and it was a good omen to receive such a birthday present as the three testimonials of this date which Kreissle has [2]preserved. The first is from von Mosel, then Court Secretary; the second from Weigl, Director of the Court Opera, Salieri, and von Eichthal; the third from Moritz Count Dietrichstein, whom Beethoven addresses as 'Hofmusikgraf,' and who appears to have been a sort of Jupiter-Apollo with general sway over all Court music. These influential personages warmly recognise his eminent ability, industry, knowledge, feeling, and taste, and profess the best intentions towards him. The three documents were enclosed by the Count in a letter to Vogl, full of good wishes for the future of his friend. Still more gratifying was the prospect, which now at last opened, of the publication of his songs. It was the first good epoch in Schubert's hitherto struggling life. He had now been writing for more than seven years, with an industry and disregard of consequences which are really fearful to contemplate; and yet, as far as fame or profit were concerned, might almost as well have remained absolutely idle. Here at length was a break in the cloud. It was not less welcome because it was mainly due to his faithful friends, the Sonnleithners, who had made his acquaintance through the accident of Leopold Sonnleithner's being at school with him, and ever since cherished it in the most faithful and practical way, Ignaz, the father, having, since 1815, had large periodical music-meetings of artists and amateurs in his house at the Gundelhof, which were nothing less than Schubert propaganda. Here, before large audiences of thoroughly musical people, Schubert's pieces were repeatedly performed, and at length, on Dec. 1, 1820, the 'Erl King' was sung by Gymnich, a well-known amateur, with a spirit which fired every one of the audience with the desire to possess the song, and appears to have suggested to Leopold and Gymnich the possibility of finding a publisher for the inspirations which had for so long been their delight and astonishment. They applied to Diabelli and Haslinger, the leading houses of Vienna, but without success; the main objections being the insignificance of the composer, and the difficulty of his PF. accompaniments. On this they resolved to take the matter into their own hands; and, probably not without misgivings, had the 'Erl King' engraved. The fact was announced at the next Concert at the Gundelhof, and a hundred copies were at once subscribed for in the room—sufficient to defray the cost of the engraving and printing, and of engraving a second song as well. Meantime the 'Erl King' had been sung in public (for the concerts at the Gundelhof were, strictly speaking, private, limited to the friends of the host) by Gymnich, at an evening concert of the Musikverein, in one of the public rooms of the city, on Jan. 25, 1821, Schubert himself appearing on the platform, and playing
