appearance and voice are both magnificent, his singing had hardly the success which might have been expected from his reputation in Germany. There he is regarded as one of the best operatic tenors of the day, especially in 'heroic parts'; his repertoire is large, and consists, besides those mentioned, of Tannhäuser, John of Leyden, raoul, Robert, Vasco di Gama, Manrico, Masaniello, Ferdinand Cortez, and Benvenuto Cellini—the last on its production at Hanover under Dr. Hans von Bülow. More recently he has studied further with Professor Blume, and on Feb. 8, 1881, created the part of Azim in Stanford's 'Veiled Prophet of Khorassan,' on its production at Hanover.
SCHOTT (B. Schott's Söhne), the well-known firm of music-publishers at Mayence. This business, the largest of the kind except Breitkopf & Härtel's, was founded in 1773 by Bernhard Schott, and carried on after his death in 1817 by his sons Andreas (born 1781, died 1840), and Johann Joseph (born 1782, died 1855), who in the early part of this century set up a house of their own at Antwerp (afterwards removed to Brussels) which gave them an advantage both in suppressing pirated editions, and in dealing with the French and Italian composers then in vogue. In 1838 they founded a branch in London, superintended by a third brother, Adam [App. p.785 " (living afterwards as bandmaster in Canada and India, where he died)"], and conducted with great success since 1849 by J. B. Wolf (born 1815, died 1881). Another branch in Paris soon followed. Peter, a younger brother of Franz Philipp, and grandson of Bernhard, lived in Brussels and managed the business of the branches there and in Paris, forwarding at the same time the circulation of the Mayence publications. Besides these four independent houses the firm has depôts in Leipzig, Rotterdam, and New York. Franz Philipp (born 1811), grandson of Bernhard, took part in the business from 1825, and managed it after the death of his father Andreas, first in partnership with his uncle Johann Joseph, and after his death by himself. Since his death in Milan in 1874 the business has been carried on with the old traditions by Peter Schott (a son of the Brussels Peter), Franz von Landwehr (a nephew of the family), and Dr. L. Strecker. The Schotts have for long been music-publishers to the court. [App. p.785 "Schott's sons have been music publishers to the Court since 1824."]
At a time when the book and music trade was regulated by no fixed laws, the correct and elegant editions of Mayence found a ready entrance into foreign countries, and the firm was thus stimulated to keep ahead of rivals by making constant improvements in music-printing and engraving. They were the first to use lithography for this purpose, an important turning-point in the printing of music. Their copyright publications now amount to over 23,000, including Beethoven's latest quartets, 9th Symphony, and Mass in D, nearly all the operas of Donizetti, Rossini, Adam, and Auber, most of Rink's organ-music, [App. p.785 "'der Choralfreund,' in 9 volumes; 'École pratique de la modulation,' op. 99; 'Gesangstudien' (vocalises, méthode de chant, etc.) by Bordese, Bordogni, Concone, Fétis, Gavaudé, Garcia, Lablache, Abbé Mainzer, Rossini, Rubini, Vaccai, etc."] and, to come to later times, Wagner's 'Meistersinger' and 'Ring des Nibelungen.' The establishment has been enlarged by the addition of a printing-office (where have been printed, among others, Gottfried Weber's theoretical works, the periodical 'Cäcilia,' 1824–1848, etc.) and in 1829 of a piano-factory, which however was given up in 1860 on account of the extension of the main business.
The Schotts, besides innumerable services to art and artists, have done good work in a smaller circle by fostering music in Mayence itself. Franz and his wife Betty (née Braunrasch, born 1820, died 1875) left a considerable sum for the maintenance of a permanent orchestra and conductor of eminence, in order that Mayence might hold its own in music with the richer cities of the Rhine provinces.
SCHOTTISCHE ('The Scotch dance'), a round dance very similar to the polka. It must not be confounded with the Ecossaise, which was a country dance of Scotch origin introduced into France towards the end of the last century. The Schottische was first danced in England in 1848, when it was also known as the German Polka. It does not seem to have been danced in Paris, as Cellarius (La Danse des Salons, Paris 1847) does not include it amongst the dances he describes. The music is almost the same as that of the polka, but should be played rather slower. The following is the tune to which it was originally danced in England.
[App. p.786 "The last bar of lines 2 and 4 of the musical example should be identical. The right notes are F, G (appoggiatura), F, E, F."]
SCHRÖDER-DEVRIENT, Wilhelmine, a highly-gifted dramatic singer, was born at Hamburg, December [App. p.786 "Dec. 6"] 1804.[1] Her father, Friedrich Schröder—who died in 1818—had been an excellent baritone singer, a favourite in many operas, especially in Mozart's 'Don Juan,' which he was the first to act in German. Her mother was Antoinette Sophie Bürger, a celebrated actress, sometimes called 'die grosse Schröder' and 'the German Siddons.'
Wilhelmine was the eldest of four children. She enjoyed great advantages of training; dancing lessons, and public appearances in ballets in early childhood, helped her to mastery of attitude and elasticity of movement; afterwards, when her parents' wanderings led them to Vienna, she took such parts as Ophelia, and Aricia (Schiller's 'Phädra'), at the Hofburgtheater, receiving careful instruction in gesture and delivery
- ↑ According to her own account, as quoted in Glümer's 'Erinnerungen,' and not in October 1805, as stated by Fétis.
