three weeks came the end, and then the funeral. Schubert was one of the torch-bearers. Franz Lachner and Randhartinger walked with him to and from the Cemetery. The way back lay by the Himmelpfortgrund, and close by the humble house in which he had drawn his first breath. They walked on into the town, and stopped at the 'Mehlgrube,' a tavern in the Kärnthnerthorstrasse, now the Hotel Munsch. There they called for wine, and Schubert drank off two glasses, one to the memory of Beethoven, the other to the first of the three friends who should follow him. It was destined to be himself.
Lablache was also one of the torch-bearers at the funeral. This and the part which he took in the Requiem for Beethoven [ vol. i. 201a ] may have induced Schubert to write for him the '3 Italian Songs for a Bass voice,' which form op. 83, and are dedicated to the great Italian basso.
Hummel and Hiller were in Vienna during March 1827, and Hiller describes meeting Schubert and Vogl at Madame Lacsny-Buchwieser's, and his astonishment at their joint performance. 'Schubert,' says [1]Hiller, 'had little technique, and Vogl but little voice; but they had both so much life and feeling, and went so thoroughly into the thing, that it would be impossible to render these wonderful compositions more clearly and more splendidly. Voice and piano became as nothing; the music seemed to want no material help, but the melodies appealed to the ear as a vision does to the eye.' Not only did the boy think it the deepest musical impression he had ever received, but the tears coursed down the cheeks even of the veteran Hummel. Either then or a few evenings afterwards, Hummel showed his appreciation by extemporising on Schubert's 'Blinde Knabe,' which Vogl had just sung—to Franz's delight.
In April Schubert wrote the beautiful 'Nachtgesang im Walde' (op. 1396) for 4 men's voices and 4 horns; and a 'Spring Song,' also for men's voices, still in MS. In July we have the very fine and characteristic serenade 'Zögernd leise' (op. 135) for alto solo and female voices, a worthy pendant to the 'Nachthelle,' and written almost à l'improviste.[2] A fête was to be held for the birthday of a young lady of Döbling. Grillparzer had written some verses for the occasion, and Schubert, who was constantly in and out of the Fröhlichs' house, was asked by Anna to set them for her sister Josephine and her pupils. He took the lines, went aside into the window, pushed up his spectacles on to his brow, and then, with the paper close to his face, read them carefully twice through. It was enough: 'I have it, said he, it's done, and will go famously.' A day or two afterwards he brought the score, but he had employed a male chorus instead of a female one, and had to take it away and transpose it. It was sung in the garden by moonlight, to the delight of every one, the villagers thronging round the gate. He alone was absent.
1827 witnessed another attempt at an opera—the 'Graf von Gleichen,' written by Bauernfeld, apparently in concurrence[3] with Mayrhofer. Schubert had the libretto in August, 1826, submitted it to the management of the Royal Opera-house, and arranged with Grillparzer, in case the Censure should cause its rejection, to have it accepted by the Königstadt Theatre. Owing possibly to the delay of the Censure it was nearly a year before he could begin the composition. The MS. sketch, now in Herr Dumba's collection, is dated at the beginning '17 Juni 1827.' The opera is sketched throughout, and he played portions of it to Bauernfeld. Forty years later the sketch came into the hands of Herbeck, and he began to score it after Schubert's indications—of which there are plenty—but was prevented by death.
A correspondence had been going on for long between the Schubert circle at Vienna and the Pachler family in Gratz, the capital of Styria, as to an expedition thither by Schubert, and at length it was arranged for the autumn of this year. Carl Pachler was one of those cultivated men of business who are such an honour to Germany; an advocate, and at the head of his profession, yet not ashamed to be an enthusiastic lover of music and musicians, and proud to have them at his house and to admit them to his intimate friendship. Amongst his circle was Anselm Hüttenbrenner, the brother of Schubert's friend Josef, himself an earnest admirer of Franz, whose last visit to Vienna had been to close the eyes of his old friend Beethoven. The house was open to painters, singers, actors, and poets, 'the scene of constant hospitalities, the headquarters of every remarkable person visiting Gratz.' Such was the family whose one desire was to receive Schubert and Jenger. The journey, now accomplished in 5½ hours, was an affair of two days and a night, even in the fast coach. They left on Sunday morning, Sept. 2, and reached Gratz on Monday night. The next three weeks were spent in the way which Schubert most enjoyed, excursions and picnics by day through a beautiful country, and at night incessant music; good eating and drinking, clever men and pretty women, no fuss, a little romping, a good piano, a sympathetic audience, and no notice taken of him—such were the elements of his enjoyment. The music was made mostly by themselves, Schubert singing, accompanying, and playing duets with Jenger, and extemporising endless dance tunes. He does not appear to have composed anything of great moment during the visit. A galop and twelve waltzes, published under the titles of the 'Grätzer Waltzer' (op. 91) and the 'Grätzer[4] Galoppe'; 3 songs (op. 106, 1, 2, 3—the last a particularly fine one) to words by local poets—and the 'Old Scottish ballad' by Herder (op. 165, no. 5), were probably all that he penned during this festive fortnight; unless perhaps some of those exquisite little pieces published in 1828 and 1838 as 'Impromptus' and 'Momens musicals' are the result of this time. Two songs, written
