a couple of years before, 'Im Walde,' and 'Auf der Brücke,' of the purest Schubert, proved, and justly proved, such favourites that he had them lithographed and published in the place.[1] The visit is further perpetuated by the titles of the dances just mentioned, and by the dedication to Mad. Pachler of op. 106, a collection of four songs, the three already named, and the lovely 'Sylvia.' Schubert seems to have had this set of songs lithographed without name of place or publisher, shortly after his return, on purpose for his hostess.[2]
The journey home was a triumphal progress, and by the 27th they were back in Vienna. Schubert then wrote the second part of the 'Winterreise' (nos. 13–24), completing that immortal work. The shadows lie much darker on the second than on the first part, and the 'Wegweiser,' 'Das Wirthshaus,' 'Die Krahe,' 'Die Nebensonnen,' and 'Der Leiermann,' are unsurpassed for melancholy among all the songs. Even in the extraordinary and picturesque energy of 'Die Post' there is a deep vein of sadness. Schubert here only followed faithfully, as he always does, the character of the words.
On October 12 he wrote a little 4-hand march as a souvenir for Faust Pachler, the son of his host, a trifle interesting only from the circumstances of its composition. In the same month he composed his first PF. trio, in B♭ (op. 99), and in November the second, in E♭ (op. 100). They were both written for Booklet, Schuppanzigh, and Lincke, and were first heard in public, the one early in January, the other on March 26, 1828. The year was closed with an Italian cantata, dated Dec. 26, 'alla bella Irene,' in honour of Miss Kiesewetter (afterwards Mad. Prokesch v. Osten), the daughter of his friend the Hofrath, sponsor to the Gastein Symphony (p. 344a). It is still in MS., and is probably more interesting for its accompaniment for two pianos than for anything else.
The communications with Probst of Leipzig went on. There is a letter from him dated Jan. 15, and he himself paid a visit to Vienna later in the season, and made Schubert's[3] personal acquaintance, but the negotiations were not destined to bear fruit till next year. But a proof that Schubert was making his mark in North Germany is afforded by a letter from Rochlitz, the critic—editor of the Leipzig Allgemeine Musikalische Zeitung, and a great personage in the musical world of Saxony—dated Nov. 7, 1827, proposing that Schubert should compose a poem by him, called 'Der erste Ton,' or 'The first Sound,' a poem which Weber had already set without success, and which Beethoven had refused. Rochlitz's letter was probably inspired by the receipt of three of his songs set by Schubert as op. 81, and published on May 27. The proposition however came to nothing.
Coincident with these communications from abroad came a gratifying proof of the improvement in his position at home, in his election as a member of the representative body of the Musical Society of Vienna. The date of election is not mentioned; but Schubert's reply, as given by Herr Pohl,[4] is dated Vienna, June 12, 1827, and runs as follows:—
We have mentioned the more important compositions of 1827. There remain to be named two songs by Schober (op. 96, no. 2; Lf. 24, no. 1), and one by Reil (op. 115, no. 1); a comic trio, 'Die Hochzeitsbraten' (op. 104), also by Schober; and an Allegretto in C minor for PF. solo, written for his friend Walcher, 'in remembrance of April 26, 1827,' and not published till 1870.
The publications of 1827 are as follow:—the Overture to 'Alfonso and Estrella' (op. 69); Rondeau brillant, for PF. and violin (op. 70); songs—'Der Wachtelschlag' (op. 68, March 2), 'Drang in die Ferne' (op. 71, Feb.), 'Auf dem Wasser zu singen' (op. 72, Feb.), 'Die Rose' (op. 73, May 10)—all four songs previously published in the Vienna Zeitschrift für Kunst; four Polonaises, for PF. 4 hands (op. 75); Overture to 'Fierabras,' for PF. 4 hands, arranged by Czerny (op. 76); 12 'Valses Nobles,' for PF. solo (op. 77, Jan.); Fantasie, etc. for PF. in G (op. 78); 2 songs, 'Das Heimweh,' 'Die Allmacht' (op. 79, 'May 16'); 3 songs (op. 80, May 25); 3 ditto (op. 81, May 28); Variations on theme of Herold's (op. 82, Dec.); 3 Italian songs (op. 83, Sept. 12); 4 songs (op. 88, Dec. 12).
We have now arrived at Schubert's last year, 1828. It would be wrong to suppose that he had any presentiment of his end; though, if a passion for work, an eager use of the 'day,' were any sign that the 'night' was coming 'in which no man could work,' we might almost be justified in doing so. We hear of his suffering from blood to the head, but it was not yet enough to frighten any one. He returned to the extraordinary exertions, or rather to the superabundant productions of his earlier years, as the following full list of the compositions of 1828, in order, as far as the dates permit, will show.
| Jan. | Songs, 'Die Sterne' (op. 96. no. 1); 'Der Winterabend (Lf. 26). |
| March. | Symphony in C, no. 9. Oratorio, Miriam's Siegesgesang. Song, 'Auf dem Strom,' Voice and Horn (op. 119). |
| May. | Lebensstürme, PF. duet (op. 144). Hymn to the Holy Ghost (op. 154), for 2 Choirs and Wind. 2 Clavierstücke. Song, 'Widerschein' (Lief 15, no. 1). |
| June. | Mass in E♭ (begun). Fugue in E minor, PF. duet, op. 152 ('Baden, Juny, 1828'). Grand Rondeau, PF. duet (op. 107). |
| July. | Psalm 92, in Hebrew, for Baritone and Chorus. |
| August. | Songs, 'Schwanengesang.' nos. 1–13. |
| Sept. | PF. Sonata in C minor. Ditto in A. Ditto in B♭ ('Sept. 26'). |
- ↑ They stood originally in B♭ minor and A♭, but on republication by Diabelli after his death, as op. 93, the keys were changed to G minor and G major.
- ↑ Compare Jenger's letter in K.H. (ii. 103), note, with Nottebohm's notice under op. 103.
- ↑ K.H. 421 (ii. 107)
- ↑ 'Die Gesellschaft der Musikfreunde,' etc., p. 16
