accompaniment arranged from the full score by Ebenezer Prout, published by Augener & Co.—the 2st, 2nd, 3rd, 4th in 1871, the 6th (E♭) in 1872, and the 5th (A♭) in 1875.[1] The Masses have been also published by Novellos, both with Latin and English words ('Communion Service'); and the same firm has published Miriam, in two forms, and the Rosamunde music, both vocal score and orchestral parts. Messrs. Augener have also published editions of the PF. works, and of a large number of songs, by Pauer.
Schubert was not sufficiently important during his lifetime to attract the attention of painters, and although he had more than one artist in his circle, there are but three portraits of him known. 1. A poor stiff head by Leopold Kupelwieser, full face, taken July 10, 1821, photographed by Mietke and Wawra of Vienna, and wretchedly engraved as the frontispiece to Kreissle's biography. 2. A very characteristic half-length, 3-quarter-face, in water colours, by W. A. Rieder, taken in 1825, and now in possession of Dr. Granitsch of Vienna.[2] A replica by the artist, dated 1840, is now in the Musik-Verein. It has been engraved by Passini, and we here give the head, from a photograph expressly taken from the original.
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3. The bust on the tomb, which gives a very prosaic version of his features.
His exterior by no means answered to his genius. His general appearance was insignificant. As we have already said, he was probably not more than 5 feet and 1 inch high, his figure was stout and clumsy, with a round back and shoulders (perhaps due to incessant writing), fleshy arms, and thick short fingers. His complexion was pasty, nay even tallowy; his cheeks were full, his eyebrows bushy, and his nose insignificant. But there were two things that to a great extent redeemed these insignificant traits—his hair, which was black, and remarkably thick and [3]vigorous, as if rooted in the brain within; and his eyes, which were truly 'the windows of his soul,' and even through the spectacles he constantly wore were so bright as at once to attract attention.[4] If Rieder's portrait may be trusted—and it is said to be very faithful, though perhaps a little too fine—they had a peculiarly steadfast penetrating look, which irresistibly reminds one of the firm rhythm of his music. His glasses are inseparable from his face. One of our earliest glimpses of him is 'a little boy in spectacles' at the Convict; he habitually slept in them; and within 18 months of his death we see him standing in the window at Döbling, his glasses pushed up over his forehead, and Grillparzers verses held close to his searching eyes. He had the broad strong jaw of all great men, and a marked assertive prominence of the lips. [App. p.768 "He had a beautiful set of teeth (Benedict)."] When at rest the expression of his face was uninteresting, but it brightened up at the mention of music, especially that of Beethoven. His voice was something between a soft tenor and a baritone. He sang 'like a composer,' without the least affectation or attempt.[5]
His general disposition was in accordance with his countenance. His sensibility, though his music shows it was extreme, was not roused by the small things of life. He had little of that jealous susceptibility which too often distinguishes musicians, more irritable even than the 'irritable race of poets.' His attitude towards Rossini and Weber proves this. When a post which he much coveted was given to [6]another, he expressed his satisfaction at its being bestowed on so competent a man. Transparent truthfulness, good-humour, a cheerful contented evenness, fondness for a joke, and a desire to remain in the background—such were his prominent characteristics in ordinary life. But we have seen how this apparently impassive man could be moved by a poem which appealed to him, or by such music as Beethoven's C♯ minor Quartet.[7] This unfailing good-nature, this sweet loveableness, doubtless enhanced by his reserve, was what attached Schubert to his friends. They admired him; but they loved him still more. Ferdinand perfectly adored him, and even the derisive Ignaz melts when he takes leave.[8] Hardly a letter from Schwind, Schober, or Bauernfeld, that does not amply testify to this. Their only complaint is that he will not return their passion, that 'the affection of years is not enough to overcome his distrust and fear of seeing himself appreciated and beloved.'[9] Even
- ↑ Reviewed by Mr. E. Prout in 'Concordia' for 1875, pp. 8. 29. 109, etc.
- ↑ He bought it in Feb. 1881 for 1,203 florins, or about 120l. It is about 8 inches high, by 6 wide. [App. p.768 "It was taken, or begun, while Schubert took refuge in the artist's house from a thunderstorm (Pohl)."]
- ↑ All three portraits agree in this. An eminent surgeon of our own day is accustomed to say, 'Never trust a man with a great head of black hair, he is sure to be an enthusiast.'
- ↑ W. v. Chezy, 'Erinnerungen'—'with eyes so brilliant as at the first glance to betray the fire within.'
- ↑ Bauernfeld.
- ↑ Weigl.
- ↑ See pages 324, 353.
- ↑ K.H. 149 (i. 151).
- ↑ Schwind, in K.H. 345 (ii. 28).
