The World's Great Men of Music Part 7

Weber paid a visit to Lieb.i.+.c.h, director of the Prague theater, almost as soon as he arrived in town. The invalid director greeted him warmly.

"So, you are _the_ Weber! I suppose you want me to buy your operas.

One fills an evening, the other doesn't. Very well, I will give fifteen hundred florins for the two. Is it a bargain?" Weber accepted, and promised to return the next spring to conduct the operas. He kept his promise, and the result was much better than he ever dreamed. For beyond the performance of his operas, he was offered the post of music director of the Prague theater, which post was just then vacant.

The salary was two thousand florins, with a benefit concert at a guaranteed sum of one thousand more, and three months leave of absence every year. This a.s.sured sum gave young Weber the chance of paying his debts and starting afresh, which, he writes "was a delight to him."

The composer now threw himself heart and soul into improving the orchestra placed in his charge. Before long he had drilled it to a high state of excellence. Many new operas were put on the stage in quick succession. Thus Weber worked on with great industry for three years. The success he achieved created enemies, and perhaps because of intrigues, envy and ill feeling which had arisen, he resigned his post in 1816. The three years in Prague had been fruitful in new compositions. Several fine piano sonatas, a set of "National Songs,"

and the Cantata, "Kampf und Sieg," (Struggle and Victory). This last work soon became known all over Germany and made the gifted young composer very popular. During this period Weber became engaged to Caroline Brandt, a charming singer, who created the t.i.tle role in his opera of "Sylvana."

Weber had many kind, influential friends in Prague, who admired his zeal and efficiency as music director. One of them, Count Vitzhum, did all he could to secure Weber for Dresden. On Christmas morning, 1816, he received the appointment. He wrote to Caroline: "Long did I look on Count Vitzhum's letter without daring to open it. Did it contain joy or sorrow? At length I took courage and broke the seal. It was joy!

I am Capellmeister to his Majesty the King of Saxony. I must now rig myself out in true Court style. Perhaps I ought to wear a pigtail to please the Dresdeners. What do you say? I ought at least to have an extra kiss from you for this good news."

He went to Dresden, and at first looked over the situation. On nearer view the prospect was not as bright as it had appeared at first. There was a rival faction, strongly opposed to his plans for the promotion of German opera. There had never been anything tolerated at Dresden but Italian opera, and there were many talented Italian singers to interpret them. Weber was encouraged by a new national spirit, which he felt would favor German opera, and was determined to conquer at all costs. He finally succeeded, for, as he wrote to a friend, "The Italians have moved heaven, earth and h.e.l.l also, to swallow up the whole German opera and its promoter. But they have found in me a precious tough morsel; I am not easily swallowed." It was the same kind of fight that Handel waged in England, and that Gluck fought against the Piccinists.

"Joseph and his Brethren," by Mehul, was the first opera to be taken up by the new conductor. He drilled the orchestra much more carefully than they had been accustomed, and while, in the beginning, some were sulky at the strictness they were subjected to, yet they finally saw the justice of it and at last took pride in doing their work well.

"Joseph" was brought out January 30, 1817. The King and Court were present, and everything pa.s.sed off well, indeed remarkably well. His majesty was greatly pleased and did not cough once during the whole performance, as he used to do when things did not go to suit him.

In spite of Italian opposition which still continued, Weber's efforts to establish German opera kept right on, until at last it became a State inst.i.tution, and the composer was appointed musical director for life. With this bright prospect in view he was able to wed his beloved Caroline. They were married on November 4. A quotation from his diary shows the talented musician had become a serious, earnest man. "May G.o.d bless our union, and grant me strength and power to make my beloved Lina as happy and contented as my inmost heart would desire.

May His mercy lead me in all things."

Weber was now entering the most prolific and brilliant period of his life. His music became richer, more n.o.ble and beautiful. The happy union with Caroline seemed to put new life and energy into him, and as a result his works became quickly known all over Europe. His mind was literally teeming with original themes, which crowded each other, struggling to be expressed. First there was the "Ma.s.s in E flat," a beautiful, original work; then a festal Cantata, "Nature and Love,"

written to celebrate the Queen of Saxony's birthday. After this the "Jubilee Cantata," composed to celebrate the fiftieth anniversary of the reign of Augustus, of Saxony. The Italian faction prevented a performance of the whole work, and only the Overture was given.

When the entire work was heard it made a great sensation. Now came a Jubilee Ma.s.s and some piano pieces, among them the charming and famous "Invitation to the Dance," with which every one is familiar. While writing all these works, the composer was busy with one of his greatest operas, "Der Freischutz." On May 8, 1820, a hundred years ago, the score of "Der Freischutz," was sent to the director of the Berlin theater, and directly put in rehearsal. The rehearsals had not proceeded very far before Weber, the tireless ceaseless worker, had finished his important opera, "Preciosa," which was also despatched to Berlin. "Preciosa" was brought out before "Der Freischutz," which was just as it should be, as the public needed to be educated up to the "Freischutz" music. "Preciosa" was founded on a Spanish story, "The Gypsy of Madrid," and Weber has written for it some of his most charming melodies, full of Spanish color, life and vivacity. Nowadays the opera is neglected, but we often hear the overture. It is to be noted that the overtures to each of Weber's operas contain the leading themes and melodies of the operas themselves, showing with what skill the artist wrought. When Weber's widow presented the original score of "Der Freischutz" to the Royal Library in Berlin, it was found there was not a single erasure or correction in the whole work.

On June 18, 1821, came the first performance of Weber's masterpiece, "Der Freischutz." The theater was beseiged for hours by eager crowds, and when the doors were at last opened, there was a grand rush to enter. The whole house from pit to galleries was soon filled, and when the composer entered the orchestra, there was a roar of applause, which it seemed would never end. As the performance proceeded, the listeners became more charmed and carried away, and at the close there was a wild scene of excitement. The success had been tremendous, and the frequent repet.i.tions demanded soon filled the treasury of the theater. Everybody was happy, the composer most of all. The melodies were played on every piano in Germany and whistled by every street urchin. Its fame spread like lightning over Europe, and quickly reached England. In London the whole atmosphere seemed to vibrate with its melodies. In Paris, however, it did not please on first hearing, perhaps because it was so thoroughly German. But somewhat later, when renamed "Robin des Bois,"--"Robin of the Forest,"--it was performed some three hundred and fifty times before being withdrawn.

Weber kept ever at work. Two years after the production of "Der Freischutz" the opera of "Euryanthe" was completed. The libretto was the work of a half demented woman, Helmine von Chezy, but Weber set out to produce the best opera he was capable of, and to this story he has joined some wonderful music. It was his favorite work; he wrote to his beloved wife two hours before the first performance: "I rely on G.o.d and my 'Euryanthe.'" The opera was produced at the Karnthnertor Theater, in Vienna, on October 25, 1823. The composer, though weak and ill, made the long journey to the great city, that he might personally introduce his favorite to the Viennese. He wrote his wife after the performance: "Thank G.o.d, as I do, beloved wife, for the glorious success of 'Euryanthe.' Weary as I am, I must still say a sweet good night to my beloved Lina, and cry Victory! All the company seemed in a state of ecstasy; singers, chorus, orchestra;--all were drunk, as it were, with joy."

The t.i.tle role was taken by Henrietta Sontag, a young girl, still in her teens, though giving high promise of the great things she achieved a few years later. Strange to say, a short time after its first appearance, "Euryanthe" failed to draw. One reason might have been laid to the poor libretto, another to the rumor, started, it is said, by no less an authority than the great master Beethoven, that the music of the opera was "only a collection of diminished sevenths."

The composer lost no time in laying his score before Beethoven, who said he should have visited him _before_, not _after_ the performance.

He advised him to do what he himself had done to "Fidelio," cut out nearly a third of the score. Weber took this advice, and remade parts of the opera, where he deemed it necessary.

The strain of the production of "Euryanthe" told severely on the composer's delicate health, and he returned to Dresden in an exhausted state. There was no rest for him here, as official duties were pressing. The malady afflicting his lungs had made rapid progress and he began to fear he should not be long spared to his wife and little ones.

He shook off the apathy and took up his pen once more. His fame was known all over Europe and many tempting offers came in from all directions. One of these was from Covent Garden Theater, London, in the summer of 1824, which resulted in a visit to the English capital.

Charles Kemble, the director of Covent Garden, desired Weber to write a new opera for production there. "Oberon" was the subject at last decided upon; it was taken from an old French romance. Weber at once set to work on the music of this fairy opera, and with the exception of the overture, had finished the work in time to bring it to London in 1826. He was ill and suffering at the time he left home, February 7, and it seemed as though he were bidding a final good-by to his wife and little ones.

Arrived in London, Sir George Smart invited him to take up his residence in his house. Here he had every comfort, a beautiful piano too was placed at his disposal by one of the first makers in London.

"No King could be served with greater love and affection in all things," he wrote; "I cannot be sufficiently grateful to heaven for the blessings which surround me." Here he composed the beautiful Overture to "Oberon" which was only completed a few days before the first performance of the opera.

"Oberon" was given at Covent Garden on April 12. The house was packed from pit to dome, and the success was tremendous. Next morning the composer was in a highly nervous and exhausted state, but felt he must keep his promise to Kemble and conduct the first twelve performances of "Oberon." He was to have a benefit concert, and hoped through this to have a goodly sum to take back to his little family. Sad to relate, on the evening chosen, May 26, a heavy rain fell and the hall was nearly empty. After the concert he was so weak he had to be a.s.sisted from the room. The physician ordered postponement of the journey home, but he cried continually, "I must go to my own--I must! Let me see them once more and then G.o.d's will be done."

The next morning, when they came to call him, all was still in his chamber; he had pa.s.sed away peacefully in sleep.

Weber was buried in London. His last wish--to return home,--was finally fulfilled. Eighteen years after, his remains were brought to Dresden, and the composer was at last at home.

IX

FRANZ SCHUBERT

In the old Lichtenthal quarter of the city of Vienna, in the vicinity of the fortifications, there still stands an old house. It is evidently a public house, for there hangs the sign--"At the Red Crab."

Beside this there is a marble tablet fastened above the doorway, which says that Franz Schubert was born in this house. At the right of his name is placed a lyre crowned with a star, and at the left a laurel wreath within which is placed the date, January 31, 1797.

This then was the birthplace of the "most poetical composer who ever lived," as Liszt said of him; the man who created over six hundred songs, eight symphonies, operas, ma.s.ses, chamber works and much beautiful piano music, and yet only lived to be thirty-one. It is almost unbelievable. Let us get a nearer view of this remarkable musician.

His father kept a school here; there were five children, four boys and a girl to provide for, and as there was nothing to depend on but the school-master's pay, it is easy to see the family was in poor circ.u.mstances, though the wife managed most carefully to make ends meet. They were a very devoted family altogether. Little Franz early showed a decided fondness for music, and tried to pick out bits of tunes of his own by ear on an old dilapidated piano the family possessed. He made friends with a young apprentice who took him sometimes to a piano wareroom in the city, where he was allowed to play his little tunes on a fine piano.

When Franz was seven he began to have music lessons at home, the father teaching him violin and his big brother Ignaz, the piano.

Franz, in his eagerness to learn soon outstripped his home teachers, and told them he could go on alone. It was then decided he should go to the parish choir master, Holzer, to learn piano, violin, organ, singing and thorough ba.s.s. Soon Holzer was astonished at the boy's progress. "Whenever I begin to teach him anything I find he knows it already; I never had such a pupil before." By the time Franz was eleven, his voice had come out so well that he was given the place of head soprano in the parish church, and played violin solos whenever they occurred in the service. He had even begun at home to compose and write down little piano pieces and songs. The parents considered that this remarkable talent should be cultivated further, if possible, in order that it might a.s.sist the slender purse of the family. There was a choir school, called the Convict, which trained its boys for the Imperial Chapel. If Franz could prove his ability to enter this school, he would receive free education in return for his services.

One fine morning in October, 1808, Franz in his homespun grey suit, spectacles s.h.i.+elding his bright, near-sighted eyes, his bushy black hair covered by an old fas.h.i.+oned hat, presented himself for examination by the Court Capellmeister and the singing master. The other boys jeered at his odd appearance, but he kept his good humor.

When his turn came to sing, after solving all the problems given, his singing of the trial pieces was so astonis.h.i.+ng that he was pa.s.sed in at once, and ordered to put on the uniform of the imperial choristers.

The boy soon found plenty to fill his time and occupy his mind. There was the school orchestra, in which he was able to take a prominent place. There was daily practise, in which the boys learned the overtures and symphonies of Mozart and Haydn, and even Beethoven. He loved best Mozart's "Symphony in G minor," in which he said he heard angels singing. The leader of the orchestra was attracted to the lad's playing the very first day he entered, for he played with such precision and understanding. One day Franz mustered courage to talk a little to the big conductor, whose name was Spaun, and confessed he had composed quite a good deal already, adding he would like to do it every day, only he could not afford to get the music paper. Spaun received this burst of confidence with sympathy, and saw to it that the boy was, in the future, supplied with the necessary music paper.

Franz had soon made such progress on the violin, that he began to take the first violin parts and when the conductor was absent he was asked to lead the orchestra. Indeed by his deep earnestness and sincerity, as well as ability, the gifted boy had become a power in the school.

When he went home to see his people, which could only be on Sundays and holidays, it was a happy reunion for all. If he brought home a new string quartet, the father would get out his 'cello, Ignaz and Ferdinand would take first and second violins and the young composer the viola. After it had been played through, then all the players discussed it and offered their criticism. Indeed Franz was composing at such an astonis.h.i.+ng rate, that it was difficult to keep him supplied with music paper. One of his works of this time was a fantasia for four hands, in twelve movements. Then came a first attempt at song writing, a long affair which also contained twelve movements, and was in melancholy mood.

Five years the boy Franz Schubert remained at the Convict School and as he had decided to give himself entirely to music, there was no reason for his remaining longer in the school. At the end of the year 1813, he left, and his departure was celebrated by the composition of his first Symphony, in honor of Dr. Lang, the musical director. The lad, now seventeen, stood at the beginning of his career; he was full of hope and energy, and determined to follow in the footsteps of the great masters of music. Of all his compositions so far produced, his songs seemed to be the most spontaneous. He probably did not guess that he was to open up new paths in this field.

Hardly had he left the school when he was drafted for the army. This meant several years of virtual captivity, for conscription could not be avoided. The only other thing he could do was to return home and become a teacher in his father's school. He chose the lesser evil and qualified at once to become his father's a.s.sistant, which would also a.s.sure him a certain amount of leisure. We can imagine him installed as teacher of the infant cla.s.s, and realize how distasteful was the daily round of school work, and how he longed to have it over, that he might put on paper all the lovely themes that had come to him through the school day. Other bright spots were the happy hours he spent with the Grob family, who lived also in the district of Lichtenthal.

The family consisted of a mother, a son and daughter. They were all musical. Therese Grob had a fine voice and she enjoyed the songs Schubert brought her to sing, while her brother Heinrich could play both piano and 'cello. Many evenings filled with music were pa.s.sed by the young people. His friends at the Convict too, welcomed each new piece he wrote. Nor did he forget his old master Holzer, the organist of the little church where the composer himself regularly attended.

During 1814, Schubert composed his first ma.s.s, which was performed October 16. It excited so much interest that it was repeated ten days later at the Augustine church. Franz conducted, the choir was led by Holzer, Ferdinand sat at the organ, and Therese sang the soprano solos. In the audience sat old Salieri, Court Capellmeister of Vienna, with whom Beethoven had studied. Salieri praised Schubert for his work, and said that he should become his pupil. He kept his word and gave the young composer daily lessons for some time. The father was so proud and happy that he bought a five octave piano for his boy, to celebrate the event.

Schubert added many compositions to his list this year, among them seventeen songs, including "Gretchen at the Spinning Wheel." His acquaintance with the poet Johann Mayrhofer, with whom he soon became intimate, was of benefit to both. The poet produced verses that his friend might set to music. The following year, 1815, he wrote a hundred and thirty-seven songs, to say nothing of six operas, and much music for church and piano. Twenty-nine of these songs were written in the month of August. One day in August eight songs were created; on another day seven. Some of the songs were quite long, making between twenty and thirty pages when printed.

A new friend came into Schubert's life the next year. His name was Franz Schober, and he intended entering the University in Vienna.

Being a great lover of music and also familiar with some of Schubert's ma.n.u.script songs, he lost no time, on arriving in Vienna, in seeking out the composer. He found the young musician at his desk very busily writing. School work was over for the day, and he could compose in peace. The two young men became friends at once, for they felt the sympathetic bond between them. They were soon talking as though they had always known each other. In a few words Schubert told his new friend how he was situated at home, and how he disliked the daily drudgery of school teaching. On hearing of these trials Schober suggested they should make a home together, which arrangement would free the composer from the grinding life he was living and enable him to give his whole time to his art. The proposal delighted Franz, and the father willingly gave his consent. And so it came about that the composer was free at last, and took up his abode at his friend's lodgings. He insisted on giving him musical instruction, to make some return for all his kindness, though this did not last long, owing to the dislike Franz always had for teaching of any sort.

Schubert, at the age of twenty-four, had composed a great quant.i.ty of music, but none of it had as yet been published. He was almost unknown, and publishers were unwilling to undertake issuing the work of an unknown man. When his songs were performed by good artists, as had been done a number of times, they won instant recognition and success. Seeing that the publishers were unwilling to print the work of an unknown musician, two of Schubert's friends undertook to publish the "Erlking," one of his first songs, at their own risk. At the Sonnleithner mansion, where musicals were regularly held, the "Erlking" had been much applauded, and when it was decided to have it published, the decision was announced. A hundred copies were at once subscribed for, and with this encouragement the engraving of the "Erlking" and "Gretchen at the Spinning Wheel" was forthwith begun.

The pieces were sold by the music publishers on commission. The plan succeeded beyond expectation, so that other songs were issued in the same way, until, when seven had appeared the publishers were willing to risk the engraving of other songs themselves. Before all this had taken place, Johann Vogl, an admired opera singer in Vienna at the time, had learned Schubert's "Erlking," and had sung it in March, 1821, at a public concert patronized by royalty. The song was received with storms of applause. Schober, who knew the singer, constantly talked to him about the gifts of his friend and begged him to come and see Schubert. At last one day he consented. They found the composer hard at work as usual, music sheets covering the floor as well as the table and chair. Vogl, used to the highest society, made himself quite at home and did his best to put Schubert at his ease, but the composer remained shy and confused. The singer began looking over some ma.n.u.scripts. When he left he shook Schubert's hand warmly, remarking; "There is stuff in you, but you squander your fine thoughts instead of making the most of them."

Vogl had been much impressed by what he had seen that day, and repeated his visit. Before long the two were close friends. Schubert wrote to his brother: "When Vogl sings and I accompany him, we seem for the moment to be one." Vogl wrote of Schubert's songs that they were "truly divine inspirations."

Schubert's residence with his friend Schober only lasted six months, for Schober's brother came to live with him, and the composer had to s.h.i.+ft for himself. Teaching was exceedingly distasteful to him, yet as his music did not bring in anything for years after he left home, he had to find some means of making a living. In these straits he accepted a position as music teacher in the family of Count Johann Esterhazy. This meant that he must live with the family in their Vienna home in winter, and go with them to their country seat in the summer. The change from the free life he had enjoyed with his friends who idolized him and his beautiful music, to the etiquette of aristocratic life, was great. But there were many comforts amid his new surroundings; the family was musical, the duties were not heavy, and so Schubert was not unhappy.

At the Esterhazy country estate of Zelesz, he heard many Hungarian melodies sung or played by the gipsies, or by servants in the castle.

He has employed some of these tunes in his first set of Valses. In his present position he had much leisure for composition. Indeed Franz Schubert's whole life was spent in giving out the vast treasures of melody with which he had been so richly endowed. These flowed from his pen in a constant stream, one beautiful work after another. He wrote them down wherever he happened to be and when a sc.r.a.p of paper could be had. The exquisite song "Hark, Hark the Lark" was jotted down on the back of a bill of fare, in a beer garden. The beautiful works which he produced day after day brought him little or no money, perhaps because he was so modest and retiring, modestly undervaluing everything he did. He had no desire to push himself, but wrote because impelled to by the urge within. So little did he sometimes value his work that a fine composition would be tucked away somewhere and quite forgotten. His physical strength was not robust enough to stand the strain of constant composition. Then too, when funds were very low, as they often were, he took poor lodgings, and denied himself the necessary nouris.h.i.+ng food. If he could have had a dear companion to look after his material needs and share his aims and aspirations, his earthly life might have been prolonged for many a year. With no one to advise him, and often pressed with hunger and poverty, he was induced to sell the copyrights of twelve of his best songs, including the "Erlking" and the "Wanderer," for a sum equal to about four hundred dollars. It is said the publishers made on the "Wanderer" alone, up to the year 1861, a sum of about five thousand five hundred dollars. It is true that "everything he touched turned to music," as Schumann once said of him. The hours of sleep were more and more curtailed, for he wrote late at night and rose early the next day. It is even said he slept in his spectacles, to save the trouble and time of putting them on in the morning.

In Schubert's boyhood, the music of Mozart influenced him most. This is seen in his earlier compositions. Beethoven was a great master to him then, but as time went on the spell of his music always grew stronger. In 1822, he wrote and published a set of variations on a French air, and dedicated them to Beethoven. He greatly desired to present them in person to the master he adored, but was too shy to go alone. Diabelli, the publisher, finally went with him. Beethoven was courteous but formal, pus.h.i.+ng paper and pencil toward his guest, as he was totally deaf. Schubert was too shy to write a single word.

However he produced his Variations. Beethoven seemed pleased with the dedication, and looked through the music. Soon he found something in it he did not approve of and pointed it out. The young author, losing his presence of mind, fled from the house. But Beethoven really liked the music and often played it to his nephew.

Five years later, during his last illness, a collection of some sixty of Schubert's songs was placed in his hands. He turned them over and over with amazement and delight. "Truly Schubert has the divine fire,"

he exclaimed. He wanted to see the composer of such beautiful music.