Aug - 1827-8, Final journey, and final works

We saw, last month, how Schubert's luck, good or ill, barred him from two appointments, either of which would have raised him above the necessity of living "from hand to mouth." Good or ill - how was it? Kreissle says:- "we cannot help thinking that, had Schubert succeeded in obtaining the post (at the Kärnthnerthor) he would not have kept it for any length of time, as he lacked nearly all the requisite qualifications for such a duty, and his restless creative spirit would rather have hindered than helped with him in the fitting discharge of the duties incidental to his office. If one would think of Schubert as connected with any settled habits of official life, it can only be in the capacity of Court organist, a post for which he was perfectly fitted, and which, sooner or later, would have paved the way to a Deputy Court-Capellmeistership, which duty he might also have discharged with ease and comfort to himself. A longing for perfect independence (according to Josef Hüttenbrenner) led him to reject the chance that was held out to him, and when at last the wish awoke within him to procure a certain means of livelihood by the acceptance of office, so as not exclusively to depend upon the somewhat precarious sale of his compositions, circumstances had changed to his prejudice, and he was, this time against his will, restored to his former freedom." We cannot help thinking the that "crust of bread and liberty" suited him best, especially in the exercise of his genius. So thorough paced a Bohemian would either have resented all the restraint and gone back, like an escaped bird, to his old haunts, or he would have fallen into routine and the perfunctoriness with which most men discharge uncongenial duties. He was happiest in his happy-go-lucky mode of life, and that rather increased than waned in careless ease as years went on. Apropos Sir George Grove summarises an article by Bauernfeld - one of our master's boon companions - in the following terms:-

"A league or partnership was made between himself (Bauernfeld), Schwind, the painter, and Schubert. They had nominally their own lodgings, but often slept altogether in the room of one. The affection between them was extraordinary. Schubert used to call Schwind 'seine Geliebte!' A kind of common property was established in clothes and money; hats, coats boots, and cravats were worn in common, and the one who was in cash paid the score of the others. As Schwind and Bauernfeld were considerably younger than Schubert, that duty naturally fell on him. When he had sold a piece of music he seemed to this happy trio to 'swim in money,' which was then spent right and left in the most reckless manner, till it was all gone, and the- period of reverse came. Under these circumstances, life was a series of fluctuations, in which the party were never rich, and often very poor. On one occasion, Bauernfeld and Schubert met in a coffee house near the Kärnthnerthor theatre, and each detected the other in ordering a melange (café au lait) and biscuits, because neither had the money to pay for a dinner. And this in Schubert's 29th year, when he had already written immortal works sufficient to make a good livelihood! Outside the circle of this trio were a number of other young people, artists and literary men, Schober, Jenger, Kupelweiser, &c., attracted by Schubert's genius, good nature, and love of fun, and all more or less profiting by the generosity of one who never knew what it was to deny a friend. The evenings of this jolly company were usually passed in the Gasthaus, and then they would wander about till daybreak drove them to their several quarters, or to the room of one of the party. It would be absurd to judge Vienna manners from an English point of view. The Gasthaus took the place of a modern club, and the drink consumed probably did not much exceed that which some distinguished Vienna artists now imbibe night after night, and does not imply the excess that it would infallibly lead to in a Northern climate; but it must be obvious that few constitutions could stand such a racket, and that the exertion of thus trying his strength by night and his brain by day must have been more than any frame could stand. In fact, his health did not stand the wear and tear.

We may be sorry for it, but undoubtedly the kind of life pictured by Bauernfeld was that which Schubert loved, and apart from which he was not happy. How could such a man reconcile himself to the hum-drum round that constitutes "respectability"? It was impossible without a radical change of nature. "Better to reign in a Gasthaus," Schubert would have said, "than serve in a Court:'

Reference has been made to the master's dealings with publishers about this time, and here it may be well to say that growing repute had given him a certain position of advantage in bargaining with those gentlemen. Schott, of Mayence, and Probst, of Leipzig, were fairly liberal customers for the more popular class of his works, but they often begged him to write more easy music than was his wont. An extant letter from Probst says: "I most cheerfully offer my best services towards helping on, as best I can, the spread of your artistic reputation. Only I must candidly confess to you that your often genial, but at the same time occasionally eccentric, efforts are not as yet sufficiently and universally understood by our public ... Some carefully selected Lieder, some piano forte works, for two and four hands, not too difficult and written in an understandable fashion, would, I think, answer your purpose and my wishes. When once the ice is broken, all will go well and easily; at the outset we must, to some extent humour the public." Schubert may have chaffed a little at being asked to write down to the average comprehension, but Probst's letter was assuuredly more acceptable than the response of Breitkopf and Härtel - the firm now engaged in bringing out a complete edition of his works. These publishers, after professing a desire to establish cordial and mutual relations, &c., went on to say: "But not being as yet acquainted with the marketable success of your compositions, and unable, in consequence to make any definite pecuniary offer, we must leave it to you whether, in order possibly to found a lasting connection between us, you will facilitate matters, and, for the first work or first works you purpose sending us, you will be content to receive in return a certain number of copies. We do not doubt of your consent to this arrangement, as you, like ourselves, will attach more value to the introduction of a permanent connection than the publication of any particular work." It is doubtful whether Schubert fully appreciated this business-like caution, but, indeed, his best dealings with publishers were unsatisfactory in the sense that he had to put up with miserably inadequate remuneration. At one time he was paid no more than ten francs for a song and twelve francs for a pianoforte piece, while, in the last year of his life, Franz Lachner took six of the "Winterreise" Lieder to Haslinger, and brought back just five shillings, which was all the man of commerce would give.

The close of the year 1826 brought to Schubert what must have been a very gratifying proof of esteem and admiration. The Amateur Society of Vienna presented him with a hundred gulden and an address, which has been thus translated:-

"You have given the Society of Amateurs of the Imperial city repeated proofs of your sympathy, and the interest you take in its welfare, and devoted your distinguished talents as a composer to the benefit of this institution, and you have also been a special benefactor to the Conservatorium. The Society, capable of appreciating the full value of your remarkable powers as a composer, wish to convey to you some appropriate token of its gratitude and esteem, and begs your acceptance of the enclosed present, not as a payment, but as an acknowledgement on the part of the Society of the obligations it is under to you for the zeal and interest you have taken in its welfare."

A hundred gulden! Why this was the market price of a hundred songs! Surely there were "high jinks" at Schubert's lodgings for some days.

The year 1827 passed, as far as its autumn time without any striking event. But Schubert was busy enough with a variety of compositions, among them the "Winterreise" set of songs, Klopstock's "Battle Song," and an opera, "Graf von Gleichen," which, however, got no farther than a sketch. One or two glimpses of the man are obtained through the records of his friends, and through Ferdinand Hiller, who met Schubert and Vogl in society. Schubert, according to Hiller, had little technique as a pianist, and Vogl had 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".

We now come to Schubert's last excursion from his native city. This took place in September, 1827, and was made to Gratz, where resided a very musical family named Pachler. The head of the house, Carl Pachler, was an advocate by profession, but also carried on business as a brewer, and "ran" an hotel. His wife, Maria, is spoken of as a woman of great beauty and accomplishments. Beethoven himself praised her performances of his Pianoforte Sonatas, and became so friendly with the household that he would have visited them in 1827 but for his last illness and death. The Pachlers were hospitable folk, and loved to to receive artists under their roof. Hence it is no wonder that we find them anxious to entertain Schubert long before that privilege fell to their lot. The master, it would seem, had promised to go in 1826, and his friend Jenger wrote very confidently to Madam Pachler on the point: "I may possibly leave in the autumn, but if not our friend Schubert at all events, and the painter Teltscher will, my dear Madame, put in an appearance." But Schubert clung to Vienna and the next time Jenger wrote he was less positive: "Friend Schubert has determined on travelling to Graz next year, but if I don't accompany him the plan is sure to fall through, as it did this year." On another occassion he said: "Schubert, without knowing you, gracious lady, sends you every assurance of his devotion, and is delighted to make the acquaintance of so earnest a worshipper of Beethoven. God grant that our unanimous wish to come to Graz this year may be fulfilled." Once more he wrote: "The best plan, I think, would be to set out for Gratz at the beginning of the month of September. I am sure to bring Schubert with me, and also a second friend, Teltscher, the lithographer." Presently (June 12) Schubert himself despatched a letter to Madame Pachler:-

"Most Gracious Lady,- Although I am at a loss to understand my deserving at your hands the friendly invitation forwarded to me in a letter sent to Jenger, and without ever supposing it will be in my power to make any sort of return for your kindness, yet I cannot but accept an invitation which will not only enable me at last to see Gratz, the praises of which place have become so familiar to me but also to have the honour of becoming personally acquainted with you. I remain, with every sentiment of respect, your most obedient servant, - Franz Schubert.'

From other letters we gather that the two friends looked forward eagerly to their Styrian trip. "We will once again live on music," wrote Jenger to his prospective hostess, "and Schubert shall intertwine with our musical garlands many a new and dainty Liedchen." The friends left Vienna on September 2, and arrived at their destination in the evening of the following day - so late in the evening that Master Faust Pachler, a boy of seven and the only child of the house, had been sent to bed despite his entreaties to sit up and welcome the guests. When Faust looked upon Schubert next morning he saw a fat man in a green coat and white trowsers. There were many junketings in and around Gratz during the next three weeks. Pic-nics and excursions were organised, flirtations indulged in, much wine was drunk, especially by the visitors, and a good deal of music made. This exactly suited Schubert, whose cheerful mood can be gathered from the number of dance pieces he wrote during his stay. He and Jenger were back again in Vienna by the 27th, for that is the date of a letter in which the last named thanked their hostess for her kindness: "We can never forget that kindness - it is unlikely we should, for Schubert and I seldom have passed such happy days as we did in dear Gratz, and notably at Wildbach, among the dear good people there." He finds Vienna and work very disagreeable by contrast with holiday making: "I can't say matters are very cheerful here as yet, seeing that I must pull away like a galley slave, and yet I cannot get on or make any progress. Compared with the twenty days just passed, it is scarcely bearable, and yet, I suppose, all will come right again." Schubert seems to have been much of the same mind, and we find him writing to Herr Pachler in terms suggestive of the spleen:-

"Honoured Sir, - I begin to find out already that I was far too happy and comfortable in Gratz, and that Vienna and I don't exactly suit one another. Certainly it is rather big, but on that account empty of all heart, sincerity, candour, genuine thoughts and feeling, rational talk, and utterly lacking in intellectual achievements. One cannot ascertain exactly whether people are clever or stupid, there's such a deal of petty, poor gossip - real cheerfulness one seldom, if ever, comes across. It is very possible, no doubt, that I have myself to blame, being so very slow in the art of thawing. In Gratz I soon learned to appreciate the absence of all artifice and conventional ways; had I stayed longer I should, of course, have been more profoundly penetrated with the happiness of such perfect freedom from all restraint. Coming to particulars, I shall never forget the happy time passed with your dear wife, the sturdy Pachleros, and the small Faust. These were the happiest days I have passed for a long time. In the hope of my being able some day to express my gratitude in a fitting manner, I remain, with the greatest respect, yours most obediently, - Franz Schubert."

This letter throws a strong light upon the causes which led Schubert to pass his life in the manner before described. Constraint and conventionality he abominated, society manners he had none, and society itselfwas a "make-believe" from which the strong sincerity of his nature revolted. He took into manhood the frankness and freedom of a child, and was most happy where he was permitted to be least formal. Schubert made all possible return to his Gratz friends for the three weeks of enjoyment they had given him. He composed a little piece for young Faust, and dedicated to Madame Pachler the set of four songs (Op 106) in which "Sylvia" appears.

Schubert set to work with ardour after his holiday although complaining of pains in the head, significant of the nervous exhaustion which so quickly killed him. He finished the "Winterreise" in October, and wrote the B flat Trio; in November he composed the Trio in E flat, and, before the end of the year, had produced the "German Mass" six Impromptus for the pianoforte, and some smaller things. "The year 1827," writes Kreissle, "may be reckoned among the happiest periods of Schubert's life and progress. Penetrated with a lofty consciousness of his mission as a great art-creator, he aspired to more exalted efforts, as we gather from the larger works of this date, and he experienced, for the last time, the happiness of a free, unfettered enjoyment of nature's beauties and the attraction of simple friendly companions, who met him half way with entire abandonment of ceremony and conventional restraints." Unhappily, the charm of this was but as the charm of a beautiful sunset - the flaming splendour that precedes night.

The last ten months of Schubert's life were spent in extreme activity, at the proofs of which we are lost in wonder and admiration. Sir George Grove has made a complete list of his compositions during that period, and we cannot resist transcribing it here. that the reader may have before him evidence the most conclusive of our master's marvellous sponaneity. In January only two songs were written - "Die Sterne" and "Der Winterabend." Nothing was done in February, but March saw the production of the great symphony in C (if that be not an amended edition of the Gastein Symphony), "Miriam's Siegesgesang," and the song "Auf dem Stron," for voice and horn. The list for May is made up of the pianoforte Duet (Op. 144), the "Hymn to the Holy Ghost," two pianoforte pieces, and the song "Widerschein." In June the Mass in E flat, the Pianoforte Duet (Op. 152), and the four-handed Rondeau (Op. 107) were either begun or completed. July witnessed the creation of "Psalm ninety-two"; August the "Schwanengesang"; September the Pianoforte Sonatas in C minor, A major, and B flat; October brought forth the last number of the "Schwanengesang," a new "Benedictus" to the Mass in C, and a song for voice and clarinet, "Der Hirt auf den Felsen," while to one or other of these months must be assigned the string Quintet in C. Looking at the number and character of these works, it is hardly surprising that the composer broke down and died. What other result could be expected than a complete exhaustion of nervous force? But in the midst of superhuman labour he had time to concern himself about another trip to Gratz, regarding which more anon, and also to exert himself on behalf of his brother, Karl, who was candidate for a drawing-master's place in the Styrian town. To obtain influence for his relative, Schubert wrote both to Hüttenbrenner and Pachtel. The letter to the first named is now in the British Museum, and has been in translated thus:-

"My dear old Hüttenbrenner, - You will wonder at my writing now. So do I. But if I write it is because I am to get something by it. Now, just by listen. A drawing-master's place near you at Gratz is vacant, and competition is invited. My brother, Karl, whom you probably know, wishes to get the place. He is very clever, both as a landscape painter and a draughtsman. If you could do anything for him in the matter I should be eternally obliged to you. You are a great man in Gratz, and probably know some one in authority, or some one else who has a vote. My brother is married and has a family, and would therefore be glad to obtain a permanent appointment. I hope that things are all right with you, as with your dear family and your brothers. A Trio of mine, for pianoforte, violin, and violoncello has lately been performed by Schuppanzigh, and was much liked. It was splendidly executed by Schuppanzigh, Bocklet, and Link. Have you done nothing new? Apropos, why doesn't Greiner, or whatever his name is, publish the two songs? What's the reason? Sapperment! I repeat my request. Recollect what you do for my brother you do for me. Hoping for a favourable answer, I remain, your true friend till death, - Franz Schubert, Mpia., of Vienna."

Whether Karl's candidature was successful or the reverse does not appear, but Franz certainly, about this time, began to taste the sweets of popularity. Instead of looking for a publisher, he had the satisfaction of seeing publishers come to him, cap in hand, begging for his manuscripts. Among them was cautious Herr Probst, of Leipzig, who wrote:-

"Have the goodness when you have finished anything successfully - song, romance, vocal concerted piece, I care not what it be - to let me have them; send me also some pieces for four hands in the same genre... With regard to the honorarium, we shall soon come to terms on that point. I only desire to be met fairly; you will find me straight-forward and honest in my dealings as long as your works are such that I can take a genuine delight in them myself... I most solemnly assure you that you shall have no cause to repent, should you honour me with your friendly confidence, and, by a careful selection of your best compositions, give me an opportunity of working zealously for your reputation."

Schott's Söhne were also among the applicants. In writing for a catalogue of the MSS. Schubert had by him, they said: "Pianoforte works or vocal pieces, either solo or concerted, with or without pianoforte accompaniment, will always be welcomed by us. Be good enough to fix your terms of payment (not 10d. per song now) and we will have you paid at Vienna." Schubert sent the catalogue asked for whereupon the Mayence firm marked eight works, including the Pianoforte Trio in B flat, and added: "These we will publish by degrees and put out as soon as possible, and afterwards ask you for your more recently composed music." Brüggemann of Halberstadt also wrote for contributions to a musical magazine. He said: "Should you be inclined to fulfil the wish herein expressed, let me ask you to send an affirmative answer as soon as you can, and your terms as to payment, which shall always be made punctually and promptly." So did material evidence of public favour come to Schubert at last, but, O irony of Fate! only a few steps in advance of death.

As may be supposed, cash did not flow in immediately from the source just indicated, but the poor musician received one god-send. For the first time in his life he gave an evening Concert, had a crowded audience, and made 800 gulden, or £32, by the transaction. Of course he squandered it with charateristic recklessness - encouraged to do so perhaps, by the prospect of a golden harvest from the publishers - and soon he was as poor as ever. We regret to say that the publishers' performance was not equal to their promise. The mountain brought forth the very tiniest mouse. The Schotts, who royally invited Schubert to name his own terms, demurred to paying fifty shillings for a Pianoforte Quintet, and actually had the conscience to offer five-and-twenty, while Probst, on his part, would give no more than seventeen shillings and sixpence for the splendid Trio in E flat! This seems past belief, but the proof is too positive to doubt, and we can only reflect that it was in truth time for Schubert to die. One possible result turned out to be very serious indeed. The master was prevented by poverty from enjoying the rest and change of a sojourn in Upper Austria, and had that not been the case his life might have been prolonged. One thinks of the cumulative proverb: "For want of a nail the shoe was lost," &c., and reflects upon what little things great issues hang. It is clear that Schubert looked forward to another such holiday as he spent in 1827. As early as January we find Jenger writing to Madame Pachler: "Irene Kiesewetter has recovered from her bad illness and thinks of accompanying her mother on an excursion to Gratz. Should this take place, Schwammerl (Schubert) and I shall be taken as guides on the journey, and thus we may have a chance of seeing you all in a few months." This came to nothing, but in April Jenger writes again: "The little volume of songs by friend Schubert, which he dedicated to you, is already in the Emperor's hands; when Schubert and I come to you, and this will doubtles be at the end of August, we will take care to bring with us some copies." But the friends intended first to visit Upper Austria. They had evidently talked of this, since the news reached Traweger, in Gmunden, and caused him to write to his old crony a letter which obviously reveals to us a spirit of personal independence in Schubert's character. For this reason we give a translation of the epistle:-

"Dear Friend Schubert, - Zierer informed me you wished again to visit Gmunden, and he proposed asking me for my prices for lodging and board, and desired me to write on this subject to you. You put me in a difficulty, and if I did not know you, and your perfectly candid straightforward way of dealing, and had I no apprehension of your not coming to me after all, I should ask nothing. Lest, however, it should occur to you that you would be a burden, and in order that you may remain without let or hindrance as long as you please, just listen to me. For your room which you before occupied, and for your three meals a day, pay me at the rate of 50 kreutzers per day, and anything you drink let it be an extra."

As already stated, Schubert went neither to to Gmunden nor to Gratz, and one of Jenger's letters to Madame Pachler tells us very plainly the reason why. He speaks of the "not very brilliant financial state" of his friend Schubert, and distinctly says that pecuniary difficulties stood in the way of a holiday. "But he is still here, working away at a new Mass, and on the look out - come whence it may - for the cash necessary to support his immediate flight to Upper Austria." This was in July. Four months later Schubert found a quieter haven than any in Austria-

      Where his shattered bark
Harbours secure till the rough storm is past.
Perhaps a passage, overhung with clouds
But at its entrance; a few leagues beyond
Opening to kinder skies and milder suns,
And seas pacific as the soul that seeks them.