Schubert was a revelation to his countrymen in his musical treatment of subjective pa.s.sion, in his instinctive command over condensed, epigrammatic expression. This rich and gifted life, however quiet in its exterior facts, was great in its creative and spiritual manifestation.

Born at Vienna of humble parents, January 31, 1797, the early life of Franz Schubert was commonplace in the extreme, the most interesting feature being the extraordinary development of his genius. At the age of fourteen he had made himself a master of counterpoint and harmony, and composed a large ma.s.s of chamber-music and works for the piano. His poverty was such that he was oftentimes unable to obtain the music-paper with which to fasten the immortal thoughts that thronged through his brain. It was two years later that his special creative function found exercise in the production of the two great songs, the "Erl-King" and the "Serenade," the former of which proved the source of most of the fame and money emolument he enjoyed during life. It is hardly needful to speak of the power and beauty of this composition, the weird sweetness of its melodies, the dramatic contrasts, the wealth of color and shading in its varying phrases, the subtilty of the accompaniment, which elaborates the spirit of the song itself. The piece was composed in less than an hour. One of Schubert's intimates tells us that he left him reading Goethe's great poem for the first time. He instantly conceived and arranged the melody, and when the friend returned after a short absence Schubert was rapidly noting the music from his head on paper.

When the song was finished he rushed to the Stadtconvict school, his only _alma mater_, and sang it to the scholars. The music-master, Rucziszka, was overwhelmed with rapture and astonishment, and embraced the young composer in a transport of joy. When this immortal music was first sung to Goethe, the great poet said: "Had music, instead of words, been my instrument of thought, it is so I would have framed the legend."

The "Serenade" is another example of the swiftness of Schubert's artistic imagination. He and a lot of jolly boon-companions sat one Sunday afternoon in an obscure Viennese tavern, known as the Biersack.

The surroundings were anything but conducive to poetic fancies--dirty tables, floor, and ceiling, the clatter of mugs and dishes, the loud dissonance of the beery German roisterers, the squalling of children, and all the sights and noises characteristic of the beer-cellar. One of our composer's companions had a volume of poems, which Schubert looked at in a lazy way, laughing and drinking the while. Singling out some verses, he said: "I have a pretty melody in my head for these lines, if I could only get a piece of ruled paper." Some staves were drawn on the back of a bill-of-fare, and here, amid all the confusion and riot, the divine melody of the "Serenade" was born, a tone-poem which embodies the most delicate dream of pa.s.sion and tenderness that the heart of man ever conceived.

Both these compositions were eccentric and at odds with the old canons of song, fancied with a grace, warmth, and variety of color hitherto characteristic only of the more pretentious forms of music, which had already been brought to a great degree of perfection. They inaugurate the genesis of the new school of musical lyrics, the golden wedding of the union of poetry with music.

For a long time the young composer was unsuccessful in his attempts to break through the barren and irritating drudgery of a schoolmaster's life. At last a wealthy young dilettante, Franz von Schober, who had become an admirer of Schubert's songs, persuaded his mother to offer him a fixed home in her house. The latter gratefully accepted the overture of friendship, and thence became a daily guest at Schober's house. He made at this time a number of strong friendships with obscure poets, whose names only live through the music of the composer set to verses furnished by them; for Schubert, in his affluence of creative power, merely needed the slightest excuse for his genius to flow forth. But, while he wrote nothing that was not beautiful, his masterpieces are based only on themes furnished by the lyrics of such poets as Goethe, Heine, and Rilckert. It is related, in connection with his friendship with Mayrhofer, one of his rhyming a.s.sociates of these days, that he would set the verses to music much faster than the other could compose them.

The songs of the obscure Schubert were gradually finding their way to favor among the exclusive circles of Viennese aristocracy. A celebrated singer of the opera, Vogl, though then far advanced in years, was much sought after for the drawing-room concerts so popular in Vienna, on account of the beauty of his art. Vogl was a warm admirer of Schubert's genius, and devoted himself a.s.siduously to the task of interpreting it--a friendly office of no little value. Had it not been for this, our composer would have sunk to his early grave probably without even the small share of reputation and monetary return actually vouchsafed to him. The strange, dreamy unconsciousness of Schubert is very well ill.u.s.trated in a story told by Vogl after his friend's death. One day Schubert left a new song at the singer's apartments, which, being too high, was transposed. Vogl, a fortnight afterward, sang it in the lower key to his friend, who remarked: "Really, that _Lied_ is not so bad; who composed it?"

III.

Our great composer, from the peculiar const.i.tution of his gifts, the pa.s.sionate subjectiveness of his nature, might be supposed to have been peculiarly sensitive to the fascinations of love, for it is in this feeling that lyric inspiration has found its most fruitful root. But not so. Warmly susceptible to the charms of friendship, Schubert for the most part enacted the _role_ of the woman-hater, which was not all affected; for the Hamletlike mood is only in part a simulated madness with souls of this type. In early youth he would sneer at the amours of his comrades. It is true he fell a victim to the charms of Theresa Grobe, a beautiful soprano, who afterward became the spouse of a master-baker. But the only genuine love-sickness of Schubert was of a far different type, and left indelible traces on his nature, as its very direction made it of necessity unfortunate. This was his attachment to Countess Caroline Esterhazy.

The Count Esterhazy, one of those great feudal princes still extant among the Austrian n.o.bility, took a traditional pride in encouraging genius, and found in Franz Schubert a n.o.ble object for the exercise of his generous patronage. He was almost a boy (only nineteen), except in the prodigious development of his genius, when he entered the Esterhazy family as teacher of music, though always treated as a dear and familiar friend. During the summer months, Schubert went with the Esterhazy s to their country-seat at Zelesz, in Hungary. Here, amid beautiful scenery, and the sweetness of a social life perfect of its kind, our poet's life flew on rapid wings, the one bright, green spot of unalloyed happiness, for the dream was delicious while it lasted. Here, too, his musical life gathered a fresh inspiration, since he became acquainted with the treasures of the national Hungarian music, with its weird, wild rhythms and striking melodies. He borrowed the motives of many of his most characteristic songs from these reminiscences of hut and hall, for the Esterhazys were royal in their hospitality, and exercised a wide patriarchal sway.

The beautiful Countess Caroline, an enthusiastic girl of great beauty, became the object of a romantic pa.s.sion. A young, inexperienced maiden, full of _naive_ sweetness, the finest flower of the haughty Austrian caste, she stood at an infinite distance from Schubert, while she treated him with childlike confidence and fondness, laughing at his eccentricities, and worshiping his genius, lie bowed before this idol, and poured out all the incense of his heart. Schubert's exterior was anything but that of the ideal lover. Rude, unshapely features, thick nose, coa.r.s.e, protruding mouth, and a shambling, awkward figure, were redeemed only by eyes of uncommon splendor and depth, aflame with the unmistakable light of the soul.

The inexperienced maiden hardly understood the devotion of the artist, which found expression in a thousand ways peculiar to himself. Only once he was on the verge of a full revelation. She asked him why he had dedicated nothing to her. With abrupt, pa.s.sionate intensity of tone Schubert answered, "What's the use of that? Everything belongs to you!"

This brink of confession seems to have frightened him, for it is said that after this he threw much more reserve about his intercourse with the family, till it was broken off. Hints in his letters, and the deep despondency which increased after this, indicate, however, that the humbly-born genius never forgot his beautiful dream.

He continued to pour out in careless profusion songs, symphonies, quartets, and operas, many of which knew no existence but in the score till after his death, hardly knowing of himself whether the productions had value or not. He created because it was the essential law of his being, and never paused to contemplate or admire the beauties of his own work. Schubert's body had been mouldering for several years, when his wonderful symphony in C major, one of the _chefs-d'oeuvre_ of orchestral composition, was brought to the attention of the world by the critical admiration of Robert Schumann, who won the admiration of lovers of music, not less by his prompt vindication of neglected genius than by his own creative powers.

In the contest between Weber and Rossini which agitated Vienna, Schubert, though deeply imbued with the seriousness of art, and by nature closely allied in sympathies with the composer of "Der Freischutz," took no part. He was too easy-going to become a volunteer partisan, too shy and obscure to make his alliance a thing to be sought after. Besides, Weber had treated him with great brusqueness, and d.a.m.ned an opera for him, a slight which even good-natured Franz Schubert could not easily forgive.

The fifteen operas of Schubert, unknown now except to musicians, contain a wealth of beautiful melody which could easily be spread over a score of ordinary works. The purely lyric impulse so dominated him that dramatic arrangement was lost sight of, and the n.o.blest melodies were likely to be lavished on the most unworthy situations. Even under the operatic form he remained essentially the song-writer. So in the symphony his affluence of melodic inspiration seems actually to embarra.s.s him, to the detriment of that breadth and symmetry of treatment so vital to this form of art. It is in the musical lyric that our composer stands matchless.

During his life as an independent musician at Vienna, Schubert lived fighting a stern battle with want and despondency, while the publishers were commencing to make fortunes by the sale of his exquisite _Lieder_.

At that time a large source of income for the Viennese composers was the public performance of their works in concerts under their own direction.

From recourse to this, Schubert's bashfulness and lack of skill as a _virtuoso_ on any instrument helped to bar him, though he accompanied his own songs with exquisite effect. Once only his friends organized a concert for him, and the success was very brilliant. But he was prevented from repeating the good fortune by that fatal illness which soon set in. So he lived out the last glimmers of his life, poverty-stricken, despondent, with few even of the amenities of friendship to soothe his declining days. Yet those who know the beautiful results of that life, and have even a faint glow of sympathy with the life of a man of genius, will exclaim with one of the most eloquent critics of Schubert:

"But shall we, therefore, pity a man who all the while reveled in the treasures of his creative ore, and from the very depths of whose despair sprang the sweetest flowers of song? Who would not battle with the iciest blast of the north if out of storm and snow he could bring back to his chamber the germs of the 'Winterreise?' Who would grudge the moisture of his eyes if he could render it immortal in the strains of Schubert's 'Lob der Thrane?'"

Schubert died in the flower of his youth, November 19, 1828; but he left behind him nearly a thousand compositions, six hundred of which were songs. Of his operas only the "Enchanted Harp" and "Rosamond" were put on the stage during his lifetime. "Fierabras," considered to be his finest dramatic work, has never been produced. His church music, consisting of six ma.s.ses, many offertories, and the great "Hallelujah"

of Klopstock, is still performed in Germany. Several of his symphonies are ranked among the greatest works of this nature. His pianoforte compositions are brilliant, and strongly in the style of Beethoven, who was always the great object of Schubert's devoted admiration, his artistic idol and model. It was his dying request that he should be buried by the side of Beethoven, of whom the art-world had been deprived the year before.

Compared with Schubert, other composers seem to have written in prose.

His imagination burned with a pa.s.sionate love of Nature. The lakes, the woods, the mountain heights, inspired him with eloquent reveries that burst into song; but he always saw Nature through the medium of human pa.s.sion and sympathy, which transfigured it. He was the faithful interpreter of spiritual suffering, and the joy which is born thereof.

The genius of Schubert seems to have been directly formed for the expression of subjective emotion in music. That his life should have been simultaneous with the perfect literary unfolding of the old _Volkslied_ in the superb lyrics of Goethe, Heine, and their school, is quite remarkable. Poe-try and song clasped hands on the same lofty summits of genius. Liszt has given to our composer the t.i.tle of _le musicien le plus poetique_, which very well expresses his place in art.

In the song as created by Schubert and transmitted to his successors, there are three forms, the first of which is that of the simple _Lied_, with one unchanged melody. A good example of this is the setting of Goethe's "Haideroslein," which is full of quaint grace and simplicity.

A second and more elaborate method is what the Germans call "through-composed," in which all the different feelings are successively embodied in the changes of the melody, the sense of unity being preserved by the treatment of the accompaniment, or the recurrence of the princ.i.p.al motive at the close of the song. Two admirable models of this are found in the "Lindenbaum" and "Serenade."

The third and finest art-method, as applied by Schubert to lyric music, is the "declamatory." In this form we detect the consummate flower of the musical lyric. The vocal part is lifted into a species of pa.s.sionate chant, full of dramatic fire and color, while the accompaniment, which is extremely elaborate, furnishes a most picturesque setting. The genius of the composer displays itself here fully as much as in the vocal treatment. When the lyric feeling rises to its climax it expresses itself in the crowning melody, this high tide of the music and poetry being always in unison. As masterpieces of this form may be cited "Die Stadt" and "Der Erlkonig," which stand far beyond any other works of the same nature in the literature of music.

IV.

Robert Schumann, the loving critic, admirer, and disciple of Schubert in the province of song, was in most respects a man of far different type. The son of a man of wealth and position, his mind and tastes were cultivated from early youth with the utmost care. Schumann is known in Germany no less as a philosophical thinker and critic than as a composer. As the editor of the _Neue Zeitschrift fur Musik_, he exercised a powerful influence over contemporary thought in art-matters, and established himself both as a keen and incisive thinker and as a master of literary style. Schumann was at first intended for the law, but his unconquerable taste for music a.s.serted itself in spite of family opposition. His acquaintance with the celebrated teacher Wieck, whose gifted daughter Clara afterward became his wife, finally established his career; for it was through Wieck's advice that the Schumann family yielded their opposition to the young man's bent.

Once settled in his new career, Schumann gave himself up to work with the most indefatigable ardor. The early part of the present century was a halcyon time for the _virtuosi_, and the fame and wealth that poured themselves on such players as Paganini and Liszt made such a pursuit tempting in the extreme. Fortunately, the young musician was saved from such a career. In his zeal of practice and desire to attain a perfectly independent action for each finger on the piano, Schumann devised some machinery, the result of which was to weaken the sinews of his third finger by undue distention. By this he lost the effective use of the whole right hand, and of course his career as a _virtuoso_ practically closed.

Music gained in its higher walks what it lost in a lower. Schumann devoted himself to composition and aesthetic criticism, after he had pa.s.sed through a thorough course of preparatory studies. Both as a writer and a composer Schumann fought against Philistinism in music.

Ardent, progressive, and imaginative, he soon became the leader of the romantic school, and inaugurated the crusade which had its parallel in France in that carried on by Victor Hugo in the domain of poetry. His early pianoforte compositions bear the strong impress of this fiery, revolutionary spirit. I lis great symphonic works belong to a later period, when his whole nature had mellowed and ripened without losing its imaginative sweep and brilliancy. Schumann's compositions for the piano and orchestra are those by which his name is most widely honored, but nowhere do we find a more characteristic exercise of his genius than in his songs, to which this article will call more special attention.

Such works as the "Etudes Symphoniques" and the "Kreisleriana" express much of the spirit of unrest and longing aspiration, the struggle to get away from prison-bars and limits, which seem to have sounded the key-note of Schumann's deepest nature. But these feelings could only find their fullest outlet in the musical form expressly suited to subjective emotion. Accordingly, the "Sturm and Drang" epoch of his life, when all his thoughts and conceptions were most unsettled and visionary, was most fruitful in lyric song. In Heinrich Heine he found a fitting poetical co-worker, in whose moods he seemed to see a perfect reflection of his own--Heine, in whom the bitterest irony was wedded to the deepest pathos, "the spoiled favorite of the Graces," "the knight with the laughing tear in his scutcheon"--Heine, whose songs are charged with the brightest light and deepest gloom of the human heart.

Schumann's songs never impress us as being deliberate attempts at creative effort, consciously selected forms through which to express thoughts struggling for speech. They are rather involuntary experiments to relieve one's self of some wo-ful burden, medicine for the soul.

Schumann is never distinctively the lyric composer; his imagination had too broad and majestic a wing. But in those moods, peculiar to genius, where the soul is flung back on itself with a sense of impotence, our composer instinctively burst into song. He did not in the least advance or change its artistic form, as fixed by Schubert. This, indeed, would have been irreconcilable with his use of the song as a simple medium of personal feeling, an outlet and safeguard.

The peculiar place of Schumann as a songwriter is indicated by his being called the musical exponent of Heine, who seems to be the other half of his soul. The composer enters into each shade and detail of the poet's meaning with an intensity and fidelity which one can never cease admiring. It is this phase which gives the Schumann songs their great artistic value. In their clean-cut, abrupt, epigrammatic force there is something different from the work of any other musical lyrist. So much has this impressed the students of the composer that more than one able critic has ventured to prophesy that Schumann's greatest claim to immortality would yet be found in such works as the settings of "Ich grolle nicht" and the "Dichterliebe" series--a perverted estimate, perhaps, but with a large substratum of truth. The duration of Schumann's song-time was short, the greater part of his _Lieder_ having been written in 1840. After this he gave himself up to oratorio, symphony, and chamber-music.

V.

Among the contemporary masters of the musical lyric, the most shining name is that of Robert Franz, a marked individuality, and, though indirectly moulded by the influence of Schubert and Schumann, a creative mind of a striking type.

The art-impulse, strikingly characteristic of Franz as a song composer, or, perhaps, to express it more accurately, the art-limitation, is that the musical inspiration is directly dependent on the poetic strength of the _Lied_. He would be utterly at a loss to treat a poem which lacked beauty and force. With but little command over absolute music, that flow of melody which pours from some natures like a perennial spring, the poetry of word is necessary to evoke poetry of tone.

Robert Franz, like Schumann, was embarra.s.sed in his youth by the bitter opposition of his family to his adoption of music, and, like the great apostle of romantic music, his steady perseverance wore it out. He made himself a severe student of the great masters, and rapidly acquired a deep knowledge of the mysteries of harmony and counterpoint. There are no songs with such intricate and difficult accompaniments, though always vital to the lyrical motive, as those of Robert Franz. For a long time, even after he felt himself fully equipped, Franz refrained from artistic production, waiting till the processes of fermenting and clarifying should end, in the mean while promising he would yet have a word to say for himself.

With him, as with many other men of genius, the blow which broke the seal of inspiration was an affair of the heart. He loved a beautiful and accomplished woman, but loved unfortunately. The catastrophe ripened him into artistic maturity, and the very first effort of his lyric power was marked by surprising symmetry and fullness of power. He wrote to give overflow to his deep feelings, and the song came from his heart of hearts. Robert Schumann, the generous critic, gave this first work an enthusiastic welcome, and the young composer leaped into reputation at a bound. Of the four hundred or more songs written by Robert Franz, there are perhaps fifty which rank as masterpieces. His life has pa.s.sed devoid of incident, though rich in spiritual insight and pa.s.sion, as his _Lieder_ unmistakably show. Though the instrumental setting of this composer's songs is so elaborate and beautiful oftentimes, we frequently find him at his best in treating words full of the simplicity and _navete_ of the old _Volkslied_. Many of his songs are set to the poems of Robert Burns, one of the few British poets who have been able to give their works the subtile singing quality which comes not merely of the rhythm but of the feeling of the verse. Heine also furnished him with the themes of many of his finest songs, for this poet has been an inexhaustible treasure-trove to the modern lyric composer. One of the most striking features of Franz as a composer is found in the delicate light and shade, introduced into the songs by the simplest means, which none but the man of genius would think of; for it is the great artist who attains his ends through the simplest effects.

While the same atmosphere of thought and feeling is felt in the spiritual life of Robert Franz which colored the artistic being of Schubert and Schumann, there is a certain repose and balance all his own. We get the idea of one never carried away by his genius, or delivering pa.s.sionate utterances from the Delphic tripod, but the master of all his powers, the conscious and skillful ruler of his own inspirations. If the sense of spontaneous freshness is sometimes lost, perhaps there is a gain in breadth and finish. If Schubert has unequaled melody and dramatic force, Schumann drastic and pointed intensity, Robert Franz deserves the palm for the finish and symmetry of his work.

Of the great song composers, Franz Schubert is the unquestioned master.

To him the modern artistic song owes its birth, and, as in the myth of Pallas, we find birth and maturity simultaneous. It bloomed at once into perfect flower, and the wrorld will probably never see any essential advances in it. It is this form of music which appeals most widely to the human heart, to old and young, high and low, learned and ignorant.

It has "the one touch of Nature which makes the whole world kin." Even the mind not attuned to sympathy with the more elaborate forms of music is soothed and delighted by it; for--

"It is old and plain; The spinsters and the knitters in the sun, And the free maids that weave their thread with bones, Do use to chant it; it is silly sooth, And dallies with the innocence of love Like the old age."

CHOPIN.

I.

Never has Paris, the Mecca of European art, genius, and culture, presented a more brilliant social spectacle than it did in 1832. Hither ward came pilgrims from all countries, poets, painters, and musicians, anxious to breathe the inspiring air of the French capital, where society laid its warmest homage at the feet of the artist. Here came, too, in dazzling crowds, the rich n.o.bles and the beautiful women of Europe to find the pleasure, the freedom, the joyous unrestraint, with which Paris offers its banquet of sensuous and intellectual delights to the hungry epicure. Then as now the queen of the art-world, Paris absorbed and a.s.similated to herself the most brilliant influences in civilization.

In all of brilliant Paris there was no more charming and gifted circle than that which gathered around the young Polish pianist and composer, Chopin, then a recent arrival in the gay city. His peculiarly original genius, his weird and poetic style of playing, which transported his hearers into a mystic fairy-land of sunlight and shadow, his strangely delicate beauty, the alternating reticence and enthusiasm of his manners, made him the idol of the clever men and women, who courted the society of the shy and sensitive musician; for to them he was a fresh revelation. Dr. Franz Liszt gives the world some charming pictures of this art-coterie, which was wont often to a.s.semble at Chopin's rooms in the Chaussee d'Antin.

His room, taken by surprise, is all in darkness except the luminous ring thrown off by the candles on the piano, and the flashes flickering from the fireplace. The guests gather around informally as the piano sighs, moans, murmurs, or dreams under the fingers of the player. Hein-rich Heine, the most poetic of humorists, leans on the instrument, and asks, as he listens to the music and watches the firelight, "if the roses always glowed with a flame so triumphant? if the trees at moonlight sang always so harmoniously?" Meyerbeer, one of the musical giants, sits near at hand lost in reverie; for he forgets his own great harmonies, forged with hammer of Cyclops, listening to the dreamy pa.s.sion and poetry woven into such quaint fabrics of sound.