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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 mass of chamber-music and works for the piano.
Or, again, the same wind will play quieter airs through the green boughs, a chamber-music of silken rustlings, of feathered fans just stirring, of whisperings, and the sighs of a woman. It is cool beneath these pines, and pleasant on the couches of brown needles that have fallen through all the years.
Rubinstein, Paderewski, Eugène d'Albert, Hans von Bülow, Arthur de Greef, Mme. Essipoff, and Mme. Menter, never missed getting a hearing there when their tours led them to Paris; and to figure on the programme of La Trompette was like the consecration of an artist." Such a society naturally contributed a great deal to the spread of classical chamber-music in Paris.
According to M. Saint-Saëns he was a mediocre musician, and had, in spite of his passion for music, "immense incapacity." In Harmonie et Mélodie M. Saint-Saëns says: "The few chamber-music societies that existed were also closed to all new-comers; their programmes only contained the names of undisputed celebrities, the writers of classic symphonies.
It is to be feared that this art and thought may be absorbed by the decadent subtleties or pedantic scholasticism which is apt to accompany all coteries in short, that its music will be salon-music rather than chamber-music.
Sight-reading before a critical audience is surely a difficult enough task under the most favoring conditions; how much more so from the manuscript, with its excisions and corrections and general indistinctness! It was, however, an every-day matter especially in chamber-music.
Ries became a very prolific composer, whose works embrace almost every class of music, among which is to be mentioned several operas, oratorios, symphonies, much chamber-music, and many pianoforte sonatas, none of which, however have survived to the present day.
Beneath the careless grace and the seeming dilettantism of their little piano pieces, and songs, and French chamber-music, which German art never deigned to notice, while Christophe himself had hitherto failed to see the poetic accomplishment of it all, he now began to see the fever of renovation, and the uneasiness, unknown on the other side of the Rhine, with which French musicians were seeking in the unfilled fields of their art the germs from which the future might grow.
Variations occupy a prominent part in all his works, whether chamber-music, sonatas or symphonies. They are introduced perhaps with best effect in the works of his last years, in the Ninth Symphony, and in the last quartets. He accepted the order with pleasure and began work on it at once on reaching his summer quarters.
In thirty years it has created in Paris a little centre of earnest composers of symphonies and chamber-music, and a cultured public that seems able to understand them. The Grand Symphony Concerts
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