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Updated: May 28, 2025
It was the music, a hackneyed theme of Schubert's played heavily, that seemed to arouse the composite emotion of anger and hatred, yet of sustained attraction and wild regret she had felt before, but never so poignantly as now. And she lingered, perversely resolved to steep herself in the agony. "Who lives here" Rolfe asked. "Mr. Ditmar," she answered. "The agent of the Chippering Mill?"
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 shift 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.
Verotchka must have gone to bed, then; she must have got tired of sitting up. She's in bed, and must be worrying at my not having turned up." She goes to bed without bolting the window." Let us strike up a serenade and make her laugh!" Verotchka, shall we sing you Schubert's Serenade?" His performance is cut short by a sudden fit of coughing. "Tphoo!
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.
Some of Schubert's parts for violoncello had positively left him panting, in the grip of hysteria. But it was particularly Schubert's lieders that had immeasurably excited him, causing him to experience similar sensations as after a waste of nervous fluid, or a mystic dissipation of the soul. This music penetrated and drove back an infinity of forgotten sufferings and spleen in his heart.
"They're suggestive of cathedrals and beautiful dimness, and a voice going up and up, like the 'Lark' song of Schubert's, don't you know!" "No, I don't!" she said, wilfully; but she was conscious of his eyes on her face, and angry that her cheeks flushed. They both were silent for a little, and when they left Mrs.
It becomes its task to adapt itself to these new circumstances, to renounce the comfortable solfeggios and acquire the poetic expression that they accept." The famous tenor Vogl, a contemporary of Schubert, wrote in his diary the following significant words: "Nothing shows so plainly the want of a good school of singing as Schubert's songs.
Schubert's brief schooling, where his natural gifts were left to flourish by themselves, was succeeded by three years of musical drudgery in the shape of school-teaching. But his genius was restless, and he threw up that post. How he existed during the next few years is a complete mystery.
Vogl was a warm admirer of Schubert's genius, and devoted himself assiduously 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.
She could not talk to him, had read nothing but the Bible and Jay's "Meditations"; she could not show glimpses of herself, as most American women can, in natural, dramatic words. Palmer sang for her, sometimes, Schubert's ballads, Mendelssohn: she could not understand the words, of course; she only knew that his soul seemed to escape through the music, and come to her own.
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