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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 passionate chant, full of dramatic fire and color, while the accompaniment, which is extremely elaborate, furnishes a most picturesque setting.
Schubert was a pauper to the nth degree. But he found his joy in the hilarity of the Vienna cafés with boisterous friends, working up a maximum enthusiasm on a minimum of food, living a life of much art and equal beer. He seems never to have truly cared for women, nor to have been cared for by them.
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 last phrase should soar tenderly, saturated with a warm and soulful coloring. "The Erlking," by Schubert. For him who is familiar with our native legends and tales, the willows and alders in the fields and by the brooks are peopled with hidden beings, fairies, and witches.
But how shall we blame or praise music for its effect upon Beethoven's heart, in the face of the antipodal life of such a fellow bachelor as Händel? And to these two bachelors there belongs a third great bachelor of music, Schubert, who is said never to have loved a woman. Even the paltry anecdote or two of his hopeless love for a very young countess is dismissed by the cautious as a fable.
Opus 5 contained five songs, of which the ecstatic "'Twas April" reached the largest popularity. Possibly the smallest sale was enjoyed by "Herbstgefühl." Many years have not availed to shake my allegiance to this song, as one of the noblest songs in the world's music. It is to me, in all soberness, as great as the greatest of the Lieder of Schubert, Schumann or Franz.
Some Schubert songs, yes?" So Mamma went in, and she and Mr. von Greusen both made beautiful music, separately and together, which the audience in the balcony enjoyed without troubling to understand, Prue being the only one among them who loved music with her head as well as with her heart. A sound of footsteps on the path below attracted the children's attention.
Glinka thoroughly detesting anything that savoured of flattery, took the young musician soundly to task for his pains; but Rubinstein remained true to his tenets, and later on, when years had matured his judgment, we find him including the name of Glinka with that of Bach, Beethoven, Schubert and Chopin, as the chief germinators of modern music; whilst one of the last acts of his generous public career was a concert given in aid of a national monument to the composer of La Vie pour le Tsar.
This is notably the case as regards music; one thinks of Mozart, of Beethoven, of Schubert, and many lesser men. In the case of poets and novelists chastity may usually seem to be less prevalent but it is frequently well-marked, and is not seldom disguised by the resounding reverberations which even the slightest love-episode often exerts on the poetic organism.
"Nein, not too far. We have had great talk," responded Schubert. His face under its mask of perspiration shone gloriously. He glanced down a little ruefully at his short, fat legs in their white casings. "But my legs they do not talk," he announced naïvely. "Ja, they are very weary, perhaps; but my soul is not weary."
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