widow of the man by whom he had benefitted so materially, contented himself with loud and vain lamentations. In 1800 he entered into partnership with a merchant named Zitterbarth, who at a short distance from the small theatre just mentioned, built the present 'Theater an der Wien,' opened June 13, 1801. Zitterbarth then bought the privilegium, from Schikaneder, who managed it for him till 1806. His next project was to build, with the assistance of some wealthy friends, a new theatre in the Josephstadt suburb, but this he did not carry out. On his way to Pesth, whither he had been invited to undertake a theatre, he went mad, was brought beck to Vienna, and died in great misery Sept. 21, 1812.
Schikaneder wrote the librettos for many popular operas, Singspiele, and fairy-pieces, the list of which, with year of performance, is here published for the first time:
'Anton der dumme Gärtner' (Schack and Gerl), 1789; 'Die beiden Antons' (with 4 sequels), 'Jakob und Nannerl,' and 'Der Stein der Weisen,' or 'Die Zauberinsel' (Schack and others), 1790; 'Die Zauberflöte' (Mozart), 1791; 'Der wohlthätige Derwisch,' or 'Die Schellenkappe' (Schack, Gerl, and others), 1792; 'Die Eisenkönigin,' 'Die Waldmänner,' and 'Der Zauberpfeil' (Lickl), 1793; 'Der Spiegel von Arkadien' (Süssmayer), and 'Die Hirten am Rhein,' 1794; 'Der Scheerenschleifer' (Henneberg), 'Der Königssohn aus Ithaka' (A. F. Hoffmeister), and 'Der Hollenberg' (Wölffl), 1795; 'Der Tiroler Wastel' (Haibel), and a 2nd part 'Oesterreich's treue Brüder,' 1796; 'Das medizinische Consilium' (Haibel), 'Der Löwenbrunnen' (Seyfried), and 'Babylons Pyramiden' (Act. i. Gallus, Act. ii. Peter Winter), 1797; 'Das Labyrinth,' or 'Kampf mit den Elemeuten' (2nd part of 'Zauberflöte,' Winter), 1798; 'Die Ostindier vom Spittelberg'[1] (Seyfried, Stegmayer, etc.), 'Conrad Langbarth,' or 'Der Burggeist' (Henneberg), 'Minna und Peru,' or 'Königspflicht' (Act i. Henneberg, Act ii. Seyfried), and 'Der Wundermann am Wasserfall' (Seyfried), 1799; 'Amors Schiffchen' (Seyfried), 1800. At the Theater an-der-Wien—opening night—'Alexander' (Teyber) and 'Thespis Traum,' and 'Proteus und Arabiens Söhne' (Stegmayer),1801; 'Tsching! Tsching!' (Haibel), 1802; 'Die Entlarvten,' a continuation of the 'Waldmänner' (Anton Fischer), and 'Pfändung und Personalarrest' (Teyber), 1803; 'Der Stein der Weisen' (Schack and others), 1804; 'Swetards Zauberthal' (Fischer), 1805; 'Die Elsenkönigin' (Henneberg), and 'Die Kurgäste am Sauerbrunnen' (Anton Diabelli), Schikaneder's last piece, given for his benefit, 1806.
SCHILLING, Dr. Gustav, author of a book much esteemed in Germany, though little known in England—'Encyclopädie der gesammten musikalischen Wissenschaften, oder Universal Lexikon der Tonkunst.'[2] He was born Nov. 3, 1805, at Schwiegershausen, Hanover, where his father was clergyman. He was brought up at Göttingen and Halle, and in 1830 settled in Stuttgart as director of Stöpel's Music School. In 1857 he went to America, and is now living in Montreal. He has published several other works bearing on music, but none of the importance of that already mentioned. [App. p.785 "Add date of death, 1880."]
SCHIMON, Adolf, son of an Austrian artist, well-known for his portraits of Beethoven, Weber, Spohr, etc., was born on Feb. 29, 1820, at Vienna. At 16 he went to Paris and entered the Conservatoire as a pupil of Berton and Halévy. In 1844 he brought out an opera called Stradella at the Pergola in Florence. In 1850 he was in London, and took a provincial tour with Balfe, Reeves, and Clara Novello. From 1854 to 59 he was attached to the Italian opera in Paris, and in 1858 produced a comic opera, 'List um List,' which was successful in North Germany. In 1872 we find him again at Florence, where he married Miss Anna Regan. (See below.) From 1874 to 77 he was teacher of singing in the Conservatorium at Leipzig, and from thence was called to Munich, where he is now professor of singing in the Royal Music School. His original compositions embrace quartets, trios, and solos for the PF., and songs in various languages, and he has edited many vocal pieces by Scarlatti, Porpora, Paradies, and other old Italian masters. [App. p.785 "Add date of death, June 21, 1887."] His wife, Anna Regan-Schimon, was born at Aich, near Carlsbad, Sept. 18, 1841, and was brought up in the house of Dr. Anger in Carlsbad till 1859, when she was placed as a pupil with Mme. Schubert (née Maschinka-Schneider) in Dresden. In the following year she accompanied Mad. Sabatier-Ungher, the great contralto, to Florence, where she remained under the care of that eminent artist till Feb. 1864. During this time she made her first attempts on the stage at Siena, her success in which encouraged her in further study. From 1864 to 67 she was engaged at the Court theatre at Hanover. Then as Kamraersängerin to the Grand Duchess Helena in St. Petersburg, where she sang at three of the seven concerts given by Berlioz. In 1869 she visited London in company with her old friend and teacher, Mad. Sabatier, sang twice at the Philharmonic and three times at the Crystal Palace, and at Mr. C. Halle's Recitals, etc. From this time till 1875 she was frequently in England, widely-known and much liked for her exquisite delivery of Schubert's and other songs. In 1870 and 71 she visited Vienna with great success, and in 1873 married Dr. Schimon. Since then, excepting two brilliant tournées with Monbelli, Sivori, Trebelli, etc., in the winters of 1872 and 1873, she has almost retired from public appearance, save only at the Gewandhaus Concerts at Leipzig, where she is a regular and very favourite singer.
SCHINDELMEISSER, Louis, was born at Königsberg, Dec. 8, 1811, and educated at the Gymnasium at Berlin. Music he learned from a French musician named Hostié, and from Gährich. He first adopted the clarinet, but afterwards took a wider range. From 1832 to 1837 he filled Capellmeister's posts at Salzburg, Innspruck, Gratz, then at Berlin (Königstadt theatre), and at Pesth, where he remained for nine years. He at length came to an anchor as Court-capellmeister at Darmstadt, where he died March 30, 1864. His works embrace six operas—'Mathilde,' 'Ten happy days,' 'Peter von Szapary' (Pesth, 1839), 'Malvina' (Pesth, 1851), 'The Avenger,' 'Melusine'; an oratorio, 'S. Boniface'; an overture to 'Uriel Acosta,' and incidental music to various plays; Concerto for clarinet and orchestra; and a concertante for four clarinets and orchestra; songs, PF. pieces etc. The overture to 'Uriel Acosta' was much played in Germany, and was formerly often to be heard at the Crystal Palace.
