SCHINDLER, Anton, the devoted friend and biographer of Beethoven, was born in 1769 [App. p.785 "1796"] at Modl [App. p.785 "Medl"], Neustadt, Moravia, where his father was cantor and schoolmaster. He began the study of music and the violin early in life. While quite young he entered the Vienna University to study law, and assiduously kept up his music by practice in an amateur orchestra. His introduction to Beethoven took place accidentally in 1814, when he was asked to take a note from Schuppanzigh to the great composer. This was followed by a ticket to Schuppanzigh's concert, at which Schindler was recognised by Beethoven. Later in the year he played in Beethoven's two concerts of Nov. 29 and Dec. 2; early in 1815 he accepted a situation as teacher at Brunn, but being questioned by the police on his acquaintances at Vienna, and his papers not being in perfect order, he was detained for some weeks, and had to return to Vienna. Beethoven sent for him, and conversed with him on the subject. They met often, Schindler accompanied him in his walks and the intimacy increased until, early in 1819, on the recommendation of Dr. Bach, he became a kind of secretary to Beethoven, and at length, in 1822, took up his residence in the master's house. He then became conductor at the Josephstadt Theatre, where he studied several of Beethoven's great works under his own direction. Beethoven, however, at last began to tire of his young friend, and after much unpleasantness, in 1824, after the failure of the concert of May 23, the breach came. Beethoven behaved with great violence and injustice, and Schindler was driven from him till Dec. 1826, when he arrived in Vienna from Gneixendorf to die. Schindler at once resumed his position, attended him with devotion till his death, wrote several [1]letters to Moscheles on the details of the event, and in company with Breuning took charge of Beethoven's papers. Breuning died, and then the whole came into Schindler's hands.
In 1831 he wrote some interesting articles on Beethoven and Schubert in Bäuerle's Theaterzeitung. In December he left Vienna and became capellmeister to the cathedral at Münster, a post which he exchanged four years later for that of music director at Aix-la Chapelle. After some years he relinquished this, became first a private teacher and then went entirely into private life. He lived in various towns of Germany, and at length in Bockenheim, near Frankfort, where he died Jan. 16, 1864.
His book on Beethoven was entitled 'Biographie von Ludwig van Beethoven. Mit dem Porträt Beethoven's und zwei Facsimilen' (Münster, 1840, 1 vol. 8vo).[2] This was followed by 'Beethoven in Paris … ein Nachtrag zur Biographie Beethoven's' etc. (Münster, 1842; 1 thin vol. 8vo.) and that by a second edition of the 'Biographie' with additions (Münster, 1845 1 vol. 8vo.). The third, and last, edition appeared in 1860—'Dritte, neu bearbeitete und vermelirte Auflage' (Münster, 1860; in 2 vols.), with a portrait and 2 facsimiles. Being so long about Beethoven he accumulated many autographs and other papers and articles of interest, and these were disposed of to the library at Berlin for an annuity. His sister was a singer, who in the year 1830 was engaged at the Königstadt Theatre, Berlin.
Schindler has been the object of much obloquy and mistrust, but it is satisfactory to know, on the authority of Mr. Thayer, that this is unfounded, and that his honesty and intelligence are both to be trusted. The article in which this is set forth at length and conclusively, arrived too late to be inserted here, but will be printed in the Appendix. The well-known story of his visiting card being engraved 'A. Schindler, Ami de Beethoven,' turns out to be a mere joke.
SCHIRA,[3] Francesco, long resident and esteemed in London as composer, conductor, and professor of singing, was born at Malta, Sept. 19, 1815, received his early education at Milan,[4] and was placed at the age of nine (1824) in the Conservatorio, where he learned counterpoint under Basily, principal of that institution. At 17, having completed his studies, Francisco was commissioned to write an opera for the Scala, which was produced Nov. 17, 1832. That 'Elena e Malvina'[5] won favourable recognition may be inferred from the fact that a Lisbon impresario being at Milan, with the object of forming a company for the Santo Carlos, contracted an engagement with Schira for the forthcoming season as 'Maestro Direttore, Compositore e Conduttore della Musica.' He remained eight years in the Portuguese capital, where he was also appointed Professor of Harmony and Counterpoint at the Conservatory, composing 'I Cavalieri di Valenza' and 'Il Fanatico per la Musica,' for the Santo Carlos, besides ballets, cantatas, etc. During his stay in Portugal he occasionally conducted operatic performances at the Teatro della Città di Oporto.
In January 1842 Schira quitted Lisbon for Paris, with the idea of obtaining some book in the French language which he might set to music. In Paris he made the acquaintance of Mr. Maddox, then in quest of artists for the Princess's Theatre.[6] This led to an offer from the London manager, and Schira was appointed director of music and orchestral chief at that establishment. On Monday, Dec. 26, 1842, the Princess's opened as a lyric theatre, and Schira's appearance at the conductor's desk was his first introduction to the English public. The opera chosen was an English version of 'La Sonnambula,' the leading characters sustained by Mme. Eugenie Garcia, Mme. Feron, Mr. Templeton, Mr. Walton and Mr. Weiss;
- ↑ Printed in Moscheles's Life, i. 145–179.
- ↑ This is the book which was translated or adapted by Moscheles (London. Colburn, 1841), strange to say with no mention of Schindler on the title-page.
- ↑ The name is sometimes spelt Schirra.
- ↑ He was the youngest of four children, two of them sisters. The 'Biographie Universelle des Musiciens' makes Francesco die of cholera at Lisbon; but Pougin ('Supplement et Complement') more correctly attributes that fate to Vincenzo, the elder, whom Fétis does not mention, confounding the two together as one.
- ↑ Pougin gives that opera to Vincenzo, but a printed copy of the libretto (in our possession) states explicitly 'musica del maestro Francesco Schira.'
- ↑ Previously known as the Oxford Street Theatre.
