important works early in this year, the Overture in for 4 hands (op. 34); also the Sonata in B♭ (op. 30), and the Variations in A♭ (op. 35), both for 4 hands; and the String Quartet in A minor (op. 29)—fruits of his sojourn in Hungary. The last of these, the only quartet he was destined to publish during his life, is dedicated 'to his friend I. Schuppanzigh,' a pleasant memorial of the acquaintance cemented by the performance of the octet, a twelvemonth before. And as on such publications some amount of money passes from the publisher to the composer, this fact of itself would contribute to enliven and inspirit him. In addition to these instrumental works some noble songs were issued in the early part of 1825—'Der zürnenden Diana,' and the 'Nachtstück,' of Mayrhofer; 'Der Pilgrim' and 'Der Alpenjager,' of Schiller; and Zuleika's second song. The two beautiful solo sonatas in A minor and in C—the latter of which he never succeeded in completely writing out, but the fragment of which is of first-rate quality—also date from this time.
As if to revenge himself for his sufferings at the Esterhazys', he planned an extensive tour for this summer, in his favourite district, and in the company of his favourite friend. Vogl on March 31 started for his home at Steyr. Schubert [1]soon followed him, and the next five months, to the end of October, were passed in a delightful mixture of music, friends, fine scenery, lovely weather, and absolute ease and comfort, in Upper Austria and the Salzkammergut, partly amongst the good people who had welcomed him so warmly in 1819, partly among new friends and new enthusiasm. Taking Steyr as their point d'appui they made excursions to Linz, Steyreck, Gmunden, Salzburg, and even as far as Gastein, etc., heartily enjoying the glorious scenery by day, received everywhere on arrival with open arms, and making the best possible impression with their joint performances. The songs from 'The Lady of the Lake,' were either composed before starting or on the road. At any rate they formed the chief programme during the excursion. If the whole seven were sung or not is [2]uncertain; but Schubert particularly mentions the 'Ave Maria,' à propos to which he makes an interesting revelation. 'My new songs,' says he, 'from Walter Scott's Lady of the Lake, have been very successful. People were greatly astonished at the devotion which I have thrown into the Hymn to the Blessed Virgin, and it seems to have seized and impressed everybody. I think that the reason of this is that I never force myself into devotion, or compose hymns or prayers unless I am really overpowered by the feeling; that alone is real, true devotion.' It is during this journey, at Salzburg, that he makes the remark, already noticed, as to the performance of Vogl and himself. At Salzburg too.it was the 'Ave Maria' that so rivetted his hearers. 'We produced our seven pieces before a select circle, and all were much impressed, especially by the Ave Maria, which I mentioned in my former letter. The way in which Vogl sings and I accompany, so that for the moment we seem to be one, is something quite new and unexpected to these good people.' Schubert sometimes performed alone. He had brought some variations and marches for 4 hands with him, and finding a good player at the convents of Florian and Kremsmünster, had made a great effect with them. But he was especially successful with the lovely variations from the solo Sonata in A minor (op. 42); and here again he lets us into his secret. 'There I played alone, and not without success, for I was assured that the keys under my hands sang like voices, which if true makes me very glad, because I cannot abide that accursed thumping, which even eminent players adopt, but which delights neither my ears nor my judgment.' He found his compositions well known throughout Upper Austria. The gentry fought for the honour of receiving him, and to this day old people are found to talk with equal enthusiasm of his lovely music, and of the unaffected gaiety and simplicity of his ways and manners.
The main feature of the tour was the excursion to Gastein in the mountains of East Tyrol. To Schubert this was new ground, and the delight in the scenery which animates his description is obvious. They reached it about Aug. 18, and appear to have remained three or four weeks, returning to Gmunden about Sept. 10. At Gastein, among other good people, he found hia old ally Ladislaus Pyrker, Patriarch of Venice, and composed two songs to his poetry, 'Heimweh' and 'Allmacht' (op. 79). But the great work of this date was the 'Grand Symphony' which had been before him for so long. We found him 18 months ago writing quartets and the octet as preparation for it, and an allusion in a letter[3] of Schwind's shows that at the beginning of August he spoke of the thing as virtually done. That it was actually put on to paper at Gastein at this date we know from the testimony of [4]Bauernfeld, who also informs us that it was a special favourite with its composer. Seven songs in all are dated in this autumn, amongst them two fine scenes from a play by W. von Schütz called 'Lacrimas' (op. 124), not so well known as they deserve.
The letters of this tour, though not all preserved, are unusually numerous for one who so much disliked writing. One long one to his father and mother; another, much longer, to Ferdinand; a third to Spaun, and a fourth to Bauernfeld, are printed by Kreissle, and contain passages of real interest, showing how keenly he observed and how thoroughly he enjoyed nature, and displaying throughout a vein of good sense and even [5]practical sagacity, and a facility of expression, which are rare in him.
- ↑ The dates of the early part of the tour are not to be made out.
- ↑ Schubert speaks of them as 'unsere sieben Sachen' (Letter to Ferdinand. Kreissle 363); but Nos. 3 and 4 are for chorus.
- ↑ K. H. 358 (ii. 43). 'To your Symphony we are looking forward eagerly,' implying that Schubert had mentioned it in a former letter.
- ↑ W.Z.K., June 9–13, 1829.
- ↑ See his shrewd reasons for not at once accepting Bauernfeld's proposition that he, Schwind and Schubert should all live together. K. H. 370 (ii. 57). Also the whole letter to Spaun.
