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Item Description
1 Item Set or Lot of "SONG OF LOVE" from the Broadway Stage Production Operetta Blossom Time; by Dorothy Donnelly, Franz Schubert, Heinrich Berte and Sigmund Romberg; Arranged by Hugo Frey Sheet Music. Includes:
ITEM 1.) Dorothy Donnelly, Franz Schubert, Heinrich Berte, Sigmund Romberg; Hugo Frey, Arranger; Song Of Love; Complete Sheet Music; Piano / Vocal; 1947; Leo Feist #7624;
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From the Operetta Blossom Time;
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Small Format;
English Throughout;
Front Cover Artwork featuring a mother playing a piano as a boy watches;
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Simplified Piano Solo with Big Notes and Words;
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Preprinted Cover Price of $ .40;
Inside Front Cover has first page of music;
No Title Page or Table of Contents;
Song of Love; Music adapted from Melodies of Franz Schubert and Heinrich Berte by Sigmund Romberg; Lyric by Dorothy Donnelly; Arrangement by Hugo Frey;
1 Tune Total;
2 pages of music with lyrics;
Inside rear cover is last page of music;
Rear Cover has ad for "Simplified Piano Solos With Big Notes and Words";
Published by Leo Feist, Inc.; New York, New York; Located in the Famous Brill Building; Copyright 1921, 1947;
Condition Good for age and the fact that it was on display for some time; Covers Show Storage Wear; Pages Clean, Tight and Unmarked; Front Cover Rubber Stamped for HMC;
The primary item was part of the collection of Henry J. Hauschild Jr., who billed himself as a “Physiognomist – Bibliopolist – Cognoscente di Eccellentissimoâ€, and was the very proud owner of the world famous "Nose Gallery†at “The Oldest House†in Victoria, Texas. Henry Senior founded the Hauschild Music Company which was later owned by his 8 children and eventually the four brothers before being closed in 1980; After the Opera House Restaurant failed, the space became the Bible Book Store and later Opera House Antiques; This item was part of the leftover inventory of the Music Store and at one time was on consignment at the Bible Book Store;
"Musicologist and historian, Delmer Rogers, longtime member of the staff of the Department of Music at the University of Texas, is of the opinion that the Hauschild Music Company, founded in Victoria, Texas in 1891, was the second oldest institution to commercially publish sheet music in Texas. (Thos. Goggan of Houston being the first.) Also, his extensive research indicates that Hauschild's was the first in Texas to issues music with Spanish titles. About thirty were published, many by talented writers, and sold in large numbers. In addition, probing seems to prove that Hauschilds was the first to publish the efforts of several of the music-loving Germans of the area. Most interesting, too, is that the spritely composition, the Cowboy Rag offered in 1904 possibly was the purcursor of this genre of popular music." taken from "The Cognoscenti Collections";
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NOTE: GENERIC PHOTO - REPRESENTATIVE, BUT NOT the actual item in this lot;
HISTORICAL NOTE: "Dorothy Donnelly (Jan. 28, 1880 - Jan. 3, 1928) was a stage actress, playwright, producer, librettist, & lyricist. She made famous the play Madame X on the Broadway stage in 1910 & in a 1916 silent film, the 1st filming of the story. She is the subject of a 1999 book by Lorraine McLean Dorothy Donnelly: A Life in the Theatre. Donnelly's parents were Thomas Lester Donnelly, manager of the Grand Opera House in New York, & his wife Sarah (nee Williams). Donnelly attended the Convent of the Sacred Heart in New York. Donnelly was born in New York City where she died. She never married, but did collaborate with composer Sigmund Romberg on a number of musicals, including, most famously, The Student Prince. Selected Works: (actress in films): The Thief (1914); Sealed Valley (1915); Madame X (1916).";
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HISTORICAL NOTE: "Franz Peter Schubert; Jan. 31, 1797 – Nov. 19, 1828) was an Austrian composer. Although he died at an early age, Schubert was tremendously prolific. He wrote some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, & a large body of chamber & solo piano music. Appreciation of his music during his lifetime was limited, but interest in Schubert's work increased dramatically in the decades following his death at the age of 31. Franz Liszt, Robert Schumann, Johannes Brahms & Felix Mendelssohn, among others, discovered & championed his works in the 19th Century. Today, Schubert is admired as one of the leading exponents of the early Romantic era in music & he remains one of the most frequently performed composers. Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna on Jan. 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, & had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, & his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music. At the age of five, Schubert began receiving regular instruction from his father & a year later was enrolled at his father's school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin, & his brother Ignaz gave him piano lessons. At 7, Schubert began receiving lessons from Michael Holzer, the local church organist & choirmaster. Holzer's lessons seem to have mainly consisted of conversations & expressions of admiration & the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand & Ignaz on violin & his father on the cello. Schubert wrote many of his early string quartets for this ensemble. Schubert 1st came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized. In Oct. 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures & symphonies of Mozart. His exposure to these pieces & various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an important Lied composer of the time, which, his friend Joseph von Spaun reported, he "wanted to modernize". Schubert's friendship with Spaun began at the Stadtkonvikt & endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper. Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, & Salieri decided to begin training him privately in musical composition & theory in these years. It was the 1st germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte &, among his more ambitious efforts, a Kyrie (D. 31) & Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar & male voices (D. 110, in honor of his father's birthday in 1813), & his 1st symphony (D. 82). At the end of 1813, he left the Stadtkonvikt, & returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father's school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri & Schubert would part ways in 1817. In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina & Tantum Ergo) were composed for her voice, & she also performed in the premiere of his 1st Mass (D. 105) in Sept. 1814. Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In Nov. 1816, after failing to gain a position at Laibach, Schubert sent Grob's brother Heinrich a collection of songs, which were retained by her family into the 20th century. One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, & about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner & Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814. Some scholars, such as Maynard Solomon, have suggested that Schubert was erotically attracted to men, a thesis that has at times been heatedly debated. Significant changes happened in 1816. Schober, a student of good family & some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, & he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, & he devoted himself to composition. "I compose every morning, & when one piece is done, I begin another." During this year, he focused on orchestral & choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts & copies circulated among friends & admirers. In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music. These, & an increasing circle of friends & musicians, became responsible for promoting, collecting, &, after his death, preserving, his work. In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father & reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, & the 1st public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna & abroad. Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano & singing to the two daughters, Marie & Karoline), & the pay was relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. Marie & Karoline both being his piano students, & the original score of "Marche Militaire" being a piano duet, lend credence to this view. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet. The tight circle of friends that Schubert surrounded himself with was dealt a blow in early 1820. Schubert & four of his friends were arrested by the Austrian secret police, who were suspicious of any type of student gatherings. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, & then permanently banned from Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting & opprobrious language". While Schubert never saw Senn again, he did set some of his poems, "Selige Welt" & "Schwanengesang", to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time. He was nicknamed "Schwämmerl" by his friends, which Gibbs describes as translating "Tubby" or "Little Mushroom". "Schwammerl" is Austrian (& other) dialect for mushroom; the umlaut makes it a diminutive. The compositions of 1819 & 1820 show a marked advance in development & maturity of style. The unfinished oratorio "Lazarus" (D. 689) was begun in Feb.; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), & the "Wanderer Fantasy" for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert's operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on June 14, & Die Zauberharfe (D. 644) appeared at the Theater an der Wien on August 21. Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The 1st seven opus numbers (all songs) appeared on these terms; then the commission ceased, & he began to receive the meager pittances which were all that the great publishing houses ever accorded to him. The situation improved somewhat in March 1821 when Vogl sang "Der Erlkönig" at a concert that was extremely well received. That month, he composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein. The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. In 1822, Alfonso & Estrella was refused, partly owing to its libretto. Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini & the Italian operatic style, & the failure of Carl Maria von Weber's Euryanthe. Die Verschworenen (The Conspirators, D. 787) was prohibited by the censor (apparently on the grounds of its title), & Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, & Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber & Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man's gifts on a few occasions, but some of this is likely legend & in any case he could not have known the real scope of Schubert's music - especially not the instrumental works - as so little of it was printed or performed in the composer's lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man's works & exclaimed, "Truly, the spark of divine genius resides in this Schubert!" but what would have come of it if he had recovered we can never know. In the autumn of 1822, Schubert embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements & sketches some way into a 3rd remains an enigma, & it is also remarkable that he didn't mention it to any of his friends even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving here. In 1823 Schubert, in addition to Fierrabras, also wrote his 1st song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller. This series, together with the later cycle "Winterreise" (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder. He also composed the song Du bist die Ruh ("You are stillness/peace") D. 776 during this year. Also in that year, symptoms of syphilis 1st appeared. In the spring of 1824 he wrote the Octet in F (D. 803), "A Sketch for a Grand Symphony"; & in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, & wrote the Divertissement à la hongroise (D. 818) for piano duet & the String Quartet in A minor (D. 804). It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his Fantasie in F minor (D. 940) for piano duet. His friend Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments: In love with a Countess of youthful grace, —A pupil of Galt's; in desperate case Young Schubert surrenders himself to another, And fain would avoid such affectionate pother. Despite his preoccupation with the stage, & later with his official duties, he found time during these years for a significant amount of composition. He completed the Mass in A flat (D. 678) &, in 1822, began the "Unfinished Symphony" (Symphony No. 8 in B minor, D. 759). Why the symphony was "unfinished" has been debated endlessly without resolution. In 1824, he wrote the variations for flute & piano on "Trockne Blumen", from the cycle Die schöne Müllerin, & several string quartets. He also wrote the Arpeggione Sonata (D. 821), at a time when there was a minor craze over that instrument. The setbacks of previous years were compensated for by the prosperity & happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; & in the summer he had a pleasant holiday in Upper Austria, where he was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains Ellens dritter Gesang (D. 839), a setting of Adam Storck's German translation of Scott's hymn from The Lady of the Lake, which is widely, though mistakenly, referred to as "Schubert's Ave Maria". It opens with the greeting Ave Maria, which recurs in the refrain; the entire Scott/Storck text in Schubert's song is frequently substituted with the complete Latin text of the traditional Ave Maria prayer. In 1825, Schubert also wrote the Piano Sonata in A minor (Op. 42, D. 845), & began the "Great" C major Symphony (Symphony No. 9, D. 944), which was completed the following year. From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz in 1827. The history of his life during these three years was relatively uneventful, & is little more than a record of his compositions. In 1826, he dedicated a symphony (D. 944, that later came to be known as the "Great") to the Gesellschaft der Musikfreunde & received an honorarium in return. In the spring of 1828, he gave, for the 1st & only time in his career, a public concert of his own works, which was very well received. The compositions themselves are a sufficient biography. The String Quartet in D minor (D. 810), with the variations on "Death & the Maiden", was written during the winter of 1825–1826, & 1st played on 25 Jan. 1826. Later in the year came the String Quartet in G major, (D. 887, Op. 161), the "Rondeau brillant" for piano & violin (D. 895, Op. 70), & the Piano Sonata in G (D. 894, Op. 78) (1st published under the title "Fantasia in G"). To these should be added the three Shakespearian songs, of which "Hark! Hark! the Lark" (D. 889) & "An Sylvia" (D. 891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening. In 1827, Schubert wrote the song cycle Winterreise (D. 911), a colossal peak of the art of art song ("remarkable" was the way it was described at the Schubertiades), the Fantasia for piano & violin in C (D. 934), the Impromptus for piano, & the two piano trios (the 1st in B flat (D. 898), & the 2nd in E flat, D. 929); in 1828 the Mirjams Siegesgesang (Song of Miriam, D. 942) on a text by Franz Grillparzer, the Mass in E-flat (D. 950), the Tantum Ergo (D. 962) in the same key, the String Quintet in C (D. 956), the second Benedictus to the Mass in C, the last three piano sonatas, & the collection of songs published posthumously as Schwanengesang ("Swan-song", D. 957). This collection, while not a true song cycle, retains a unity of style amongst the individual songs, touching depths of tragedy & of the morbidly supernatural which had rarely been plumbed by any composer in the century preceding it. Six of these are set to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. The Symphony No. 9 (D. 944) is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825 - that work, once considered lost, now is generally seen as an early stage of his C major symphony) & was revised for prospective performance in 1828. This was a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for most of his larger-scale works during his lifetime. In the last weeks of his life, he began to sketch three movements for a new Symphony in D (D. 936A). The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche & human relationships, & with a deeper sense of spiritual awareness & conception of the 'beyond'. He reaches extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles. For example, the song Der Doppelgänger reaching an extraordinary climax, conveying madness at the realization of rejection & imminent death - a stark & visionary picture in sound and words that had been prefigured a year before by "Der Leiermann" (The Hurdy-Gurdy Man) at the end of Winterreise - & yet the composer is able to touch repose & communion with the infinite in the almost timeless ebb & flow of the String Quintet and his last three piano sonatas, moving between joyful, vibrant poetry & remote introspection. Even in large-scale works he was sometimes using increasingly sparse textures; Newbould compares his writing in the fragmentary Tenth Symphony (D.936A), probably the work of his very last two months) with Mahler's use of folksong-like harmonics & bare soundscapes. Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony & counterpoint, & had actually made appointments for lessons with the counterpoint master Simon Sechter.In the midst of this creative activity, his health deteriorated. The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis. By the late 1820s Schubert's health was failing & he confided to some friends that he feared that he was near death. In the late summer of 1828, the composer saw court physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure & likely to die soon. Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it). At the beginning of November he again fell ill, experiencing headaches, fever, swollen joints, & vomiting. He was generally unable to retain solid food & his condition worsened. Schubert died in Vienna, at age 31, on Nov. 19, 1828, at the apartment of his brother Ferdinand. The last musical work he had wished to hear was Beethoven's String Quartet No.14 in C sharp minor, Op. 131; his friend, violinist Karl Holz, who was present at the gathering, 5 days before Schubert's death, commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing". It was next to Beethoven, whom he had admired all his life, that Schubert was buried by his own request, in the village cemetery of Währing. In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark. In 1888, both Schubert's & Beethoven's graves were moved to the Zentralfriedhof, where they can now be found next to those of Johann Strauss II & Johannes Brahms. The cemetery in Währing was converted into a park in 1925, called the Schubert Park, & his former grave site was marked by a bust. Schubert wrote almost 1000 works in a remarkably short career. The largest number (over 600) of these are songs. He wrote seven complete symphonies, as well as the two movements of the "Unfinished" Symphony, a complete sketch (with partial orchestration) of a ninth, & arguable fragments of a 10th. There is a large body of music for solo piano, including 21 complete sonatas & many short dances, & a relatively large set of works for piano duet. There are nearly 30 chamber works, including some fragmentary works. His choral output includes six masses. He wrote only five operas, & no concertos. In July 1947 the 20th-century composer Ernst Krenek discussed Schubert's style, abashedly admitting that he at 1st "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power & searching intelligence which distinguished such 'real' masters as Bach or Beethoven". Krenek wrote that he reached a completely different assessment after close study of Schubert's songs at the urging of friend & fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, & did not care, about the craft of composition." Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" & revealed Schubert as "far from satisfied with pouring his charming ideas into conventional molds; on the contrary he was a thinking artist with a keen appetite for experimentation."That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms & genres, including opera, liturgical music, chamber & solo piano music, & symphonic works. Perhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation, as in the 2nd movement of the String Quintet, where he modulates from C major, through E major, to reach the tonic key of C♯ major. It also appears in unusual choices of instrumentation, as in the Arpeggione Sonata or the unconventional scoring of the Trout Quintet. If it not infrequently led Schubert up blind alleys, resulting in fragmentary works, it also enabled him to create music unlike anything that had come before, such as his two song cycles of unprecedented scope. While he was clearly influenced by the Classical sonata forms of Beethoven & Mozart (his early works, among them notably the 5th Symphony, are particularly Mozartean), his formal structures & his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form & long-breathed Romantic melody sometimes lends them a discursive style: his 9th Symphony was described by Robert Schumann as running to "heavenly lengths". His harmonic innovations include movements in which the 1st section ends in the key of the subdominant rather than the dominant (as in the last movement of the Trout Quintet). Schubert's practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end. It was in the genre of the Lied, however, that Schubert made his most indelible mark. Plantinga remarks, "In his more than six hundred Lieder he explored & expanded the potentialities of the genre as no composer before him." Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities burgeoned by the stirrings of Romantic nationalism. Among Schubert's treatments of the poetry of Goethe, his settings of Gretchen am Spinnrade & Der Erlkönig are particularly striking for their dramatic content, forward-looking uses of harmony, & their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel & treadle in the piano in Gretchen and the furious & ceaseless gallop in Erlkönig. Also of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin & Winterreise, which helped to establish the genre & its potential for musical, poetic, & almost operatic dramatic narrative. The Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing or hear without being deeply moved". AntonÃn Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder & shorter piano works: "The tendency of the romantic school has been toward short forms, & although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated. [...] Schubert created a new epoch with the Lied. [...] All other songwriters have followed in his footsteps." Schubert's compositional style progressed rapidly throughout his short life. The loss of potential masterpieces caused by his early death at 31 was perhaps best expressed in the epitaph on his large tombstone written by the poet Franz Grillparzer, "Here music has buried a treasure, but even fairer hopes." Schubert's chamber music continues to be popular. In a poll of classical music listeners announced in Oct. 2008, the ABC in Australia found that Schubert's chamber works dominated the field, with the Trout Quintet coming 1st, followed by two of his other works. The New York Times music critic, Anthony Tommasini, who ranked Schubert as the 4th greatest composer wrote, "Four? Schubert. You have to love the guy, who died at 31, ill, impoverished & neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone — including the haunting cycle “Winterreise,†which will never release its tenacious hold on singers & audiences — Schubert is central to our concert life.... Schubert’s 1st few symphonies may be works in progress. But the “Unfinished†& especially the Ninth Symphony are astonishing. The Ninth paves the way for Bruckner & prefigures Mahler.". Some of his smaller pieces were printed shortly after his death, but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets & file boxes of Schubert's family, friends, & publishers. Even some of Schubert's friends were unaware of the full scope of what he wrote, & for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts. In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major symphony (the "Great", D. 944) & took it back to Leipzig, where it was performed by Felix Mendelssohn & celebrated in the Neue Zeitschrift. The most important step towards the recovery of the neglected works was the journey to Vienna which Sir George Grove (widely known for the Grove Dictionary of Music & Musicians) & Arthur Sullivan made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the Rosamunde incidental music, some of the Masses & operas, some of the chamber works, & a vast quantity of miscellaneous pieces & songs. This led to more widespread public interest in Schubert's work. From the 1830s through the 1870s, Franz Liszt transcribed & arranged a number of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived." Schubert's symphonies were of particular interest to AntonÃn Dvořák, with Hector Berlioz & Anton Bruckner acknowledging the influence of the "Great" Symphony. In 1897, the publisher Breitkopf & Härtel released a critical edition of Schubert's works, under the general editing of Johannes Brahms, enabling a wider dissemination of his music. In the 20th century, composers such as Benjamin Britten, Richard Strauss, & George Crumb either championed or paid homage to Schubert in their work. Britten, an accomplished pianist, accompanied many of Schubert's Lieder & performed many piano solo & duet works. Confusion arose quite early over the numbering of Schubert's symphonies, in particular the "Great" C Major Symphony. George Grove, who rediscovered many of Schubert's symphonies, assigned the following numbering after his 1867 visit to Vienna:
Number 7: E major D. 729 (completely sketched but not completely scored by Schubert, with multiple historic and modern completions)
Number 8: B minor Unfinished D. 759
Number 9: C major Great D. 944
Breitkopf & Härtel, when preparing the 1897 complete works publication, originally planned to only publish complete works (which would have given the Great number 7), with "fragments", including the Unfinished & the D. 729 sketch, receiving no number at all. When Johannes Brahms became general editor of that project, he assigned the following numbers:
Number 7: C major Great
Number 8: B minor Unfinished
no number: E major D. 729
Some of the disagreement continued into the 20th century. George Grove in his 1908 Dictionary of Music & Musicians, assigned the Great as number 10, & the Unfinished as number 9. (It is unclear from his article which symphonies, fragmentary or otherwise, are numbers 7 & 8.) However, the Unfinished is now generally referred to as number 8 in the English-speaking world, with the Great at number 9. Number 10 is generally acknowledged to be the D. 936a fragment, for which a completion by Brian Newbould exists. The 1978 revision to the Deutsch catalog leaves D. 729 without a number (in spite of numerous completions), & assigns number 7 to the Unfinished & number 8 to the Great. As a consequence, generally available scores for the later symphonies may be published using conflicting numbers. Grove & Sullivan also suggested that there may have been a "lost" symphony. Immediately before Schubert's death, his friend Eduard von Bauernfeld recorded the existence of an additional symphony, dated 1828 (although this does not necessarily indicate the year of composition) named the "Letzte" or "Last" symphony. Brian Newbould believes that the "Last" symphony refers to a sketch in D major (D. 936A), identified by Ernst Hilmar in 1977, & which was realised by Newbould as the Tenth Symphony. The fragment was bound with other symphony fragments (D. 615 & D. 708a) that Schubert had apparently intended to combine. In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals & performances dedicated to his music. In Vienna, there were ten days of concerts, & the Emperor Franz Joseph gave a speech recognizing Schubert as the creator of the art song, & one of Austria's favorite sons. Karlsruhe saw the 1st production of his opera Fierrabras. In 1928, Schubert week was held in Europe & the US to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, & on radio stations. A competition, with top prize money of $10,000 & sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, & dedicated to his memory". The winning entry was Kurt Atterberg's 6th symphony. In 1977, the German electronic band Kraftwerk recorded a tribute song called "Franz Schubert", which can be found on the album Trans-Europe Express. Since relatively few of his works were published in Schubert's lifetime, only a small number of them have opus numbers assigned, &, even in those cases, the sequence of the numbers does not give a good indication of the order of composition. In 1951, musicologist Otto Erich Deutsch published a "thematic catalogue" of Schubert's works that lists his compositions numerically by their composition date.";
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HISTORICAL NOTE: "Hugo Frey: Birth: 26 Aug. 1873, Chicago, Illinois, USA; Death: 13 Feb. 1952, New York City, New York, USA. Composer, songwriter, conductor, arranger, violist & pianist, educated at the Chicago Conservatory & a student of Luigi van Kunits. He was a violist with the Listemann Sring Quartet between 1896 & 1898, & then a pianist for the Red Path Grand Concert Company in 1898-1899. He conducted & arranged for dance orchestras & for musical stage productions, & wrote the stage score for the Chicago production of "The Elopers". He conducted & arranged for Victor Phonograph Company recording sessions between 1916 & 1924, & from 1921 he was on the staff of music-publishing companies in New York. Joining ASCAP as a charter member in 1914, his popular-song compositions include "Havanola", "Rockin' the Boat", "Yodel Dodel Doh", "Sarah from Sahara", "When You Come Back", "American's Creed", & "On the Home Front.";
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