would do so still more if
he could get the music paper. Spaun saw the state of affairs, and took
care thereafter that the music paper should be forthcoming. In time
Franz became first violin, and when the conductor was absent, took his
place. The orchestral music delighted him greatly, and of the Mozart
adagio, in the G minor symphony, he said that "you could hear the
angels singing." Among other works which particularly delighted him
were the overtures to the "Magic Flute" and "Figaro." The particular
object of his reverence was Beethoven, who was then at the height of
his fame, but he never met the great master more than once or twice.
Once when a few boyish songs had been sung to words by Klopstock,
Schubert asked his friend whether _he_ could ever do anything after
Beethoven. His friend answered, perhaps he could do a great deal. To
which the boy responded: "Perhaps; I sometimes have dreams of that
sort; but who can do anything after Beethoven?" The boy made but small
reputation for scholarship in the school, after the thirst for
composition had taken possession of him, which it did when he had been
there but one year. One of his earliest compositions was a fantasia
for four hands, having about thirteen movements of different
character, occupying about thirty-two pages of fine writing. His
brother remarks that not one ends in the key in which it began. He
seems to have had a passion for uncanny subjects, for the next work of
his is a "Lament of Hagar," of thirteen movements in different keys,
unconnected. After this again, a "Corpse Fantasia" to words of
Schiller. This has seventeen movements, and is positively erratic in
its changes of key. It is full of reminiscences of Haydn's "Creation"
and other works. The musical stimulation of this boy was meager
indeed. Not until he was thirteen years of age did he hear an opera;
and not until he was fifteen a really first-class work, Spontini's
"Vestal," in 1812. Three years later he probably heard Gluck's
"_Iphigenie en Tauride_," a work which in his estimation eclipsed them
all. During the same year there were the sixth and seventh symphonies,
the choral fantasia and portions of the mass in C, and the overture to
"Coriolanus," of Beethoven. He was a great admirer of Mozart, and in
his diary, under date of June 13, 1816, he speaks of a quintette:
"Gently, as if out of a distance, did the magic tones of Mozart's
music strike my ears. With what inconceivable alternate force a