the year following, 1816, he experienced the
novelty of having composed for money, a cantata of his having not only
been performed upon the occasion of Salieri's fiftieth anniversary of
life in Vienna, but money was sent him for it, 100 florins, Vienna
money, about $20 American. He was already composing operas, and in
1816 there was one, "_Die Burgschaft_," in three acts. In the same
year there were two symphonies, the fourth in C minor, called "The
Tragic," and the fifth for small orchestra. The songs of this year,
however, were of more value. Among them were the "Wanderer's Night
Song," the "Fisher," the "Wanderer" and many others now known wherever
melody and dramatic quality are appreciated.

The rapidity with which he composed songs was incredible. October,
1815, he finds the poems of Rosegarten, and between the 15th and 19th
sets seven of them. "Everything that he touched," says Schumann,
"turned into music." At a later date, calling upon one of his friends,
he found certain poems by Wilhelm Mueller, and carried them off with
him. A few days later, his friend desiring the book, called on
Schubert for it, and found that he had already set a number of them to
music. They were the songs of the "_Schoene Muellerin_." A year or so
after, returning from a day in the country, they stopped at a tavern,
where he found a friend with a volume of Shakespeare open before him.
Schubert took up the volume, turned a few pages, became interested in
one of the pieces, took up some waste paper, and scribbling the lines
proceeded to write a melody. This was the so-called "Shakespeare
Serenade," "Hark, Hark, the Lark." The "Serenade," in D minor, is said
to have been conceived in a similarly impromptu manner. In 1816 the
great tenor, Vogl, made Schubert's acquaintance, having been brought
by one of Schubert's admirers. At first the songs did not make much
impression upon him; later they grew upon him, and he introduced them
among the best circles of the Vienna aristocracy. Vogl appreciated the
value of these songs. "Nothing," said he, "so shows the want of a good
school of singing as Schubert's songs. Otherwise, what an enormous and
universal effect must have been produced throughout the world,
wherever the German language is understood, by these truly divine
inspirations, these utterances of musical clairvoyance. How many would
have comprehended for the first time the meaning of such terms as
speech and poetry in music; words in harm