er to sing, whilst Heinrich Grob played both the
pianoforte and the 'cello, with the result that many evenings were
passed in musical enjoyment. His circle of admirers at the Convict,
too, were always eager to welcome every new piece that he found time
to compose. Nor had he forgotten his old friend and master Holzer, the
organist and choir-master at the Lichtenthal Church, who had been the
first to acknowledge his talents. Schubert regularly attended the
church, and this fact, combined with his affection for the old
organist, led to his writing his first Mass for performance by the
church choir. The performance, on October 16, 1814, excited so much
interest that it was repeated on the 26th of the same month at the
Augustine Church. The latter occasion was one not likely to be soon
forgotten by those who were present. Franz conducted, the choir being
led by Holzer, whilst Ferdinand presided at the organ, and Therese
Grob sang the part for first solo voices. Amongst the audience was
Antonio Salieri, Court Capellmeister at Vienna, whom Beethoven had
acknowledged as his master, and who now, having praised Schubert
warmly for his work, declared that the latter should henceforth be his
pupil. Every one was delighted, and the father felt so proud and happy
that he signalised the event by presenting Franz with a five-octave
piano. To be able to rank himself with Beethoven as 'scholar of
Salieri' was indeed a high reward for Schubert, and the old man was
as good as his word, for he gave his new pupil daily lessons for a
considerable time.

[Illustration: '_Many evenings were passed in musical
enjoyment._']

The year 1814 did not close without witnessing a striking addition to
the pile of manuscript by which the young schoolmaster-composer was
surrounded. How variously his mind was swayed during this period we may
understand from the fact that he had hardly finished the third act of a
comic opera[23] ('Des Teufels Lustschloss'--The Devil's
Pleasure-Castle) before setting to work on his 'Mass in F' which we
have just mentioned. The compositions of this year also include
seventeen songs, and one at least of these, the beautiful 'Gretchen am
Spinnrade' (Gretchen at her Spinning-wheel), we may regard as a
forerunner of the immortal songs that were to follow. And now, too, the
special circumstance which was destined to influence Schubert in
choosing the path wherein his genius found its most fitting expression
was near at