Two brothers, Anselm and Joseph Hüttenbrenner, were fond of Schubert. Their home was in Graz, Styria, but they were living at Vienna. Anselm was a musician; Joseph was in a government office. Anselm took Schubert to call on Beethoven, and there is a story that the sick man said, “You, Anselm, have my mind; but Franz has my soul.” Anselm closed the eyes of Beethoven in death. These brothers were constant in endeavor to make Schubert known. Anselm went so far as to publish a set of Erlking Waltzes, and assisted in putting Schubert’s opera, Alfonso and Estrella (1822), in rehearsal at Graz, where it would have been performed if the score had not been too difficult for the orchestra. In 1822 Schubert was elected an honorary member of musical societies of Linz and Graz. In return for the compliment from Graz, he began the Symphony in B minor, No. 8 (October 30, 1822). He finished the allegro and the andante, and he wrote nine measures of the scherzo. Schubert visited Graz in 1827, but neither there nor elsewhere did he ever hear his unfinished work.
Anselm Hüttenbrenner went back to his home about 1820. It was during a visit to Vienna that he saw Beethoven dying. Joseph remained at Vienna. In 1860 he wrote from the office of the Minister of the Interior a singular letter to Johann Herbeck, who then conducted the concerts of the Gesellschaft der Musikfreunde. He begged permission to sing in concerts as a member of the society, and urged him to look over symphonies, overtures, songs, quartets, choruses by Anselm. He added towards the end of the letter, “He [Anselm] has a treasure in Schubert’s B minor symphony, which we put on a level with the great Symphony in C, his instrumental swan song, and any one of the symphonies by Beethoven.”
Herbeck was inactive and silent for five years, although he visited Graz several times. Perhaps he was afraid that if the manuscript came to light he could not gain possession of it, and the symphony, like the one in C, would be produced elsewhere than in Vienna. Perhaps he thought the price of producing one of Anselm Hüttenbrenner’s works in Vienna too dear. There is reason to believe that Joseph insisted on this condition.[43]
In 1865 Herbeck was obliged to journey with his sister-in-law, who sought health. They stopped in Graz. On May 1 he went to Ober-Andritz, where the old and tired Anselm, in a hidden little one-story cottage, was awaiting death. Herbeck sat down in a humble inn. He talked with the landlord, who told him that Anselm was in the habit of breakfasting there. While they were talking, Anselm appeared. After a few words, Herbeck said, “I am here to ask permission to produce one of your works at Vienna.” The old man brightened, he shed his indifference, and after breakfast took him to his home. The work-room was stuffed with yellow and dusty papers, all in confusion. Anselm showed his own manuscripts, and finally Herbeck chose one of the ten overtures for performance. “It is my purpose,” he said, “to bring forward three contemporaries, Schubert, Hüttenbrenner, and Lachner, in one concert before the Viennese public. It would naturally be very appropriate to represent Schubert by a new work.” “Oh, I have still a lot of things by Schubert,” answered the old man; and he pulled a mass of papers out of an old-fashioned chest. Herbeck immediately saw on the cover of a manuscript “Symphonie in H moll,” in Schubert’s handwriting. Herbeck looked the symphony over. “This would do. Will you let me have it copied immediately at my cost?” “There is no hurry,” answered Anselm. “Take it with you.”
The symphony was first played at a Gesellschaft concert, Vienna, December 17, 1865, under Herbeck’s direction. It was played at the Crystal Palace, Sydenham, in 1867.
SYMPHONY NO. 7, IN C MAJOR
I. Andante; allegro non troppo II. Andante con moto III. Scherzo: allegro vivace; trio IV. Finale: allegro vivace
There are some who are not persuaded by Schumann and Weingartner into enjoying the extreme length of the symphony. They would fain have the work undergo some process of condensation, and yet it would be difficult for them to indicate the measures or sections that should be omitted.
It is still a marvelous work in certain respects. The Hungarian dash in the second theme of the first movement; the wonderful trombone passage; the melodic charm of the andante and the infinite beauty of the detail—but when one begins to speak of this movement he might vie with Schubert in length; the expressive trio of the scherzo; the rush of the finale—these place the symphony high on the list; and yet, and yet—but Schubert was not a severe critic of his own compositions. He wrote at full speed, and he had not the time to revise, to condense.