He gave such close study to their works that his nervous system was overwrought, and becoming his own severest critic he destroyed all his former compositions. Courage and confidence seemed to leave him and for years his production ceased. This did not prevent him from striving to acquire a higher general education, however, and he applied himself especially to the study of philosophy and literature, availing himself of the rich opportunities afforded by the University of his city. At last a short dream of love brought forth the music of his soul, his first songs, which came forth from the depths of his heart. This was in 1843. Schumann, to whom he sent the songs, honored him with a most hearty recognition of his talent, and was helpful in finding a publisher. But Franz's nervous condition and ominous, early developing auricular sufferings obliged him to take an extended trip to Tyrol and Italy. The journey strengthened him so much that after his return he was finally able to devote with enthusiasm his rich talents untrammelled to the cultivation of his new field. Others followed Schumann in their sincere recognition of our composer's talent, among whom were Gade, Mendelssohn, and especially Liszt, who was so often the noble champion for new talents, and who wrote one of his finest pamphlets in praise of Franz's songs. Wagner, who certainly never could be accused of being too liberal in his praise of others, was not to be outdone. In a letter to Uhlig he says he will never forget that Franz was, after Liszt, the first German musician who had done him justice.

ROBERT FRANZ.

Reproduction of an engraving made by A. Weger from a daguerreotype.

Besides some compositions for the church, and a few part songs, Franz has confined himself to the cultivation of the German "Lied" with a wonderful concentration of all his faculties, reaching the highest perfection, richness, depth, and beauty in this one genre, as Chopin did in his field of pianoforte compositions. As regards his practical occupation in Halle, he held several positions, with which he had been entrusted soon after his first success as a composer, being organist at the St. Ulrici church and director of the singing Academy and the symphony concerts, as well as at the University. However, his increasing nervous and auricular maladies obliged him in 1868 to resign all these offices and to live from the limited earnings of his compositions. A generous gift in money started by the always noble minded Liszt, and supported by admirers in Germany, England and America, released him from all further anxieties. Thus the dear master, invalid in body but young in spirit, lived in retirement in his native city, with his wife, Maria Hinrichs, slowly winning the recognition of the musical world. Letters received from him in the summer of 1892 still showed an unusually bright and active mind, so that the announcement of his death, which occurred Oct. 24th in Halle, came as a sad surprise. Many an honor has been conferred upon him, the title of a royal music director, of an honorary doctor of the Halle University, and Bavarian and Prussian orders. Yet greater than all these is the honor of living forever through his works in the hearts of his people, and in the high esteem of all students of music and its history.

The collection of Robert Franz's songs may be well compared to a lovely garden, most carefully adorned with beautiful flowers of every variety, each of which attracts and deserves our special and close attention. Indeed, whoever takes pains, in an earnest and loving mind to review these songs one by one, and to penetrate into their peculiar nature, style and beauty, will be surprised to observe that the composer has allowed not one to be published without having perfected it in every detail. Even the simplest folk-song had to be a true work of art, worthy of his name and genius, before he would send it upon its wanderings through the world. Another significant fact, which also does him great credit, is that each song impresses us most forcibly as being born out of a deep, sympathetic comprehension of the peculiar genius of the poet, and the language, sentiment, and spirit of the poem. There is no conventionality, no mannerism, no following of certain patterns, which so often characterize ancient and modern manufacturers of songs. Every number presents, in closest harmony with the text of the poem, an individual musical organism, bearing the mark of Franz's artistic individuality, but forming with the poem such a perfect union that we do not wish to separate the music from the words, nor are we able to fully enjoy either independent of the other. The music of his songs is not of such a character as to detract from the beauty and interest of the poem. The musical setting is designed mainly to enhance the charm of the poetic gem, and display it to best advantage.

Fac-simile of musical manuscript and letter from Robert Franz.

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