Somewhat later, when Schubert had become a little better known, he
received more favourable replies. Schott, in Mayence, offered to publish
several of his works, and to pay for them. In a letter dated April 28th,
1828, Schott, however, declined to accept the trio in E-flat major,
which Schubert had mentioned in his list of finished manuscripts: "The
trio," Schott remarks, "is probably large; and as we have recently
brought out several trios, we must postpone to a later period the
publication of compositions of this kind to avoid disadvantages for our
business; and the delay would be against your interest." This trio (Op.
100) was afterwards bought by Probst, in Leipzig, for about two pounds,
paid with a grumble, and with the insulting remark: "In any case, I hope
the Trio in question is not the 'Fantasia' which was performed on the
5th of February in Herr Slawick's concert at the Kaernthnerthor theatre;
for that composition was unfavourably criticized in the Leipzig Musical
Gazette, No. XIV., page 223."
Again, in a letter from Schott, dated October 30th, 1828, and received
by Schubert about three weeks before his death, he is told among other
business matters: "We shall soon print your Quintett;[32] but we must
remark that the price put on this little work is too high. The
pianoforte part takes up only six printed pages, and we surmise it to be
by an oversight that we are asked to pay sixty florins[33] for it. We
offer you thirty florins for it.... The pianoforte piece, Op. 101,
certainly would not be too dear for us; but its unsuitableness for our
sale in France is very vexatious. Should you compose occasionally
something less difficult and yet brilliant, and also in an easy key,
this you may send us, if you please, without further communication."[34]
Under these circumstances it is no wonder that after the death of
Schubert there should have been some difficulty in defraying the
expenses of his burial, which amounted to about seven pounds; while his
effects, consisting of his dress, a bed, and some old music-books, were
together valued at six pounds six shillings.
Mozart's pecuniary circumstances were scarcely more cheerful than
Schubert's, considering how highly Mozart was appreciated by many during
the last few years of his life. Having in his youth been guided by his
prudent father to be careful in the management of his gains and
expenses, he always wished to be careful, and sometimes troubled himself
much about being practical, but evidently found it very difficult. When
the publisher Hofmeister, in Leipzig, said to him: "Mozart, you must
make concessions to the popular taste, or I cannot buy anything more
from you for publication!" Mozart replied: "Well, I must write what I
think good, though I should starve." Some music-sellers, in an
inexplicable way, succeeded in procuring manuscripts of his, for which
they did not pay him anything.[35] His famous opera, 'Die Zauberfloete,'
he wrote with the object of benefiting his friend, the embarrassed
theatrical manager Schikaneder; and the statement of some writers, that
Mozart gained only fifty thalers (about L7 10s.) by this opera, may
therefore be correct. The King of Prussia offered him an appointment as
Kapellmeister in Berlin, with a salary of 3,000 thalers. Mozart
solicited an audience of his master, the Emperor Joseph II. and asked
for his dismission. "Dear Mozart, you will leave me?" said the emperor.
"No, your Majesty!" replied Mozart, touched by the hearty tone in which
the Emperor spoke to him: "No, your Majesty, I remain!"
A friend, to whom Mozart soon afterwards related this occurrence, said:
"But why did you not seize this favourable opportunity to ask for a
fixed income?"