some of his songs had been sung at
a school performance, Franz turned to his friend Spaun with the
inquiry whether the latter thought it possible that he (Franz) would
ever be able to accomplish anything in the shape of composition. To
which Spaun, in surprise, answered that there could be no doubt in the
matter, since he had already done a great deal. 'Perhaps,' replied
Franz thoughtfully; 'I sometimes have dreams of that sort, but who can
do anything after Beethoven?'

With his passionate love for music dominating his thoughts and
energies, it is not surprising that Schubert should have fallen behind
in his ordinary studies. From the point of view of the authorities the
Convict represented a complete school with a strongly-developed
musical side; but for Schubert it existed merely as a means to an end,
and that end music. This fact was apparent in about a year after he
entered the school, nevertheless his popularity suffered no decrease
thereby, for his backwardness in most of the subjects in which other
boys excelled was overshadowed by his extraordinary progress in the
art which was absorbing him so entirely. And as time went on his
desire for composition increased to such an extent that his kind
friend Spaun must often have been taxed to keep pace with his demand
for music-paper. Franz had already begun with methodical care to place
the date of composition upon every piece which he wrote, and thus we
are enabled to ascertain precisely when he composed his first
pianoforte work of importance; it is a fantasia for four hands,
comprising more than twelve movements, and filling thirty-two
closely-written pages of music-paper, and it bears the date, 'April
8--May 1, 1810.' Following this came his first attempt at
song-writing, in the shape of a long piece for voice and pianoforte,
called 'Hagars Klage' (Hagar's Lament over her dying Son), which also
contains twelve movements, and is remarkable for its frequent
unconnected changes of key. Melancholy ideas were evidently uppermost
in Schubert's mind at this time in connection with music, for the
'Hagar' was followed by another piece of even more lugubrious
character, called 'Leichenfantasie' (Corpse-fantasia), a musical
setting of Schiller's grim poem beginning:

'With a deathlike glimmer
Stands the moon above the dying trees;
Sighing wails the Spirit through the night;
Mists are creeping;
Stars are peeping
Pale aloft like tor