Meister," Mignon's "Sehnsucht," and "Kennst du das Land," "Der König in Thule," and "Jäger's Abendlied." These songs are remarkable for strength, originality, and exquisite beauty. In the Wanderer, and "Wer nie sein Brod mit Thränen ass," we find Schubert at an elevation which he afterward scarcely surpassed. It was Schubert's custom, from an early age, to have quartet parties at his father's house on Sunday afternoons. When at the _Convict_ he used to go home on Sundays for this purpose. As first arranged, the elder Schubert used to play the 'cello, Ferdinand first violin, Ignaz second, and Franz the viola. In those early days, if a wrong note was heard from the 'cello, young Franz would modestly say, "Father, there must be a mistake somewhere," and the hint was always well received. These Sunday quartets were often joined by friends and neighbors. By degrees the number of violins was increased, a double-bass and sundry wind instruments were added, and the affair grew into an orchestra which could perform Haydn's and Mozart's symphonies. Presently it became necessary to have the performances in a larger house, and in this way two or three moves were made, and the Orchestral Society of Amateurs was organized. Overtures by Cherubini, Spontini, Boieldieu, and Méhul, and the first and second symphonies of Beethoven were performed. It was for this Society that Schubert wrote his fourth and fifth symphonies and other orchestral works. In the autumn of 1820 the society broke down, as such societies are apt to do, under its own weight. It became necessary to have a large public hall for the meetings, and the expense thus entailed put an end to the pleasant and instructive enterprise. There can be little doubt that it was of much use to Schubert in giving him a chance to hear his own instrumental works performed and criticised. To a young man of his extremely modest and retiring disposition, moreover, the friendships thus formed were of much value.