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<div>*** START OF THE PROJECT GUTENBERG EBOOK 45997 ***</div>

<div class="transnote coverimage">The cover image was produced by the transcriber, and is placed in the public domain.</div>




<h1>
LOUIS SPOHR’S AUTOBIOGRAPHY.</h1>
<p class="p2 center">
TRANSLATED FROM THE GERMAN.</p>

<p class="p2 center">
<i>COPYRIGHT EDITION.</i></p>
<p class="p2 center">
LONDON:<br />
LONGMAN, GREEN, LONGMAN, ROBERTS, &amp; GREEN.<br />
CASSELL AND GŒTTINGEN: GEORGE H. WIGAND.<br />
1865.
</p>



<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p>




<h2>PREFACE.</h2>


<p>In publishing an English translation of the unadorned yet
highly interesting Autobiography of the celebrated Violinist
and great Composer <i>Louis Spohr</i>, we consider we are but
satisfying a natural desire on the part of his many admirers
in this country to become more intimately acquainted with both
the public and private life of this great musical genius&mdash;this
noble, manly character, in whom were combined in so
high a degree the qualities of the true artist with those of
the really great-minded and thoroughly good man.</p>

<p>Although nearly twelve years have elapsed since <i>Spohr’s</i>
last appearance in England, and during that time numberless
foreign artists of distinction have visited us and gathered well-earned
laurels and golden opinions in these islands; yet still
above all <i>Spohr</i> shines out a star of the first magnitude, and
there are no doubt thousands yet amongst us who were present
at the performance of his oratorios, under his direction, at
Norwich, or attended his concerts in London, and to whom
this Autobiography will be of interest. We have little to say
of it here&mdash;it speaks for itself. Simple and truthful throughout,
it is a mirror of the mind of him who jotted down the details
composing the same. Modest and unassuming at the commencement
of his career, <i>Spohr</i> continued so till the end,
notwithstanding the celebrity he achieved and the high position
to which he attained. The praises showered upon him
neither turned his brain nor puffed him up with pride; and
he has left us an example of high morality, great amiability,<span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span>
and bright domestic virtues, too rare alas! among artists and
men of genius.</p>

<p><i>Spohr</i> was a man devoted to his art, and although far
from wealthy, often sacrificed his time&mdash;which to him, as
to most of us, was money&mdash;in giving gratuitous instruction
to young men of ability too poor to pay for lessons; and not
unfrequently has he unhesitatingly dismissed some rich, well-paying,
but dull scholar to make way for a poor but talented
pupil, in hopes of thereby benefitting his art&mdash;and this was
his sole reward.</p>

<p>Another prominent trait in <i>Spohr’s</i> character was his
childlike simplicity, combined with never-failing good-nature
and an inability to bear malice. Nor did the many unavoidable
trials and vexations of a long life ever permanently
disturb his good humour or sour his temper; and even gross
injustice failed to do more than temporarily ruffle the calm
serenity of his soul. Thus he passed through the world, an
active and highly useful member of society, beloved and respected
by all who knew him, till in process of time he went
down to his grave full of years and honour.</p>

<p>As is explained in the text, the Autobiography comes to
an end with the month of June 1838; but the description of
the life and doings of the great master from that date till the
time of his death was continued from reliable materials furnished
by Mrs. <i>Spohr</i> and other members of the family; so that
the whole forms a true account and lively picture of <i>Spohr’s</i>
earthly career from his cradle to his grave.</p>

<p>With these few remarks we submit the work to the perusal
and kind consideration of the gentle reader.</p>

<p><i>London</i>, October 1864.</p>

<p class="sig">
THE TRANSLATOR.
</p>



<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p>




<h2>Chronological Index
of Contents.</h2>



<div class="center">
<table class="toc" border="0" cellpadding="4" cellspacing="0" summary="Table of Contents">
<tr><td class="center">Vol. I.</td></tr>
<tr><td class="right" colspan="2">Page</td></tr>
<tr><td>1784 to 1799. <i>Spohr’s</i> childhood and youth at Seesen and Brunswick.&mdash;Musical proclivities, and the instrument of his choice.&mdash;His first instructors on the violin.&mdash;First attempts at composition.&mdash;Sent by his father to Hamburg to seek his fortune.&mdash;Disappointed hopes, and return to Brunswick.&mdash;Singular interview with the Duke of Brunswick.&mdash;Appointed violinist in the court orchestra of the Duke.&mdash;Undertakes the musical education of his brother <i>Ferdinand</i>.&mdash;His admiration of the music of <i>Mozart</i>.&mdash;Disturbs the Duchess of Brunswick at her party of “ombre” with his “murderous fiddling.”</td><td class="right"><a href="#Page_1">1</a></td></tr>
<tr><td>1802. <i>Spohr</i> proceeds with <i>Franz Eck</i> to St. Petersburg.&mdash;Revisits Hamburg.&mdash;Cultivates at intervals his fondness for drawing and painting in water-colours.&mdash;His first love.&mdash;Dussek.&mdash;<i>Spohr’s</i> first published work, violin concerto <i>Op. 1.</i>&mdash;Stay at Strelitz.&mdash;Romantic adventure.&mdash;Second capture of <i>Spohr’s</i> heart.&mdash;Königsberg.&mdash;St. Petersburg.&mdash;Impressions, and incidents during his stay in that Capital.&mdash;Returns by sea to Germany.&mdash;Arrival at Brunswick</td><td class="right"><a href="#Page_14">14</a></td></tr>
<tr><td>1803. Appointed court musician at Brunswick</td><td class="right"><a href="#Page_62">62</a></td></tr>
<tr><td>1804. Musical tour to Leipsic, Dresden and Berlin</td><td class="right"><a href="#Page_67">67</a></td></tr>
<tr><td>1805. Appointed Concert-Master at Gotha.&mdash;Present with Prince <i>Louis Ferdinand</i> at the military manœuvres at Magdeburg</td><td class="right"><a href="#Page_84">84</a></td></tr>
<tr><td><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span>1806. Marriage of <i>Spohr</i> with <i>Dorette Scheidler</i></td><td class="right"><a href="#Page_95">95</a></td></tr>
<tr><td>1807. Musical tour to Weimar, Leipsic, Dresden, Prague, Munich, Frankfort, Stuttgard and Heidelberg</td><td class="right"><a href="#Page_101">101</a></td></tr>
<tr><td>1808. Pedestrian tour through the Harz with his pupils</td><td class="right"><a href="#Page_112">112</a></td></tr>
<tr><td>Composes his opera of “Alruna”</td><td class="right"><a href="#Page_115">115</a></td></tr>
<tr><td>Congress at Erfurt</td><td class="right"><a href="#Page_117">117</a></td></tr>
<tr><td>1809. Musical tour to Leipsic, Breslau, Berlin and Hamburg</td><td class="right"><a href="#Page_128">128</a></td></tr>
<tr><td>1810. Musical festival at Frankenhausen</td><td class="right"><a href="#Page_139">139</a></td></tr>
<tr><td>Performance of the opera: “<span lang="de" xml:lang="de">Zweikampf mit der Geliebten</span>,” at Hamburg</td><td class="right"><a href="#Page_153">153</a></td></tr>
<tr><td>1812. Performance of the oratorio: “<span lang="de" xml:lang="de">Das jüngste Gericht</span>” at the Musical festival at Erfurt</td><td class="right"><a href="#Page_157">157</a></td></tr>
<tr><td>Musical tour to Leipsic, Prague and Vienna</td><td class="right"><a href="#Page_159">159</a></td></tr>
<tr><td>1813. Appointed director of the orchestra at the theatre An der Wien</td><td class="right"><a href="#Page_168">168</a></td></tr>
<tr><td>Composes his opera of “Faust”</td><td class="right"><a href="#Page_178">178</a></td></tr>
<tr><td>1814. Composes his cantata: “The Liberation of Germany”</td><td class="right"><a href="#Page_182">182</a></td></tr>
<tr><td>1815. Journey to Brünn, Breslau, Carolath.&mdash;Third musical festival at Frankenhausen</td><td class="right"><a href="#Page_203">203</a></td></tr>
<tr><td>Musical tour to Wurzburg, Nuremberg and Munich</td><td class="right"><a href="#Page_211">211</a></td></tr>
<tr><td>1816. Frankfort.&mdash;Strasbourg, &amp;c.</td><td class="right"><a href="#Page_217">217</a></td></tr>
<tr><td>Visit to Switzerland</td><td class="right"><a href="#Page_234">234</a></td></tr>
<tr><td>Journey to Milan</td><td class="right"><a href="#Page_251">251</a></td></tr>
<tr><td>Journey to Venice</td><td class="right"><a href="#Page_270">270</a></td></tr>
<tr><td>Journey to Bologna, Florence and Rome</td><td class="right"><a href="#Page_283">283</a></td></tr>
<tr><td>1817. Departure from Rome.&mdash;Arrival at Naples</td><td class="right"><a href="#Page_325">325</a></td></tr>
<tr><td class="center">Vol. II.</td></tr>
<tr><td>1817. Residence in Naples</td><td class="right"><a href="#Page_ii_1">1</a></td></tr>
<tr><td>Ascends Mount Vesuvius</td><td class="right"><a href="#Page_ii_3">3</a></td></tr>
<tr><td>Departure from Naples to Rome</td><td class="right"><a href="#Page_ii_32">32</a></td></tr>
<tr><td>“Miserere” in the Sistine Chapel</td><td class="right"><a href="#Page_ii_36">36</a></td></tr>
<tr><td>Departure from Rome</td><td class="right"><a href="#Page_ii_41">41</a></td></tr>
<tr><td>Addenda in reference to the Italian journey</td><td class="right"><a href="#Page_ii_47">47</a></td></tr>
<tr><td>Visit to Holland</td><td class="right"><a href="#Page_ii_53">53</a></td></tr>
<tr><td>Appointed director of the orchestra at Frankfort</td><td class="right"><a href="#Page_ii_53">53</a></td></tr>
<tr><td>1818. Composes the opera: “Zemire and Azor”</td><td class="right"><a href="#Page_ii_58">58</a></td></tr>
<tr><td>Journey to the musical festival at Mannheim</td><td class="right"><a href="#Page_ii_59">59</a></td></tr>
<tr><td>1819. Leaves Frankfort</td><td class="right"><a href="#Page_ii_66">66</a></td></tr>
<tr><td>Musical tour to Berlin, Dresden, Leipsic and Cassel</td><td class="right"><a href="#Page_ii_68">68</a></td></tr>
<tr><td>Visit to Brussels</td><td class="right"><a href="#Page_ii_68">68</a></td></tr>
<tr><td>1820. Journey to London</td><td class="right"><a href="#Page_ii_72">72</a></td></tr>
<tr><td><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span>First concert at the Philharmonic Society</td><td class="right"><a href="#Page_ii_82">82</a></td></tr>
<tr><td><i>Spohr’s</i> concert at the New Argyll Rooms, London</td><td class="right"><a href="#Page_ii_94">94</a></td></tr>
<tr><td>Mr. Logier’s Musical Academy</td><td class="right"><a href="#Page_ii_98">98</a></td></tr>
<tr><td>Return to Germany</td><td class="right"><a href="#Page_ii_102">102</a></td></tr>
<tr><td>Musical festival at Quedlinburg</td><td class="right"><a href="#Page_ii_105">105</a></td></tr>
<tr><td>Journey to Paris by way of Frankfort and Heidelberg</td><td class="right"><a href="#Page_ii_105">105</a></td></tr>
<tr><td>1821. Return to Gandersheim</td><td class="right"><a href="#Page_ii_134">134</a></td></tr>
<tr><td>Concerts at Alexisbad and Pyrmont</td><td class="right"><a href="#Page_ii_135">135</a></td></tr>
<tr><td>Removal to Dresden</td><td class="right"><a href="#Page_ii_138">138</a></td></tr>
<tr><td>1822. Appointed director of the orchestra of the court theatre at Cassel</td><td class="right"><a href="#Page_ii_141">141</a></td></tr>
<tr><td>1823. Institutes the Society of St. Cecilia</td><td class="right"><a href="#Page_ii_147">147</a></td></tr>
<tr><td>Composes the opera: “Jessonda” in Cassel, where it is first performed</td><td class="right"><a href="#Page_ii_148">148</a></td></tr>
<tr><td>1824. “Jessonda” performed in Leipsic</td><td class="right"><a href="#Page_ii_153">153</a></td></tr>
<tr><td>1825. “Jessonda” performed in Berlin</td><td class="right"><a href="#Page_ii_157">157</a></td></tr>
<tr><td>Composes the opera of “The Mountain Sprite” in Cassel, where it is first performed</td><td class="right"><a href="#Page_ii_157">157</a></td></tr>
<tr><td>1826. Composes the oratorio of: “<span lang="de" xml:lang="de">Die letzten Dinge</span>” in Cassel, where it is first performed</td><td class="right"><a href="#Page_ii_159">159</a></td></tr>
<tr><td>Musical festival at Düsseldorf</td><td class="right"><a href="#Page_ii_161">161</a></td></tr>
<tr><td>1827. Composes the opera: “Pietro von Abano”</td><td class="right"><a href="#Page_ii_163">163</a></td></tr>
<tr><td>1828. Musical festival at Halberstadt</td><td class="right"><a href="#Page_ii_165">165</a></td></tr>
<tr><td>1829. Musical festival at Nordhausen</td><td class="right"><a href="#Page_ii_166">166</a></td></tr>
<tr><td>1830. Composes the opera: “The Alchymist”</td><td class="right"><a href="#Page_ii_168">168</a></td></tr>
<tr><td>1831. Celebration festival upon the occasion of the grant of a constitution to Hesse</td><td class="right"><a href="#Page_ii_172">172</a></td></tr>
<tr><td>Celebration of <i>Spohr’s</i> “Silver Wedding”</td><td class="right"><a href="#Page_ii_173">173</a></td></tr>
<tr><td>Terminates his work “The Violin School”</td><td class="right"><a href="#Page_ii_176">176</a></td></tr>
<tr><td>1832. Composes the symphony: “<span lang="de" xml:lang="de">Die Weihe der Töne</span>”</td><td class="right"><a href="#Page_ii_178">178</a></td></tr>
<tr><td>Celebration of the “Golden Wedding” of <i>Spohr’s</i> parents</td><td class="right"><a href="#Page_ii_180">180</a></td></tr>
<tr><td>1833. Musical festival at Halberstadt</td><td class="right"><a href="#Page_ii_183">183</a></td></tr>
<tr><td>1834. Journey to Marienbad</td><td class="right"><a href="#Page_ii_184">184</a></td></tr>
<tr><td>Death of <i>Spohr’s</i> first wife</td><td class="right"><a href="#Page_ii_187">187</a></td></tr>
<tr><td>1835. Finishes the oratorio: “<span lang="de" xml:lang="de">Des Heilands letzte Stunden</span>” (Calvary) in Cassel, where it is performed for the first time</td><td class="right"><a href="#Page_ii_188">188</a></td></tr>
<tr><td>Journey to Sandfort in Holland</td><td class="right"><a href="#Page_ii_188">188</a></td></tr>
<tr><td>1836. <i>Spohr’s</i> second marriage</td><td class="right"><a href="#Page_ii_194">194</a></td></tr>
<tr><td>Journey to Leipsic, Dresden and Saxon Switzerland</td><td class="right"><a href="#Page_ii_195">195</a></td></tr>
<tr><td>Musical festival at Brunswick</td><td class="right"><a href="#Page_ii_197">197</a></td></tr>
<tr><td>Millenium-jubilee at Paderborn</td><td class="right"><a href="#Page_ii_199">199</a></td></tr>
<tr><td>1837. Projected musical festival at Cassel</td><td class="right"><a href="#Page_ii_202">202</a></td></tr>
<tr><td>Journey to Prague</td><td class="right"><a href="#Page_ii_204">204</a></td></tr>
<tr><td><span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span>Vienna&mdash;Salzburg, &amp;c.</td><td class="right"><a href="#Page_ii_206">206</a></td></tr>
<tr><td>1838. Death of <i>Theresa Spohr</i></td><td class="right"><a href="#Page_ii_209">209</a></td></tr>
<tr><td>Journey to Carlsbad</td><td class="right"><a href="#Page_ii_209">209</a></td></tr>
<tr><td>Continuation of <i>Spohr’s</i> Biography by his family</td><td class="right"><a href="#Page_ii_210">210</a></td></tr>
<tr><td>1839. Composes his “Historical Symphony”</td><td class="right"><a href="#Page_ii_215">215</a></td></tr>
<tr><td>Departure to the musical festival at Norwich</td><td class="right"><a href="#Page_ii_215">215</a></td></tr>
<tr><td>1840. Journey to the musical festival at Aix-la-Chapelle</td><td class="right"><a href="#Page_ii_227">227</a></td></tr>
<tr><td>Journey to Lübeck and Hamburg</td><td class="right"><a href="#Page_ii_229">229</a></td></tr>
<tr><td>1841. Journey to Switzerland by way of Stuttgard and Hechingen</td><td class="right"><a href="#Page_ii_232">232</a></td></tr>
<tr><td>Musical festival at Lucerne</td><td class="right"><a href="#Page_ii_235">235</a></td></tr>
<tr><td>Composes his “Double Symphony”</td><td class="right"><a href="#Page_ii_237">237</a></td></tr>
<tr><td>Musical performance in honour of <i>Mozart</i> in Cassel</td><td class="right"><a href="#Page_ii_239">239</a></td></tr>
<tr><td>1842. Journey to Carlsbad</td><td class="right"><a href="#Page_ii_240">240</a></td></tr>
<tr><td>1843. Invitation to Prague</td><td class="right"><a href="#Page_ii_244">244</a></td></tr>
<tr><td>Journey to London to direct the “Fall of Babylon”</td><td class="right"><a href="#Page_ii_249">249</a></td></tr>
<tr><td>1844. Composes the opera: “The Crusaders”</td><td class="right"><a href="#Page_ii_257">257</a></td></tr>
<tr><td>Journey to Paris</td><td class="right"><a href="#Page_ii_257">257</a></td></tr>
<tr><td>Journey to the musical festival at Brunswick</td><td class="right"><a href="#Page_ii_260">260</a></td></tr>
<tr><td>1845. His opera of “The Crusaders” performed for the first time, at Cassel</td><td class="right"><a href="#Page_ii_261">261</a></td></tr>
<tr><td>Journey to Oldenburg, Carlsbad and Berlin</td><td class="right"><a href="#Page_ii_262">262</a></td></tr>
<tr><td>Journey to Bonn to the inauguration of the memorial erected to <i>Beethoven</i></td><td class="right"><a href="#Page_ii_270">270</a></td></tr>
<tr><td>1846. Journey to Leipsic and Carlsbad</td><td class="right"><a href="#Page_ii_276">276</a></td></tr>
<tr><td>1847. <i>Spohr’s</i> twenty-fifth Anniversary as director at Cassel</td><td class="right"><a href="#Page_ii_282">282</a></td></tr>
<tr><td><i>Spohr’s</i> journey to London</td><td class="right"><a href="#Page_ii_287">287</a></td></tr>
<tr><td>Musical performances in commemoration of the death of <i>Mendelssohn</i></td><td class="right"><a href="#Page_ii_291">291</a></td></tr>
<tr><td>1848. Festivities at Cassel</td><td class="right"><a href="#Page_ii_293">293</a></td></tr>
<tr><td>1849. Journey to Leipsic and Carlsbad</td><td class="right"><a href="#Page_ii_293">293</a></td></tr>
<tr><td>1850. <i>Spohr’s</i> fall upon the ice</td><td class="right"><a href="#Page_ii_295">295</a></td></tr>
<tr><td>Composes his symphony “The Seasons”</td><td class="right"><a href="#Page_ii_295">295</a></td></tr>
<tr><td>Journey to Leipsic, Breslau and Berlin</td><td class="right"><a href="#Page_ii_296">296</a></td></tr>
<tr><td>1851. Journey to Switzerland and Italy</td><td class="right"><a href="#Page_ii_300">300</a></td></tr>
<tr><td>Journey to Göttingen</td><td class="right"><a href="#Page_ii_300">300</a></td></tr>
<tr><td>1852. Law-suit relative to the fine imposed upon <i>Spohr</i> for his absence on a journey without permission</td><td class="right"><a href="#Page_ii_301">301</a></td></tr>
<tr><td>Journey to London to direct the performance of his opera: “Faust”</td><td class="right"><a href="#Page_ii_302">302</a></td></tr>
<tr><td>Appointment of a second director of the orchestra, Mr. <i>Bott</i> at Cassel</td><td class="right"><a href="#Page_ii_306">306</a></td></tr>
<tr><td>1853. Journey to London to direct the performance of his opera “Jessonda,” &amp;c.</td><td class="right"><a href="#Page_ii_308">308</a></td></tr>
<tr><td><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span>1854. Journey to Switzerland, Munich and Alexandersbad</td><td class="right"><a href="#Page_ii_314">314</a></td></tr>
<tr><td>1855. Journey to Hannover</td><td class="right"><a href="#Page_ii_316">316</a></td></tr>
<tr><td>Journey to Hamburg and Lübeck</td><td class="right"><a href="#Page_ii_319">319</a></td></tr>
<tr><td>1856. Journey to Dresden, Saxon Switzerland and Prague</td><td class="right"><a href="#Page_ii_321">321</a></td></tr>
<tr><td>Journey to the Harz</td><td class="right"><a href="#Page_ii_321">321</a></td></tr>
<tr><td>1857. Journey to Holland</td><td class="right"><a href="#Page_ii_323">323</a></td></tr>
<tr><td><i>Spohr</i> pensioned off by the Elector of Hesse</td><td class="right"><a href="#Page_ii_325">325</a></td></tr>
<tr><td>Breaks his arm</td><td class="right"><a href="#Page_ii_327">327</a></td></tr>
<tr><td>1858. Journey to Magdeburg, &amp;c.</td><td class="right"><a href="#Page_ii_327">327</a></td></tr>
<tr><td>Journey to Bremen</td><td class="right"><a href="#Page_ii_329">329</a></td></tr>
<tr><td>Journey in Prague to the jubilee of the conservatory</td><td class="right"><a href="#Page_ii_329">329</a></td></tr>
<tr><td>Visit to Alexandersbad</td><td class="right"><a href="#Page_ii_331">331</a></td></tr>
<tr><td>Journey to Wiesbaden to the musical festival of the Middle-Rhine</td><td class="right"><a href="#Page_ii_331">331</a></td></tr>
<tr><td>Journey to Leipsic</td><td class="right"><a href="#Page_ii_331">331</a></td></tr>
<tr><td>His <i>Last composition</i></td><td class="right"><a href="#Page_ii_334">334</a></td></tr>
<tr><td>1859. Journey to Meiningen. <i>Spohr</i> directs an orchestra for the last time</td><td class="right"><a href="#Page_ii_336">336</a></td></tr>
<tr><td>Journey to Detmold</td><td class="right"><a href="#Page_ii_338">338</a></td></tr>
<tr><td>Journey to Alexandersbad and Würzburg</td><td class="right"><a href="#Page_ii_339">339</a></td></tr>
<tr><td><i>Spohr’s</i> last illness and death</td><td class="right"><a href="#Page_ii_341">341</a></td></tr>
</table></div>


<p><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span><br /></p>
<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>




<p class="break p4">My father, <i>Carl Heinrich Spohr</i>, Doctor of Medecine, afterwards
Medical Councillor, was the son of a Clergyman at Woltershausen
in the district of Hildesheim. He married, November 26,
1782, <i>Ernestine Henke</i>, daughter of the Clergyman of the
Aegydian church of Brunswick, and at first resided with
her parents at the parsonage<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>. I was the eldest child of
this marriage, and was born April 5, 1784. Two years
later, my father was transferred as district physician to Seesen.
My earliest recollections reach back to that removal; for the
impression made upon me by my mother’s weeping, after having
taken leave of her parents, and our arrival at the simple and
somewhat rustic house at Seesen, have remained with me up to
the present time. I remember also the smell of the newly
whitewashed walls striking me as disagreeable, and even now
I still retain an uncommon acuteness and sensibility of the
senses.</p>

<p>In Seesen were born my four brothers, and one sister.
My parents were musical: my father played the flute, and my
mother, a pupil of the Conductor <i>Schwaneberger</i> in Brunswick,
played on the piano with great ability, and sang the Italian<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span>
bravuras of that time. As they practiced music very often
in the evening, a sense and love for the art was early
awakened in me. Gifted with a clear soprano voice, I at first
began to sing, and already in my fourth or fifth year I was
able to sing duets with my mother at our evening music.
It was at this time that my father, yielding to my eagerly
expressed wish, bought me a violin at the yearly fair, upon
which I now played incessantly. At first I tried to pick out
the melodies I had been used to sing, and was more than
happy when my mother accompanied me.</p>

<p>Soon after, I had lessons from Herr <i>Riemenschneider</i>, and
I still remember, that, after the first lesson, in which I had
learned to play the <i>G</i>-sharp accord upon all four strings,
in an extasy at the harmony, I hastened into the kitchen to
my mother, and arpeggiod the chord to her so incessantly
that she was obliged to drive me out. When I had learned
the fingering of the violin from notes, I was also allowed to
practise music with the others in the evening, as violinist, and
there were particularly three trios by <i>Kalkbrenner</i>, for piano,
flute and violin, which, after being studied, were executed in
presence of our circle of friends.</p>

<p>About the year 1790 or 91 a French emigrant, named
<i>Dufour</i>, came to Seesen. Although an amateur, only, he was
an accomplished violinist and violoncellist. He settled there;
and being supplied with free board by the more wealthy
inhabitants, maintained himself by giving French lessons.
The days on which he used to come to my parents, we always
practised music, and I still remember having been moved
to tears the first time I heard him play. I now gave my
parents no rest until I had lessons from him.</p>

<p><i>Dufour</i>, astonished at my rapid progress, was the first
to persuade my parents to devote me entirely to music.
My father, who had predestined me for the study of medecine,
was from his love of music soon brought to agree to
this; but he had a hard struggle with my grandfather, whose
idea of a Musician was limited to that of a Tavern-fiddler who<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span>
played to dancers. Subsequently, after I had been so early
appointed <i>Kammermusicus</i><a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> in Brunswick, I had the satisfaction
to induce my grandfather, who loved me very much, to adopt
a higher opinion respecting my chosen career as a musical <i>artiste</i>.</p>

<p>It was while I took lessons from M. <i>Dufour</i>, that I made
my first attempts at composition, but without yet having had
any instruction in harmony. They consisted in duets for two
violins, and I executed them with my teacher at our musical
soirées; astonishing my parents with them in the highest degree.
To this day, I recollect the proud feeling of being already able
to appear before the friends of the house as a composer. As
a reward, I received from my parents a gala dress, consisting
of a red jacket with steel buttons, yellow breeches, and laced
boots with tassels; a dress for which I had long prayed in
vain. The duets, which my father has carefully preserved,
are indeed incorrect and childish, but possess a certain form
and a flowing melody.</p>

<p>This first brilliant success in composition, so inspired me,
that from this time I devoted nearly every hour which the
school allowed me, to similar attempts: I even ventured upon
a little opera, the text of which I took from “<i lang="de" xml:lang="de">Weisse’s Kinderfreund</i>.”
It may be mentioned as characteristic, that, I began
with the title-page, and first of all painted it very finely with
Indian ink; then followed the overture, then a chorus, then
an air, and there the work came to a standstill. As I had
never yet seen an opera performed, I took the model for
these musical pieces from <i>Hiller’s</i> operas “<i lang="de" xml:lang="de">Die Jagd</i>”, and
“<i lang="de" xml:lang="de">Lottchen am Hofe</i>”, of which my mother had a pianoforte
arrangement, and which she had often sung with me and my
father. But I soon felt that I needed both knowledge and
experience for such an undertaking, and I therefore set to work
at other attempts. In this however, I had a hard struggle with
my father, who strongly insisted that every work once begun
should be completed before another was commenced; and only<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>
because my father was convinced that I was unequal to so
great a task, was an exception made on this occasion; but
it was never allowed again. To this severity I owe my
perseverance in working, and I have always recollected the
paternal precept.</p>

<p>As my father liked to superintend the labours of his son,
he allowed me to establish myself in his study, not being at
all disturbed by the humming and whistling of the young
composer. When I had written down anything wrong, which
happened frequently enough, and was obliged to scratch it out,
my father heard it at once, and would say half angrily: “Now
the stupid boy is making windows again!”&mdash;for thus he designated
the marks I made across the lines, in scratching out.
I was very sensitive to this, and that is perhaps the reason
why I acquired early the habit of writing off a clean score
without erasing anything.</p>

<p>Since it was now determined, on the advice of <i>Dufour</i>,
that I should devote myself entirely to music; <i>Dufour</i> insisted
that I should be sent to Brunswick to enjoy the advantage of
better lessons, particularly in theory. This could not take
place till I was confirmed. According to a law strictly observed
in the Dutchy of Brunswick, confirmation could not
take place before the age of fourteen; in order therefore to
lose no time, I was sent to my grandfather in the district of
Hildesheim, where it was left to the decision of the clergyman
as to when the children could be admitted to confirmation.
Here, during the winter, I had lessons from my clever grandfather,
both in religion, and other things; but music-lessons
were not attended to, for neither my grandfather nor
my uncles understood anything about it. I was therefore
obliged to walk twice a week to Alefeld with my violin,
to take lessons from the precentor there. Tedious as were
these journeys, owing to the frequent severity of the winter
weather, I was always pleased with them, chiefly, indeed, because
I felt that I was above my teacher, and often brought him
into difficulties by my fluent reading of the notes; and besides,<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>
I had not unfrequently the secret triumph of seeing him
brought to a standstill.</p>

<p>Half way to Alefeld, stood a solitary mill. I once entered
there during a heavy shower of rain, and gained the good
will of the miller’s wife to such a degree, that from that time
I was obliged to call every day I passed by, and was treated
with coffee, cakes and fruit; for which I used to improvise
something upon my violin by way of thanks. I still remember
having once so completely ravished her by playing <i>Wranitzky’s</i>
variations upon “<i lang="de" xml:lang="de">Du bist liederlich</i>”, into which all the juggles
with which <i>Paganini</i> afterwards enchanted the world were
introduced, that she would not let me leave her during the
whole day.</p>

<p>Soon after returning from Woltershausen, I was sent to
Brunswick, where I was received into the house of the rich
gingerbread-baker <i>Michaelis</i>, as one of his own children, and
treated with kindness by all the members of the family; my
father had been their physician and had cured <i>Michaelis’</i> wife
of a dropsy.</p>

<p>I commenced my musical and other studies with eagerness.
I received instruction on the Violin from <i>Kammermusicus Kunisch</i>,
a well grounded and amiable teacher, to whom I owe much.
Less friendly was my instructor in harmony and counterpoint, an
old organist named <i>Hartung</i>; and I still remember how severely
he once rebuked me, when, soon after the beginning of the
lessons, I showed him a composition of my own. “There is time
enough for that,” said he, “you must learn something first.”
But after some months he himself encouraged me to make
trials in composition: he corrected me, however, so mercilessly,
and scratched out so many ideas which to me appeared
sublime, that I lost all desire to show him anything further.
Not long afterwards, our lessons were brought to a close by
the ill health of the old man; and these were the only
lessons in theory, I ever had. I was now obliged to seek
for instruction in theoretical works. But the reading of
good scores was of special advantage to me; these I ob<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>tained
from the Theatrical library through the interest of
my teacher <i>Kunisch</i>. In this manner I soon learned to write
harmony correctly; and I now ventured for the first time
to appear publicly in Brunswick with a composition for the
violin. This took place in the School-concert of the <i lang="de" xml:lang="de">Katharinen-Schule</i>,
which I attended as a <i>Secundaner</i>. These concerts were
instituted by the Prefect for the practice of the School-choir;
but from several members of the <i>Hof-Kapelle</i>, the Town musicians,
and accomplished amateurs taking part in them, they
became so important, that greater works could always be executed,
such as Cantatas, Symphonies, and instrumental Concertos.
From this time everything was studied very exactly,
and the performances, which were held in the tolerably large
saloon of the head class, soon became so celebrated, that
it enabled a trifling entrance money to be charged to defray the
expenses. At one of these concerts I thus appeared for the
first time in my native-town, and achieved so much success
that I was invited to assist at the Subscription concerts at
the <i lang="de" xml:lang="de">Deutsches Haus</i>, and received the usual remuneration.
This first payment which I earned as an artist made me very
happy, nor have I forgotten the proud feeling with which I
announced it to my parents. I now frequently played solos
at the subscription concerts, and generally some of my own
compositions. I was also allowed to play in the Orchestra of
the Theatre for my own practice, and, thereby, became familiar
with much good music.</p>

<p>At this time, still possessing my clear, high soprano voice,
it gave me much pleasure also to join the School chorus in
its perambulations through the town. The leader, who since
then has become celebrated as the Bass singer, <i>Strohmeyer</i>,
gave the soprano solos to me very readily, from my being
able to sing them without fault at sight.</p>

<p>My teacher <i>Kunisch</i>, who interested himself for me in
a paternal manner, now insisted that I should take lessons
of the Concert-Director <i>Maucourt</i>, the best violinist of the
Brunswick orchestra. My father agreed readily, although it<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>
was much against his grain to pay the higher charge for this
instruction; and the more so, as I had been obliged to
leave <i>Michaelis’</i> house from his inability to give me up a
special apartment, and that it was quite impossible for me to
play and compose quietly in the same room with the children
of the house. A further consequence of this change of dwelling
was, that my father was obliged to arrange with his former
aquaintances about my having free board; this was very galling
to his ambitious son. Nevertheless I was treated in a friendly
way by all these people, and thus the humiliating feeling of my
position was soon dissipated. I now, with another <i>Secundaner</i>,
inhabited a room in the house of the organist <i>Bürger</i>; here
however I could practise and compose undisturbed, for our
landlord, who interested himself in my musical studies, placed
his music room and pianoforte at my disposal.</p>

<p>With M. <i>Maucourt’s</i> instruction, I progressed more and
more towards becoming (for my age) an excellent solo player:
and after the lapse of about a year, as my father was unable
to defray the great expense of my living in Brunswick,
on account of the growing up of his other children, he considered
me to have made progress enough to enable me to try
my luck in the world as a travelling “<i>Artiste</i>.” He determined
therefore to send me first to Hamburgh, where he had acquaintances
to whom he could give me letters of recommendation.</p>

<p>Accustomed to obey my father in everything, and well
disposed to consider myself a shining light, I had no objection
to this. If it appear hazardous in the extreme to send a boy
of fourteen into the world, left entirely to himself, and trust
everything to fortune, its explanation is to be found in the character
and life-experience of my father. Bold and enterprising
in the highest degree, he also had already emancipated himself
in his sixteenth year. In order to escape punishment at school,
he had run away from Hildesheim, and supported himself
most precariously in Hamburgh, first as a teacher of languages,
and afterwards, by giving lessons in the <i>Büsching</i> Commercial
school. He then attended several Universities, struggling through<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
great privations by help of his enterprising spirit and unwearying
activity; and, at last, without any help from home; after a most
adventurous youth, succeeded in establishing himself in practice
as a physician in Brunswick. He found it therefore very natural
that his son should try the same course, although my mother
shook her head thoughtfully at it. Scantily provided with money
for the journey, but furnished with much good advice, I was sent
by the mail to Hamburgh. Still, filled with the lively impression
made upon me by the crowded Commercial City, and the ships,
now seen for the first time, I went, full of hope and in high spirits,
to Professor <i>Büsching</i>, to whom I had a letter of introduction from
my father. But how soon were those hopes to be destroyed! The
Professor, after he had read the letter with increasing astonishment,
exclaimed: “Your father is then still, the same as ever!
What madness to send a boy into the world trusting merely to
good luck!” He then explained to me, that, in order to arrange
a concert in Hamburgh, one must either possess a well known
name, or at least, the means to bear the great expenses it would
entail. But, that in summer, when all the rich people were
at their country seats, such an undertaking would be quite
impossible. Completely down cast by this explanation, I could
not answer a single word, and was hardly able to repress my
tears. I took leave in silence, and hastened to my lodging full
of despair, without thinking of delivering the other letters of
recommendation. Here, upon thinking over my situation, the
certainty that my money would hardly suffice for a couple of days,
terrified me to such a degree, that, in thought, I already saw
myself in the claws of the crimps of whom my father had
drawn a warning picture. I made up my mind at once,
packed up my violin and other things again, sent them to
Brunswick by the mail, paid my bill, and with the scanty remainder
of my money, which might perhaps suffice to my
subsistence, I set out on foot, on my return to Brunswick.</p>

<p>Some miles from the town, calmer reflection brought regret
for this overhaste; but it was too late; had it not been
so, I would have turned back. I said to myself that it was<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
foolish not at least to have delivered the other letters first.
They might perhaps have procured for me the aquaintance of
some musical person who would have appreciated my talent, and
have procured some information how arrangements might have
been made for a Concert. To this was added the humiliating
thought that my father who had been so enterprising himself,
would upbraid me as childish, cowardly and thoughtless.
Thus, saddened to the depth of my soul, I wandered farther,
thinking continually how I might avoid the humiliation of
returning to my paternal home without having effected anything
whatever.</p>

<p>At last, the idea struck me of addressing myself to the
Duke of Brunswick, to solicit from him the means to carry
on my studies. I knew that the duke had earlier played the
violin himself, and I therefore hoped that he would recognise
my talent. When (thought I) he has heard me play but one
of my concertos, my fortune is made. With newly awakened
courage I now journeyed onward, and got over the rest of
the road in the most cheerful disposition of mind.</p>

<p>Scarcely arrived in Brunswick, I concocted a petition to
the Duke, in which I laid before him my whole situation,
ending with the request either for aid towards improving myself,
or, for a situation in the ducal orchestra. As I knew
that the Duke was in the habit of walking every morning in
the park of the Palace, I sought him there with my petition
in my pocket, and had the good fortune to have it accepted
by him. After having glanced over it and asked me
some questions about my parents and former Instructors, which
I fearlessly answered, he enquired who had worded the petition.
“Well, who but I myself? I need no help for that,”
was my reply, half offended at the doubt as to my ability. The
Duke smiled and said: “Well, come to the palace to-morrow
at eleven; we will then speak further about your request.”
Who so happy as I! Punctually at eleven I presented myself
before the groom of the chambers and requested to be an<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>nounced
to the Duke. “And who may <i lang="de" xml:lang="de">Er</i><a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> be?” snarled the
groom to me in unfriendly tone. “I am no <i lang="de" xml:lang="de">Er</i>. I am here by
the Duke’s command, and <i lang="de" xml:lang="de">Er</i> has to announce me”, was my
indignant reply. The groom went to announce me, and before
my excitement had subsided I was introduced. My first word to
the Duke was therefore, “Your Serene Highness! your servant
calls me “<i lang="de" xml:lang="de">Er</i>”; I must earnestly remonstrate against that.” The
duke laughed aloud, and said: “Come, calm yourself; he will not
do it again”. Then, after having put several questions to me to
which I gave the most unembarrassed answers, he said: “I have
enquired about your abilities from your last teacher <i>Maucourt</i>,
and am now desirous to hear you play one of your own compositions;
this can take place at the next concert in the apartments
of the Duchess. I will have it intimated to the director
<i>Schwaneberger</i>.”</p>

<p>In most happy mood I left the Palace, hastened to my
lodging, and prepared myself for the concert in the most careful
manner.</p>

<p>The Court concerts in the apartments of the duchess took
place once a week, and were most disagreeable to the musicians
of the Ducal Orchestra: for, according to the then prevailing
custom, cards were played during the music. In order not to
be disturbed, the Duchess had ordered the orchestra, always
to play <i>piano</i>. The leader therefore left out the trumpets
and kettle drums, and insisted strongly that no <i>forte</i> should
be played in its full strength. As this was not always to
be avoided in Symphonies, however softly the band might
play, the Duchess ordered a thick carpet to be spread out
under the orchestra, in order to deaden the sound. One heard
therefore the words “I play”, “I stand” and so forth, much
louder than the music.</p>

<p>However, the evening on which I played there for the
first time, the card tables and carpet had disappeared; the<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
orchestra, informed that the Duke would be present, had well
prepared themselves, and the music went on excellently. As
I then still appeared without any timidity, and well knew that
my whole future fate depended upon the success of that day, I
played with real inspiration; and must have surpassed the expectations
of the Duke, for he, even while I was playing, cried
repeatedly “bravo”. After I had finished, he came to me, patted
me on the shoulder, and said, “The talent is there; I will take
care of you. Come to me to-morrow.” In an extasy of delight
I returned to my lodging, wrote immediately to my parents
of my good fortune, and could get no sleep for a long time,
from excitement and joy.</p>

<p>The next day, the Duke said to me, “there is a place vacant
in the orchestra, I will give it to you. Be diligent and
behave well. If after some years you have made good progress,
I will send you to some great master; for here you have
no great model to follow!” This last speech filled me with
astonishment, for till then I had considered the playing of my
Instructor <i>Maucourt</i>, as the utmost that could be attained.</p>

<p>In this manner, in the beginning of my fifteenth year I was
appointed <i>Kammermusicus</i>. The Rescript of my appointment
which was drawn up later, is dated August 2<sup>nd</sup>, 1799. Although
the salary was only 100 thalers, yet by great economy, and with
the help of other trifling earnings, it sufficed to me; and I did not
now need any further help from home. Nay, I was even happy
enough to be enabled to render the education of the other children
easier for my parents, by taking my brother <i>Ferdinand</i>, who was
eight years younger than I, and who showed an inclination and
talent for music, to live with me, and give him my assistance
to become an artist.</p>

<p>From this time, the young <i>Kammermusicus</i> was in full activity.
His duties consisted in playing at the Court-concerts
and in the Theatre, for which latter, a French operatic and
dramatic company had been engaged shortly before. I therefore
became earlier acquainted with the French dramatical
music than with the German; and this was not without in<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>fluence
upon the tendency of my taste, and upon my compositions
of that time. At last, during the two fairs, a German
operatic company from Magdeburgh was also engaged, and the
grandeur of <i>Mozart’s</i> operatic music burst upon me. <i>Mozart</i>
now became for my life time my ideal and model. Even now
I well remember the transport and dreamy enchantment with
which I heard for the first time, the “<i lang="de" xml:lang="de">Zauberflöte</i>” and “<i>Don
Juan</i>”; and that I had no rest until I had got the scores lent
to me, and had brooded over them half the night long.</p>

<p>Neither did I fail to be present at all the other musical
parties in the town: I was a member of all the quartetto circles.
In one of these which had been formed by two of the singers
of the French opera, who played the violin, I heard for the
first time the quartettos of <i>Beethoven</i>, and from that time raved
no less about them than I had before done about those of <i>Haydn</i>
and <i>Mozart</i>. With such constant practice, my playing and
taste could not fail to become more and more cultivated. The
presence of two foreign violinists who at this time visited Brunswick,
produced also a favourable influence upon me. These were
<i>Seidler</i>, and the boy <i>Pixis</i>. The former impressed me by his
beautiful tone and his pure playing, the latter by his execution,
which for his years, was extraordinary.</p>

<p>I very often played in private parties, with the brothers
<i>Pixis</i>, and in their second public concert I performed in a
double concerto, by Pleyel the violinist. After such encouragement
I always studied with redoubled diligence. The duke,
who did not lose sight of me, had allowed me to inform him
whenever I intended to execute a new composition at the Court
concerts, and he was sometimes present, to the great annoyance
of the duchess, who was thus disturbed in her party
at Ombre. One day when the duke was not there, and for that
reason nobody was listening to the music; the prohibition regarding
the <i>forte</i> being renewed, and the dreadful carpet again
spread, I tried a new concerto of my own. I can only call these
performances rehearsals, because no preparation was ever made
beforehand, excepting on the days upon which we knew that the<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
duke would be present. Engrossed with my work which, I heard
for the first time with the orchestra, I quite forgot the prohibition,
and played with all the vigour and fire of inspiration;
so that I even carried away the orchestra with me. Suddenly,
in the middle of the solo, my arm was seized by a lackey, who
whispered to me, “Her Highness sends me to tell you that
you are not to scrape away so furiously.” Enraged at this
interruption I played, if possible, yet more loudly; but was
afterwards obliged to put up with a rebuke from the Marshal
of the Court.</p>

<p>The Duke, to whom I complained the next day; laughed
heartily: but on this occasion he at the same time adverted to his
former promise, and told me to choose a teacher at once from
among the great Violinists of the day. Without hesitation I
named <i>Viotti</i>, and the duke approved of the choice. He was
immediately written to, to London, where he resided at the time.
Alas! He refused the request: he wrote word that “he had become
a wine merchant,”&mdash;“occupied himself but seldom with
music, and therefore could not receive any pupils”<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a>.</p>

<p>Next to <i>Viotti</i>, <i>Ferdinand Eck</i>, in Paris was at that time
the most celebrated violinist. He was therefore next applied to.
But he also, would take no pupils. A short time before, when
engaged in the Court orchestra at Munich, he had eloped with
a rich countess; had married her in Switzerland, and now led
an affluent life, partly in Paris, and partly upon an estate near
Nancy which had been bought with the fortune of the countess.
He, however, proposed his younger brother and pupil, <i>Francis
Eck</i>, as master. As he was at that time travelling through
Germany, and had appeared with great success at Berlin, he
was written to; and, in case of his accepting the proposition,<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
invited to Brunswick. <i>Eck</i> came; played at Court, and pleased
the Duke greatly. As however he was about to start for Petersburgh
upon an artistic tour, I was sent with him as a pupil
for a year; and it was settled that I should bear half the expenses
of the journey: and that <i>Eck</i>, at the end of the instruction
should receive a suitable reward from the Duke. A diary
of this journey exists, which from some extracts may perhaps
be of interest. It commences a few days before our departure
(which took place April 24, 1802), in the following childish
manner; notwithstanding I was already a youth of eighteen.</p>

<p class="break center large">“The Leave-taking.”</p>

<p>“To the most sorrowful hours of life, belong those of leave
taking from loving parents, and tried friends. Not even the prospect
of an agreeable and profitable journey can brighten them;
time only, and the hope of a speedy meeting again, can
assuage their pain. From these also do I expect relief on
recommencing my musical tour. Farewell, therefore, parents and
friends! The remembrance of the many happy hours enjoyed
with you will always accompany me.”</p>

<p>We first went to Hamburgh, where <i>Eck</i> intended giving
concerts. I regarded this town again, from which I had fled
some years ago so full of despair, with a certain degree of
self-satisfaction and content.</p>

<p>After <i>Eck</i> had delivered his letters of recommendation, the
lessons began. Concerning these, the following is written in
my diary:</p>

<p>“This morning, April 30, Herr <i>Eck</i> commenced my lessons.
But alas! how was I humiliated! I, who imagined myself one of
the first virtuosi of Germany, could not play one single bar
to his satisfaction; but was obliged to repeat it ten times at
least, in order in some degree to gain his approbation. My
bow-ing particularly displeased him, to alter which, I now
also see is very necessary. At first it will of course be difficult
for me; but at last, convinced of the great advantage of the
change, I hope to accomplish it.”</p>

<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>

<p>The diary now describes everything that the travellers saw
and heard. Attractive as these were to me, yet I did not
neglect my musical studies for them. The forenoon, which in
Hamburgh lasts till three o’clock, was devoted entirely to
practising what <i>Eck</i> gave me. It was not long before he
expressed himself favourably as to my progress. Already on
May 10, I wrote:</p>

<p>“Herr <i>Eck</i> begins to be more satisfied with my playing, and
was kind enough to assure me yesterday that I was now able
to play the concerto I had studied under him, without fault.”</p>

<p>The intervals between practising, I employed in painting.
From my earliest youth I had applied myself to drawing and
painting in water colours, and had attained some proficiency
without ever having had any good instruction. Yes, I had even
hesitated for some time, as to which of the two arts, music or
painting, I should choose for my profession. I now made my
first attempt at portrait painting. The 12<sup>th</sup> of May I wrote:</p>

<p>“On Sunday I commenced a miniature which I finished
this forenoon. I tried to paint myself, and am quite satisfied
with the result. This, and playing on the violin have
occupied me so fully, that I have not left the house for four
days. I sent this picture to my parents, and then commenced
painting Herr <i>Eck</i>, who was patient enough to sit to me.”</p>

<p>It is now time to mention that the young artist, from his
earliest youth, was very susceptible to female beauty, and already
when a boy fell in love with every beautiful woman. It is
therefore not to be wondered at, that, the diary of the youth
of eighteen contains many pages of the outpourings of the emotions
of his heart. But there is great comicality in the earnestness
with which these fleeting inclinations are spoken of.</p>

<p>In Hamburgh it was a Miss <i>Lütgens</i>, the daughter of a
music master, who particularly won my heart. After a visit
paid to the father, I wrote the following:</p>

<p>“His eldest daughter, a girl of thirteen, a very fine, innocent
creature, pleased me particularly by her agreable and
modest demeanour. She is very beautiful, has hair that curls<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
naturally, very lively brown eyes, and a neck of dazzling whiteness.
Her father, whose hobby is counterpoint and harmony,
entertained me continually with the resolution and combination
of the chords; finding in me the most patient listener to his sermon,
while I would much have greatly preferred to speak with
his amiable daughter about the combination of hearts and lips.”</p>

<p>In order to a more frequent near approach, I asked permission
to take her likeness, which was willingly granted. But
before the sittings commenced, I was warned by Herr <i>Eck</i>,
whom oddly enough I had made my confidant, that she was a coquette,
and unworthy of my regard. At first I could not believe
that a girl of thirteen could already be a coquette, but after
the first sitting, I became of the same opinion, and wrote the
following remarks:</p>

<p>“Henrietta begged me to take her portrait in the dress
which she wore, assuring me that she had chosen it expressly;
for her other dresses were not cut low enough, and covered her
neck too much. I was astonished at her vanity, and the sight
of this charming neck which otherwise would have enchanted me
now saddened me; being convinced that she was already infected
by the vanity and shamelessness of the Hamburgh
ladies. While I painted, she chatted with her cousin, (an ugly
but vain girl,) of nothing but the dress she intended wearing
at the ball which was to take place on the following evening.
Quite vexed, I returned home, and wished that we might now
leave as soon as possible, for Hamburgh began to displease
me more and more. My sociable heart, which could so willingly
attach itself to any one, finds here nobody. In this girl,
I thought to have found something on which to set my affections;
but I see I am again deceived. I had intended making
a copy of this portrait for myself; but I am still too
much embittered against her to be able to do so. Neither have
I now any wish to go to the ball.”</p>

<p>But two days afterwards I wrote, “This forenoon I worked
diligently at Miss <i>Lütgens’</i> portrait&mdash;and began also a copy
of it for myself. After dinner I went to her..... Henrietta<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
received me with reproaches for not having been at the
ball.... To-day, she was so modestly dressed, and spoke so
reasonably, that I occupied myself more with her than with my
painting, which was the cause of my not quite finishing it. It
is really a thousand pities that this girl with so much talent
and good sense, lives in such vulgar society, and is thereby
led away into the follies of Hamburgh.”</p>

<p>With the presentation of the portrait, and our departure,
which took place immediately after; this little romance, that
never came to a declaration, terminates.</p>

<p>With respect to the point I had at that time reached in
my art, and my views of the latter, my diary shews proofs
at every page, of my opinion of what I heard in Hamburgh.
Without doubt those judgments are pronounced with the naïve
assurance that belongs to youth, and require without a doubt
many modifications, if these were possible after the lapse of so
long a time. The opinion about Operas, and their performance,
may be well passed over, for those works have for the most
part, disappeared from the repertoire, and the singers, also,
have passed away.</p>

<p>But respecting other matters, as well as those of my Instructor,
the following incidents may be mentioned.</p>

<p>“May 5. To-day we were invited to dinner by Herr <i>Kiekhöver</i>,
and there met <i>Dussek</i> and some other musicians. This
was very agreeable to me, as I had long earnestly wished to
hear <i>Dussek</i> play. Herr <i>Kiekhöver</i> and his wife are very kind
people, and in their house good taste is combined with splendour.
The conversation at table, was almost always in French.
As I am not well versed in that language I could take but
little part in it. But, I took all the more in the music
which followed. Herr <i>Eck</i>, began with a quartett of his
own composition, and enchanted all the listeners. Then Herr
<i>Dussek</i> played a sonata for the piano, of his own composition,
which however did not seem to please particularly. Now followed
a second quartett by Herr <i>Eck</i>, which so delighted Herr
<i>Dussek</i>, that he enthusiastially embraced him. In conclusion,<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
Herr <i>Dussek</i> played a new quintett he had composed in Hamburgh,
which was praised to the skies. However, it did not
entirely please me; for, despite the numerous modulations, it
became tedious towards the end, and the worst was, that it
had neither form nor rhythm, and the end could quite as well
have been made the beginning as not.”</p>

<p>At a musical party at M. <i>Thornton’s</i> country house, I became
acquainted with Fräulein <i>Grund</i>, at that time the most
esteemed singer of Hamburgh. My diary speaks of her with
great enthusiasm. Among other remarks:</p>

<p>“At first, the conversation was very vapourous; for the
merchants spoke of nothing but the contrary winds that prevented
their ships entering the Elbe. By and by however,
it became more interesting, particularly when Fräulein
<i>Grund</i> joined in it. I had already admired her correct and
polished language, and her captivating and obliging manners.
But when at table, she spoke alternately French with one, and
English with another, and that one gentleman informed me
she spoke and wrote four languages correctly, I began to envy
her, and to be ashamed that I, as a man, was so far behind this
girl. She had also attained great proficiency in music, and
enchanted us so much yesterday evening by her singing, that
Herr <i>Eck</i> proposed to her to sing at his Concert, which she also
promised to do. My neighbour at dinner, informed me that her
father maintained his family by giving Instruction in Music, and
spent a great deal upon the education of his children. In this,
his eldest daughter assisted him greatly; since she not only
instructed her brothers and sisters in music and languages,
but also earned a considerable sum by giving lessons in the
first houses in Hamburgh. I would gladly have made her
acquaintance at once, but she was so surrounded by young
men that I could not approach her.”</p>

<p>My diary mentions the following with regard to Herr <i>Eck’s</i>
public concert in the <i>Logensaal</i> on the <i>Drehbahn</i> on the eighteenth
of May:</p>

<p>“Herr <i>Eck</i> had great reason to be satisfied with the or<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>chestra,
for his concerti were admirably accompanied; not so the
arias of Fräulein <i>Grund</i>, which were somewhat difficult for the
wind instruments. At the head of this well drilled orchestra,
is <i>Massoneau</i>, well known by his charming compositions. The
appearance of this man by no means indicates his great talent;
for his manner of playing and his bow-ing are so bad, that one
might take him for the greatest bungler&mdash;and yet he does not
direct at all badly.”</p>

<p>Our stay at Hamburgh lasted till June 6. Herr <i>Dussek</i>
who was commissioned to arrange the concert at a festival with
which the English living in Hamburgh were about to celebrate the
4<sup>th</sup> of June, in honour of their king, engaged Herr <i>Eck</i> to perform
a violin concerto. It was not until the rehearsal which took
place on the evening of June 3, at nine o’clock, that Herr <i>Eck</i>
discovered that the concert was to be given in the open air,
which, until then, had never been mentioned. A tent had been
erected, in which the orchestra, about one hundred strong, was
disposed on a terrace-like platform. Herr <i>Dussek</i> first tried a
<i>Cantata</i>, composed by him for the occasion, and which, had an uncommon
effect upon me; for not only was it well written and thoroughly
well studied, but from the accompainment of a large organ
which had been erected in the back ground of the orchestra
and “from its being executed in the silence of night, it partook
of so solemn a character that I was quite charmed by it.”</p>

<p>After the Cantata, Herr <i>Eck</i> was to try his Concerto.
But, he fearing that the damp night air would have an unfavourable
effect upon his strings, and that his violin, after so
powerful a volume of vocal sound, and hemmed in by the linen
walls, would tell badly, had resolved not to play at all. He
explained this; and at the same time reproached Herr <i>Dussek</i>
warmly for not having told him at once, that the concert was
to take place in the open air. Hereupon a sharp dispute
followed, the consequence of which was that <i>Eck</i> left the
place immediately with me, and we took no part in the festival
itself.</p>

<p>We now went to Ludwigslust, where <i>Eck</i> wished to play at<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
Court. But his offer was declined; and he came also to Strelitz at
an unfortunate time, for the Court was absent. Nevertheless, as it
was soon expected to return, and the pleasant little town with
its charming park, bounded by the lake, invited us to make a
longer stay; and, as <i>Eck</i> foresaw that in the height of summer
it would be impossible to do much in Stettin, Dantzic and
Konigsberg, he made up his mind to await the return of the
Court. We looked out therefore for private lodgings, and made
ourselves at home there for some time.</p>

<p>This was the most favourable period for my studies, during
the whole journey. <i>Eck</i>, who was now at leisure, devoted himself
with great zeal to the instruction of his pupil, and initiated
me in all the secrets of his art. I, for my part, urged on
by youthful ambition, was indefatigable. I rose very early and
practised until exhaustion obliged me to cease. But, after a
short rest I began again, and in this way, sometimes brought
it to ten hour’s practising a day, including the time that <i>Eck</i>
devoted to me. In a letter from Brunswick, I had been informed
that those who did not wish me well had loudly expressed themselves,
that I should distinguish myself as little as all the other
youths whom the duke had hitherto assisted in their studies.
In order to controvert this opinion, I was determined to do
my utmost, and even when my zeal sometimes flagged, the
thought of my first appearance in Brunswick upon my return,
animated me directly to fresh exertion.</p>

<p>In this manner I succeeded after a short time in acquiring
such dexterity and firmness in the management of my instrument,
that none of the then known Concerto-music was too
difficult for me. In these exertions I was supported by sound
health, and a Herculean frame.</p>

<p>Between whiles, I composed, painted, wrote and read; and
in the later hours of the afternoons we used to make excursions
into the neighbourhood. A favourite amusement of the travellers
was to row across the lake, and to take supper at a farm
house, situated on the opposite shore. As I was already at that
time an accomplished swimmer, I often undressed during these<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
trips, and swam a while alongside the boat. The relation in
which I stood to <i>Eck</i>, which was more that of one comrade to
another than of pupil to teacher, admitted of such privileges.</p>

<p>At this time, I finished a violin concerto I had begun in
Hamburgh, and which afterwards appeared as Op. 1 at <i>Breitkopf
&amp; Härtel’s</i> in Leipsic; and wrote the three violin duets Op. 3
published at <i>Kühnel’s</i> in the same town. While practising these
duets with <i>Eck</i>, I became first aware that my teacher, like
many violinists of the French school, was no thoroughly finished
artist; for however excellently he executed his concertos, and
some other compositions studied with his brother, yet he knew
but little how to enter into the spirit of the works of others.
A change of characters would have been very possible while
playing these duets, for the scholar could have taught the
master how they ought to have been executed. I became also
aware from an attempt at composition made by <i>Eck</i>, that it
was impossible for him to have composed the violin concertos
and quartetts he had given out as his own productions. At
a later period, also, the concertos appeared with the name
of the elder <i>Eck</i> affixed to them, and the quartetts with
that of <i>Danzi</i>, the leader of the Orchestra at Stutgard. Thus
the four weeks, during which we waited for the arrival of the
Court, passed in a very uniform way, but not fruitlessly for
me, when Herr <i>Eck</i> fell seriously ill, and being obliged to keep
his room for the first four weeks of his indisposition, I took
my evening walks alone. During these walks another love affair
sprang up, which is related in the diary with great earnestness
and minuteness. On the eighth of July, is written:</p>

<p>“This afternoon, impelled by ennui, I entered a circulating
library, where I selected <i>Lafontaine’s</i> well known novel
“<i>Quinctius Heymerom von Flaming</i>.” I took it with me, and,
leaving the town, looked for a sequestered and shady place
on the shore of the lake, where I lay down and began to read.
I became deeply engrossed in the story; grieved with <i>Lissow</i>
about his <i>Jacobine</i>, and compared her to a lady then living,
and an acquaintance of mine. Suddenly I heard footsteps<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
near me, I looked up, and two girls stood before me; one
with blue eyes, fair curls, and beautiful as an angel, the other
with black hair and eyes, less beautiful indeed than her companion,
but still not plain. I sprang up, bowed respectfully
and gazed after them for a long time. Myrrha, Herr <i>Eck’s</i>
dog which I had taken with me, followed them, fawning upon
the fair haired one incessantly, so that it did not heed my
calling. I therefore followed to bring back the dog, and if
possible to make the acquaintance of the girls. The fair one
came to meet me, begging pardon for having kept back the
dog, and asked me to promise that I would not punish it
for its disobedience. With her sweet silvery voice she might
have exacted yet greater promises from me; I therefore gave
the desired one with pleasure. The conversation was now
commenced; I continued it, and accompanied the girls on their
walk. I found that the fair one was very well educated
and polite. The dark one spoke too little to allow of judging
of her education. We came at length to a meadow
separated from our path by a broad ditch, which although
shallow, was yet too wet for ladies to cross. As they expressed
a desire to walk in the meadow, I offered to carry them over.
At first they would not consent, but at last they allowed themselves
to be persuaded. I took the fair one first, and an incomprehensible
pleasure seized me when thus carrying the
beautiful girl in my arms. When I had reached the most
dangerous part of the ditch with her, one of her fair curls fell
upon my face. This so disturbed me, that I nearly fell with
my lovely burthen into the ditch. Nevertheless, I brought her
happily over. She thanked me so heartily and gazed so into
my face with her large blue eyes that I almost forgot to fetch
the other. We now walked on across the meadow, and, at the
end, to my great disappointment, found a little bridge which
led us back over the ditch. This envious bridge robbed me of the
pleasure of carrying once more the sweet burthen. I escorted the
girls as far as the town, and then parted from them very unwillingly.&mdash;I
will immediately enquire their names and station.”</p>

<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>

<p>Already the next day I again met my fair one. The diary
relates this with comical ingenuousness:</p>

<p>“This evening, urged by God knows what impulse, I took
the same walk as yesterday, and again laid myself down in
the very place where I had been so agreeably disturbed by the
girls. I began to read; but, although I was at an interesting
part, yet when I had run through some pages, I had not the
least idea of the contents. I now confessed to myself that I
had not come here to read, but in the hope of again meeting
my new acquaintance. I pocketed my book and gazed with
longing looks towards the place where I had first seen them
yesterday. But; after waiting in vain for two hours, I arose,
vexed, and returned towards the town. Just before reaching
it, at a place where two roads meet, I encountered some cows,
on their way home from the meadow, which blocked up my
path and obliged me to wait. But I had not stood there long,
before I saw at some distance, a female figure, dressed in white,
coming towards me, and which had exactly the same fine form
and high bearing of her whom I had waited for with such
earnest longing. As she drew nearer, I was more convinced
that it must be her, and I went to meet her. I had not deceived
myself&mdash;it was her! She greeted me with her graceful
friendliness, enquired how I was, and told me that
her friend had taken cold the evening before, and was obliged
to keep her bed. I said I was sorry to hear it, and that I
feared I had been the cause of the illness of her friend, in
having delayed them too long in their walk. She assured me
however of the contrary, and laid all the blame upon her friend
herself, who had clad herself too lightly.”</p>

<p>“During this time the herd had passed by, and we separated.
In this second conversation I have again remarked in her so
much polish of manner, and so much tender feminine delicacy
that I could not but infer that she had been exceedingly well
educated.&mdash;But, as yet I know not who she is; though from
her conversation, I am of opinion she must belong to the
bourgoisie.”</p>

<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>

<p>These meetings were now repeated almost every evening
without prior agreement, and I felt very unhappy when on
one occasion I did not find my friend. I became more and
more confidential with her; spoke of my parents; of my patron
who provided me with the means to accompany my eminent
Instructor on his travels; mentioned my works, and
plans for the future; and felt myself drawn nearer to her by
her friendly interest for me. I saw in her the sum of all
womanly perfections, and imagined to have met <i>her</i> who could
make the happiness of my life. When wandering hand in
hand in the little wood by the lake side, I was more than once
upon the point of declaring my love to her; but a timidity I
could not conquer always prevented me. Respecting her own
circumstances, she was very reserved, and hence I was still
ignorant as to who she was. On the 24 of July I however
wrote:</p>

<p>“At last I have learned the name of my fair one; but
the enquiries made, have cost me dear! Herr <i>Eck</i>, who is now
almost recovered and who has already taken some short walks,
sent for a hair dresser. Of him, I made enquiries. He told
me her name was ***, and, that she was the daughter of a
groom of the chambers to the former Duke, who had died some
years ago. Her mother, with whom she lived, had a small
pension. To my question as to how that could enable her
to dress so elegantly? his reply was: they were probably presents
from Herr von *** who was very fond of her and visited
her frequently. On hearing this, my agony was so great,
that I nearly let fall my violin,&mdash;and scarcely had the
courage to ask, whether her virtue was doubtfully spoken of. He
assured me nevertheless to the contrary, and was of opinion,
that Herr von ***, who had only come of age two months
ago, had the intention of marrying her. He was now travelling,
and would return in some weeks. I had made the acquaintance
of this Herr von *** at the Inn where we dined,
before his departure, and must admit that he seemed to me
the most well bred young nobleman we met there. The<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>
less therefore do I understand his making her presents and
she accepting them; for she can hardly permit herself to hope
that he will marry her. And, if so, how as a prudent girl,
could she venture during his absence to take lonely walks with
a young man, and sit with him in the evening before the door
of the house? The affair is a riddle to me, and I am doubtful
whether I shall go to her this evening or not.”</p>

<p>The girl’s character however did not long remain a riddle
to me; for scarcely had <i>Eck</i>, who now again shared the evening
walks, made her acquaintance, than she received his attentions
in a much more friendly and forward manner than she had
done mine. <i>Eck</i>, gallant and liberal, arranged excursion-parties
to please her, into the neighbourhood; to Rheinsberg, Hohenzirze,
and other places. For this, she rewarded him with the
most marked attention, and had eyes for him only. I felt
deeply wounded; the diary contains passionate outbursts of
jealousy. Fortunately they were confined to writing, and the
good understanding with my Instructor remained unshaken.
The contempt I now felt for the girl helped me to conquer
my passion, and I turned to my studies with renewed zeal.
My diary states:</p>

<p>“I never remark the progress I have made in playing,
more than when, from time to time, I take up some old theme
and remember how I used to execute it. To-day for instance
I took the Concerto I had studied in Hamburgh and found, that
I now executed with the greatest ease those passages which I
then could not play without a break.”</p>

<p>My Instructor also, did not leave me without encouragement;
and when, on the 16 of August, I had played my new
Concerto; to my great delight, Herr <i>Eck</i> said: “If every three
months you progress as you have done in these, you will return
to Brunswick a perfect virtuoso.”</p>

<p>Two days later, Aug. 18., I remained almost the whole
day at home, and composed a new Adagio to my Concerto; for
although I had already written three, yet none of them seemed
to suit well to the other parts.</p>

<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>

<p>As evincing my youthful pride as a Composer, the following
may here be cited:</p>

<p>“I was told of a popular festival which was to be arranged
at Hohenzirze, August 27. the birthday of the hereditary
Prince. To this festival the peasants of the neighbouring
villages are invited to a dance and supper. There is also
to be dancing at the castle. In answer to my question, as
to where so many musicians would be found, I learned that
the <i>Janitscharen</i>-music would play for the peasants, and the
Orchestra&mdash;imagine my astonishment&mdash;for the <i>dancing</i> at
Court! I would not believe it at first, until repeated assurances
of it were made to me. But, I asked: how is it possible, that
the Duke can require such a thing from the members of his
Orchestra, and that they have so little feeling of honour and
artistic pride as not to refuse it? The reply was: the Duke does
not consider it improper for his Orchestra to play to dancers,
and the majority of the members dare not disobey his commands,
for if discharged from here, poor bunglers as they
are, they would find it difficult to obtain places in other orchestras.”</p>

<p>As after the end of my unhappy love affair, my residence
in Strelitz had become unbearable, I longed greatly for our departure.
This however, was still delayed, for the doctor could
not pronounce Herr <i>Eck</i> fully restored until the end of September.
The unpleasantness of my position was still further heightened
by the friend of my faithless one, whom at our first
meeting I had named the “dark one”, turning her affection most
unmistakeably towards me; an affection, which, although the
girl was very pretty, I could not return. I withdrew myself
from their society as much as possible; but, out of regard
to my Instructor, I could not entirely refuse to share in the
pleasure parties and excursions which he constantly arranged;
and at these I could not avoid being the escort of the dark
beauty. There are naive complaints in my diary of the embarrassments
which her tenderness caused me, and more than<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
once I wished the moment of our departure to arrive, which
would free me from such trials.</p>

<p>On the 27<sup>th</sup> Sept., came at length the moment, when we
were to say farewell to our fair ones. Sophy (the dark one)
had affected, or perhaps really felt, an uncommon sadness for
the last three days. To-day she spoke not a word, only
sighed sometimes, and, when the others in the room did not
observe it, threw herself passionately upon my neck. About
eight o’clock in the evening, Herr <i>Eck</i> and Miss *** left the
room. Now for the first time the real outbreak of her tenderness
took place; for after she had also sent away her
brothers and sisters, she hardly let me out of her arms. I
was obliged to bear with it until ten o’clock; then we took
leave. The poor girl shed so many tears, that I was ashamed
of my own dry eyes, and, in order not to appear quite heartless,
I kissed her warmly. Sophy accompanied me to the door
of the house, and pressed a paper into my hand, with the request
that I would keep it as a remembrance. I hastened
home, opened it, and found a letter with a gold ring containing
some hair. The letter ran as follows: “Noble friend, pardon
a girl whose importunity must certainly have been obvious
to you. I knew that sometimes I did more than was befitting
my sex. But God knows, when in your company, which was
so dear to me, I could not control myself. Now also I force
upon you a small token, trifling indeed, but given with the
most openhearted impulse. My only wish and prayer is that
you will wear it, and remember me. Ah! could this paper
but tell you how highly I value having made your acquaintance,
and how deeply I regret your going so far away from
us! I must conclude, and in the firm hope of seeing you, my
best friend, once more, I already rejoice at the day which
will restore you to us again. Farewell, and may you live as
well and happily as is the wish of your friend Sophy ***”</p>

<p>This unmerited and tender inclination may not have remained
without thankful acknowledgement; for the resolution
to answer the letter in a most friendly manner from Stettin,<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
is expressed in the diary. But there is nothing mentioned respecting
the execution of that resolve.</p>

<p>We went to Danzic, via Stettin, arriving there October 2.
As <i>Eck</i> had to deliver many letters of introduction, and had
to arrange a Concert; the lessons, which till now had been
given regularly, came rather to a standstill. Meanwhile, I
thought, “that I made progress by only hearing Herr <i>Eck</i>
practise.” We were constantly invited out to dinner, and for
the evening; among other invitations was one to the country
seat of Herr <i>Saurmann</i>, where from a hill behind the house,
we could overlook the Baltic and a great part of the town.
The view of the sea and the vessels upon it made an indiscribable
impression upon me. As the day was somewhat
overcast, the ships appeared to hang in the clouds, and to
move slowly along with them. I could with difficulty tear myself
away from the magnificent sight.</p>

<p>At another dinner, in Mr. <i>Simpson’s</i> garden, I had the
honour to sit beside the hostess. She induced me to relate
to her many things of my early life, namely: how I had
been at first destined for the study of medecine, and then,
from a passionate inclination for music, had been led to devote
myself entirely to the art. She listened to me with a
benevolent interest, but at the end wounded my feelings by
asking whether I should not have done better to follow the
profession of my father. Wholly penetrated with the dignity
of my artistic career, I replied angrily: “As high as the soul
is above the body, so high is he who devotes himself to the
ennobling of the mind, above him who only attends to the mortal
frame.”</p>

<p>Almost everytime that an opera was given, I went to
the theatre, and did not fail to note down my remarks upon
the performance, in which singers, chorus and orchestra were
sharply handled.</p>

<p>To my great joy, Ariadne in Naxos, the celebrated melodrama
of <i>Brade</i>, which I did not yet know, was also given.
But it offended my taste, that in the comedy which followed,<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span>
“The peasants and lawyers”, Theseus appeared again in the
character of a lawyer, and Ariadne as a humble peasant girl.
“The music enchanted me although it was very badly performed.
But how could it be otherwise, the score having only
arrived in the morning from Königsberg, and the first and only
rehearsal having been held at noon! Madame <i>Bochmann</i>, who
played Ariadne, declaimed indeed very well, but was too ugly
for the part.” A young Englishman, who sat next to me,
said, that, he did not think Theseus to blame for forsaking
such an Ariadne. And upon this, he related to me the following
anecdote. At an amateur theatre in England, Ariadne
was also given. A rather elderly and anything but beautiful
lady played the part of Ariadne so excellently, that the audience
broke out into applause at the end of the piece. She
modestly disclaimed the applause, saying: “In order to represent
Ariadne well, it was necessary to be both young and handsome.”
A young man, who wished to say something clever to
her, cried out: “O, Madam, you prove the contrary!”</p>

<p>Herr <i>Eck’s</i> concert on October 16. at the Theatre, went
off brillantly. As I knew the pieces that my Instructor performed,
very accurately, I undertook to lead them on the
first violin. The musicians, who soon discovered how firm the
young Conductor was, followed me willingly, thereby rendering
the performance of the Solo player much easier; which he
also thankfully acknowledged. Besides the three pieces played
by Herr <i>Eck</i>, there was also a Symphony by <i>Haydn</i>, an
Overture by <i>Mozart</i>, a pianoforte Concerto by <i>Danzi</i>, played
by Herr <i>Reichel</i>, and two Arias of <i>Cimarosa</i> and <i>Mozart</i> sung
by Fräulein <i>Wotruba</i> and Herr <i>Ciliax</i>. “The success of Herr
<i>Eck’s</i> performances was great, and the applause enthusiastic
and reiterated. I also, had never before heard him play so
well in public.”</p>

<p>On the 20<sup>th</sup> Oct. we went on to Königsberg and remained
there till Nov. 18. <i>Eck</i> gave two concerts which were very
well attended. Being introduced into many of the first houses
by letters of introduction, we were constantly invited to dinner<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>
as well as to musical parties. In the house of the “Surgeon-General”
<i>Gerlach</i>, I often practised music with Fräulein <i>Gerlach</i>,
who was a thoroughly cultivated dilettante, and an excellent
pianiste; and who also sang my new songs. Whether these had
any artistic worth is now not to be ascertained, for they have
been lost. I sometimes played quartetts with two Messrs. <i>Friedländer</i>.
It was not however these quartett parties alone that
attracted me to their house; Fräul. <i>Rebecca Oppenheim</i>, the
younger sister of Madame <i>Friedländer</i>, had again inflamed my
too susceptible heart. She was a Jewess, and the society that
frequented the house consisted almost entirely of Jews only;
but they were all polite and educated people. The day on
which I took leave, I found Madame <i>Friedländer</i> and Fräul. <i>Rebecca</i>
alone. The latter was overflowing with wit and humour,
and we never ceased laughing, and jesting, although this but
ill suited the purport of my visit. “It is fortunate,” says my
diary, “that we leave to-morrow, for Rebecca is a dangerous
girl! He who loves his freedom and his peace must fly from
her, and the sooner the better.”</p>

<p>Before Herr <i>Eck</i> gave his first concert, the family <i>Pixis</i>
arrived at Königsberg upon their return from St. Petersburgh. I
immediately renewed our acquaintance. The eldest brother had
in the mean time grown very tall, and his soprano voice had
changed to a deep bass. But he still dressed “<i lang="fr" xml:lang="fr">à l’enfant</i>
with a turn-down collar and no necktie”. They were much
dissatisfied with their journey to Russia, and the father even
affirmed that he was a thousand rubles out of pocket during
their stay in St. Petersburgh, although he had taken with
him two hundred letters of introduction.</p>

<p>We met at a musical party at Count <i>Calnheim’s</i>, where the
youngest played first of all some variations on the piano with
great execution and taste. The eldest then played a quartett
by <i>Krommer</i>. But neither the composition, nor his playing
pleased me. “His tones”, says a remark in my diary, “are
without power, and his execution without expression. Added to
this, he handled his bow so badly, that, if he does not alter this,<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
he will never become a perfect virtuoso. He holds the bow a
hand’s breadth from the nut, and raises the right arm much
too high. In this manner, all strength fails him in the stroke, and
the shades of <i>piano</i> and <i>forte</i> vanish altogether in his playing.”
After him, Herr <i>Eck</i> also played a quartett by <i>Krommer</i>. “But
Heavens! what a difference was there! The transitions from <i>forte</i>
to <i>piano</i> in his tones, the clearness of the passages, the tasteful
<i>fioriture</i> by which he knew how to enhance the most common
place composition, lent an irresistable charm to his playing.
He gained also, the most undivided applause. <i>Pixis</i> then played
a quartett by <i>Tietz</i>, the celebrated crazy violinist of St. Petersburgh,
but had just as little success with it as with his former
one. At last, he begged Herr <i>Eck</i> to play a duet by <i>Viotti</i>
with him, in order that he might be able to say that he had
played with all the great violinists of the day; for <i>Viotti</i>, <i>Rode</i>,
<i>Kreutzer</i>, <i>Iwanovichi</i>, <i>Tietz</i>, <i>Durand</i> and others, had all done
him that honour. In this request all the company joined, and
Herr <i>Eck</i> was obliged to consent. <i>Pixis</i> played this duet best
of all, although he did not bring out <i>one</i> of the passages as
well as Herr <i>Eck</i>, who was not at all prepared for it.”</p>

<p>In the Concert also, which the brothers gave, the eldest had
no success, “the passages were flat and without expression:
he even played very false, and at times scraped so much
as to inflict pain on the ears of the audience.... According
to my idea, three years ago when I heard him for the first
time in Brunswick, he played the easy Concertos of <i>Iwanovichi</i>
and others, better than the difficult ones with which he now
came forward.” Yes, I even doubted whether he ever could
become a great violinist, “unless he soon got a good master,
who, of all things, could give him a good style of bow-ing.”</p>

<p>Upon these doubtless too severe criticisms my Instructor
who was a very stern judge, may certainly have had some
influence. When, ten years later, I again met <i>Pixis</i> in Vienna,
he had become a distinguished virtuoso, and as Professor at
the Conservatory in Prague, he proved himself also an able
teacher of the violin.</p>

<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>

<p>In Königsberg, I began again to paint. I made the
acquaintance of a miniature painter, named <i>Seidel</i>, who gave
me some lessons, and sat to me. The picture was very like.
My diary speaks also of composing. From a remark about the
polishing down of a Concerto, it is evident that at that time,
I did not understand how to work of a piece; in which I
afterwards succeeded so well, that, the rough draught, seldom
suffered even from slight changes, and, once written in score,
it was never altered afterwards.</p>

<p>For our journey to Memel, “we chose the road along the
shore, being twelve miles (German) shorter than that across
the country. In winter also, when the sand is hard frozen, it
is better to drive on than the latter. Three miles from Königsberg,
the road runs close to the sea, and does not leave it until
you reach Memel. We travelled the whole night, and suffered
much from the cold and cutting sea air. Between the fourth
and fifth station we had the misfortune to have a wheel come
off. We were now obliged to quit the carriage, to right it by
our united strength, and secure the wheel temporarily with
ropes. All this may have lasted a full half hour, and I feared
I had got my fingers frostbitten; but this I happily found to
be groundless. At nine o’clock we reached Memel, but were
obliged to wait three whole hours until we could be carried
across the harbour, because the boatmen had first to be
collected from all parts of the town. Four miles farther we
reached the frontiers.”</p>

<p>We arrived at Mittau with a large addition to our number;
for Myrrha, without our remarking it, had brought forth nine
pups, six living and three dead. “All, excepting two, were
taken away from the poor mother.”</p>

<p>In the families to whom Herr <i>Eck</i> was recommended, we
found the most hospitable welcome. We were invited to dinners,
suppers, musical parties and balls; and everything was done
to render our stay agreeable. In the house of a “Collegiate-Assessor”,
<i>von Berner</i>, I played for the first time in the place
and in the presence of my teacher. It happened thus; Herr <i>Eck</i>,<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
after having played some quartetts with great applause, was
solicited to accompany a young Pianiste of 16 years of age,
a Miss <i>Brandt</i>, who was possessed of a surprising skill, in a
Sonata of <i>Beethoven’s</i>; but he excused himself on the plea of
great fatigue. As I well knew that <i>Eck</i> did not dare to play
any piece <i>at sight</i>, that he did not know, I offered to play
in his stead. It is true, the Sonata was wholly unknown to
me, but I trusted to my readiness in reading. I was successful;
and the young Artist, in whom probably but little confidence
had been felt, was overwhelmed with praise.</p>

<p>At the subsequent musical parties, I was now always solicited
to play something; and I remember that Herr <i>von Berner</i>
on my taking leave of him, said to me with fatherly kindness:
“My young friend, you are on the right road&mdash;only
keep in it! Herr <i>Eck</i> as a Virtuoso is certainly still above
you; but you are a much better musician than he is.”</p>

<p>In the Governor’s house I heard a Violinist of the name
of <i>Sogeneff</i>, who at that time was very celebrated in Russia,
and a serf of Prince <i>Subow</i>. “He played variations of his own
composition, which were immensely difficult. The composition
pleased me right well, but his play, although skilful,
was very raw, and offensive to the ear. Herr <i>Eck</i> played
immediately after him, so that the difference between the
two Players was very distinctly perceptible. The play of
the Russian, was wild and without transition from <i>forte</i> to
<i>piano</i>; that of Herr <i>Eck</i> firm, powerful, and still, always harmonious.
We heard there, also, some Russian military singers.
They were six private soldiers, some of whom sang soprano
parts. They shrieked fearfully, so much so that one was almost
obliged to stop ones ears. They are practised in singing
by a non commissioned Officer, cane in hand. In some
songs they accompanied themselves on sort of Schalmey of so
piercing a tone, that I expected the ladies would have fainted
away. The Melodies of the songs were not bad, but accompanied
by a great deal of false harmonics.”</p>

<p>At a club in the house in which we lived, I was invited<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
to a card party “with three Excellencies, but was obliged
to pay dearly for the great honour, for I lost more than three
thalers in a few hours.”</p>

<p>Our departure for Riga was put off until December the
second, on account of Herr <i>Eck’s</i> recurring indisposition. I spent
my evenings at the houses of Herr <i>von Berner</i> and <i>von Korf</i>,
in turn, and constantly practised with Fräulein <i>Brandt</i>. We
played through the whole store of sonatas with violin accompaniment,
and many of the masterpieces of <i>Mozart</i> and <i>Beethoven</i>
were thus brought under my notice for the first time.
After supper we chatted for an hour, or Frau <i>von Korf</i> played
at chess with me, a game which from my childhood, I had
been passionately fond of.</p>

<p>Herr <i>von Berner</i>, who had become attached to me, invited
me to pass some months with him in the country, upon my
return from Petersburgh; and then to give some Concerts about
midsummer, a season in which all the Courland nobility are
assembled at Mitau. It gave me great satisfaction to hear
that I was considered far enough advanced to appear in public
as a virtuoso. I gladly consented.</p>

<p>It is odd that there is nothing mentioned in my diary
about the children of Herr <i>Berner</i>; for one of his daughters
who afterwards became a pupil of <i>Rode</i>, and distinguished
herself as a violin player, must already then have been very
nearly grown up.</p>

<p>At last the hour of our departure came, and with a
moved and grateful heart I took leave of the families who
had so kindly welcomed me.</p>

<p>In Riga, I found a letter from Brunswick, that gave me
much pleasure. I had asked permission of the Duke to dedicate
my new Concerto, as my first published work, to him;
and the answer written by the Lord Chamberlain <i>von Münchhausen</i>,
brought the consent to my request. Full of impatience
to see my work appear, I begged Herr <i>Eck</i> to write to <i>Breitkopf
&amp; Härtel</i> in Leipsic, with whom he was in correspondance,<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
to propose the publishing of the concerto. The reply soon
arrived, but was very discouraging to me.</p>

<p>For the consolation of the young Composer who can find
no publisher for his first work, the conditions upon which the
above named firm consented to undertake its publication, may
be mentioned. I had myself given up all claim to payment,
and only stipulated for some free copies. The firm required
however that I should buy one hundred copies at half the
selling-price! At first my youthful Artist-pride rebelled against
such dishonourable conditions, as I deemed them. But the
wish to see the publication of the concerto so expedited, that,
upon our return to Brunswick, I might be able to present
the Duke with a printed copy; joined to the hope that he would
make me a present, assisted me to conquer my sensitiveness,
and agree to the conditions. The concerto was finished in
time, and when I returned, was lying ready at a Music-seller’s
in Brunswick; but the package was not delivered to me before
I had paid for the hundred copies.</p>

<p>In Riga, Herr <i>Eck</i> had a quarrel with the Society of
Musical Dilettanti there. Being in possession of the Concert
room; they required from him, as from all foreign artists,
that he should first perform in their concert, for which they
were ready to give him up the room and orchestra, for his
own concert afterwards. Herr <i>Eck</i> refused to comply with
these conditions and would rather give up his own concert
altogether. This made the company more compliant; and
they declared themselves satisfied, if he would agree to play
in no other concert than theirs, after his own. He consented
to this, on the condition that they would be silent about it
beforehand: because he had been told that the subscribers to
the dilettanti concerts would be unwilling to pay for an extra-concert,
if they were sure of hearing the foreign Artist in the
former. Silence, however, was not kept, and the consequence
was that Herr <i>Eck’s</i> concert was badly attended. Angry at
this, he now demanded the sum of fifty ducats for his appearance
in their concert, as a remuneration for the loss which<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
their gossiping had caused him. The gentlemen directors,
feeling in some degree that they had been wrong; after long
debating, agreed to pay thirty ducats. Herr <i>Eck</i>, however, stood
by his first demand. The gentlemen now threatened to make
the police compel him to appear; and he was actually summoned
before the Chief of the police. But he succeeded in
winning him over to his cause, and the gentlemen directors
were dismissed, with their charge. At last, upon the day of
the concert, after the bills parading forth the name of Herr
<i>Eck</i>, had been posted up at the corners of the streets, they
vouchsafed to grant the required demand; but they were not
a little surprised at the declaration of Herr <i>Eck</i>, that, now,
after having been summoned before the police he would not
play at all, not even for double the sum demanded. All their
threatning and storming was of no avail; they were obliged
to give their concert without him. “I was there,” says the
diary, “and much enjoyed the fermentation that prevailed
among the dilettanti. Nothing but Herr <i>Eck</i> and his refusal
were spoken of; but nobody said one single word in his favour;
all were too much annoyed at their disappointed expectations.
The concert went off badly. A virtuoso on the flute, from
Stockholm, who first played an old fashioned concerto by
<i>Devienne</i> in place of Herr <i>Eck</i>, pleased as little as a dilettante
from St. Petersburgh, who executed a concerto for the piano
by <i>Mozart</i>, in a most schoolboy-like manner.”</p>

<p><i>Eck</i>, had however won the good will of the Director of
the police, by having offered to give a concert for the benefit
of the Nikolai Asylum for the poor. <i>Meirer</i>, the Director of
the Theatre, gave the house gratis, and Messeurs <i>Arnold</i> and
<i>Ohmann</i>, as well as the ladies <i>Werther</i> and <i>Bauser</i> gave their
vocal services. The Musical Society did all they could to put
a stop to it; but in vain. “Immediately upon his appearance
Herr <i>Eck</i> was received with the liveliest applause, which was
still more increased after he had played. The proceeds, after
deducting the expenses, amounted to more than a hundred
ducats, which were handed over to the cashier of the Asylum;<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
but a gift of one hundred ducats from the nobility present was
also made to Herr <i>Eck</i>, and the next morning, fifty more
followed from several rich merchants, who did not wish to be
behindhand in generosity.”</p>

<p>Among the many invitations, one is also mentioned in the
diary, to the house of the rich sugar baker <i>Klein</i>, who “kept
no less than three tutors for his children”&mdash;a German, a
Frenchman and a Russian.</p>

<p>On the seventeenth of December we quitted Riga. In Narwa
the governor, a great lover of music, who had seen from the
<i>Paderoschna</i>, which we were obliged to deliver up at the gate
of the town, to be examined, what a celebrated <i>Artist</i> was
passing through, invited us immediately for the evening. “Our
excuse, that we could not appear in our travelling clothes,
was not accepted. The governor sent his state carriage, and
we were carried off half by force. The embarrassment at finding
ourselves all at once in the midst of a brilliant society,
clad in travelling costume, very soon wore off after the friendly
welcome and obliging politeness of those present, and we passed
a pleasant evening. At one o’clock when the party broke up,
we found our carriage with post-horses ready before the door,
and set out immediately.</p>

<p>But, between Narwa and St. Petersburgh, one misfortune
after the other occured to us. Two stations on this side of
St. Petersburgh, we were persuaded to place our carriage upon
a sledge. But hardly had we driven half an hour in it, when
the cords with which it was fastened, broke, and we could
get on no farther. The postillion was obliged to get some
peasants from the neighbouring village to help us. After the
job was done, they made us understand by signs that we were
to pay them five rubles. Very angry at this shameful demand,
we refused to give so much, but as they shewed the intention
of cutting the cords with which they had bound the wheels,
with their axes; and as we saw that we could not contend
against the crowd of wild looking fellows who by degrees had<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
surrounded our carriage, we were obliged to comply with the
demand.</p>

<p>“After a halt of more than an hour we were at last enabled
to proceed; but it was not long before we stuck fast
in the snow, and it was only by the help of several peasants
whom we called to assist us, that we were able to extricate
ourselves. We now found that in the deep snow, the sledge hindered
more than it served us, and we had the carriage taken
off. After this was done, and paid for, we were enabled to proceed;
but again seven times did we stick fast, so that no less
than sixteen hours were necessary to accomplish this post of
three miles. As we came nearer to St. Petersburgh we found
the roads better, and were also driven faster. At last, Wednesday
the 22. at nine in the evening, we arrived; after being
six days and five nights upon the road. The last part of the
journey from Narwa to St. Petersburgh is dreadfully uniform
and tiresome. The perfectly straight road cut through the
fir forests, with the party coloured Werst-stones, each exactly
like the other, are enough to weary the most patient! Seldom
only does the endless forest open, to disclose a few buildings,
or a miserable village. The houses, or rather the huts of
these villages, have for the most part, one room only, with
a window a foot square. In this room, men and animals live
together quite peaceably. The walls consist of unhewn beams
laid upon each-other, the crevices being filled up with moss. It
cannot certainly be very warm in these holes; but the inhabitants
do not seem to care for that; for I saw children and grown up
people running about in their shirts, and barefoot in the snow.
The poorer and more wretched the objects appear during the
journey, the more surprising is the magnificent St. Petersburgh
and its palaces..... We descended at the <i>Hôtel de Londres</i>,
and immediately engaged a guide, without whom one
cannot be here even for one day; for as soon as the stranger
is shown his room, not a soul troubles himself about him
any farther.”</p>

<p>In St. Petersburgh, I was at first quite left to myself.<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>
This would therefore have been the most favorable opportunity
for me to look round that splendid city. But the extreme
cold, which already exceeded twenty degrees, would not permit
of this. I therefore continued to work with my usual
diligence, and indeed with increased zeal, for the period of
Herr <i>Eck’s</i> instruction was more than half elapsed.&mdash;Through
a member of the Imperial orchestra we were introduced into
the “Citizen Club,” and there made the acquaintance of almost
all the celebrated <i>artistes</i> and scholars then in St. Petersburgh.
Among others, my diary mentions <i>Clementi</i>, his
pupil <i>Field</i>, the violinist <i>Hartmann</i>, the first violin of the Imperial
orchestra, <i>Remi</i>, also a member of the orchestra, <i>Leveque</i>,
the son of the leader in Hanover, and director of an
orchestra of serfs belonging the senator <i>Teplow</i>, <i>Bärwald</i> from
Stockholm, the hornist <i>Bornaus</i>, and others.</p>

<p><i>Clementi</i>, “a man in his best years, of an extremely
lively disposition, and very engaging manners,” liked much to
converse with me “(in French, which from my great practice
in St. Petersburgh I soon spoke pretty fluently)” and
often invited me after dinner to play at billiards. In the
evening, I sometimes accompanied him to his large pianoforte
warehouse, where <i>Field</i> was often obliged to play for hours,
to display the instruments to the best advantage to the purchasers.
The diary speaks with great satisfaction of the technical
perfection and the “dreamy melancholy” of that young
artist’s execution. I have still in recollection the figure of
the pale, overgrown youth, whom I have never since seen.
When <i>Field</i>, who had outgrown his clothes, placed himself at
the piano, stretched out his arms over the keyboard, so that
the sleeves shrunk up nearly to his elbows, his whole figure
appeared awkward and stiff in the highest degree; but as soon
as his touching instrumentation began, everything else was
forgotten, and one became all ear. Unhappily, I could not
express my emotion and thankfulness to the young man otherwise
than by a silent pressure of the hand, for he spoke no
other language, but his mother tongue.</p>

<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>

<p>Even at that time, many anecdotes of the remarkable
avarice of the rich <i>Clementi</i> were related, which had greatly
increased in latter years when I again met him in London.
It was generally reported that <i>Field</i> was kept on very
short allowance by his master, and was obliged to pay for
the good fortune of having his instruction, with many privations.
I myself experienced a little sample of <i>Clementi’s</i>
true Italian parsimony, for one day I found teacher and pupil
with up turned sleeves, engaged at the washtub, washing their
stockings and other linen. They did not suffer themselves to
be disturbed, and <i>Clementi</i> advised me to do the same, as washing
in St. Petersburgh was not only very expensive, but the
linen suffered greatly from the method used in washing it.</p>

<p>Of all the acquaintances I made in the Citizen’s Club,
none were dearer to me than my young friend <i>Remi</i>. The
diary speaks of him immediately after our first meeting, as
a “polite and charming young Frenchman.” The same enthusiasm
for art, the same studies and the same inclinations
bound us yet closer to each-other. We met every day at
dinner at the Citizen’s Club, when I was not invited out with
my Instructor; and when in the evening there was no Opera
or Concert in which <i>Remi</i> was engaged, we played duets, of
which <i>Remi</i> possessed a great collection, till late in the night.
There were many evenings in that cold winter on which the
Theatre was closed; for by an <i>ukas</i> of the benevolent Emperor
<i>Alexander</i>, all public amusements were forbidden when the
cold should exceed seventeen degrees, in order that the coachmen
and servants might not be exposed to the danger of being
frozen to death. And during that winter, the cold often remained
at above seventeen degrees for a fortnight together.
That was a dull, monotonous time for foreigners. But foreign
<i>artistes</i>, were still worse off, for they were unable to
give their concerts. When the cold fell below seventeen
degrees there were notices innumerable; but they were often
obliged to be recalled on the following day. Herr <i>Eck’s</i>
public concert was also postponed till March 6. O. S. after<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
having been announced more than once. In the mean time
however, he played twice at Court at the private Concerts of the
Empress, and pleased so much, particularly the second time,
that the Empress had him engaged as solo player in the Imperial
Orchestra at a salary of 3500 rubles.</p>

<p>The less frequently operas and concerts took place in the
cold months of January and February, the more diligently I
attended them, in order to become more nearly acquainted with
the native and foreign talent. I also saw and heard <i>Tietz</i>
the celebrated crazy violin player. He was a man of about
forty years of age, with a ruddy complexion, and pleasing exterior.
His appearance in no wise showed his insanity. We
therefore were the more astonished when he addressed every one
with the question, “My most gracious monarch, how are you?”
He then related to us a long affair in which was but little evidence
of sanity; complained bitterly about a malicious sorcerer,
who, jealous of his violin playing had so bewitched the middle
finger of his left hand that he could no longer play; but at
last expressed the hope that he would still be able to conquer
the spell&mdash;and so forth. On taking leave of us he fell upon
his knees before Herr <i>Eck</i>, kissed his hand, before the latter
could prevent it, and said, “My most gracious Monarch, I
must do homage to thee and thine art, upon my knees!”</p>

<p>Four months later, in the beginning of May 1803, all
St. Petersburgh rang with the sudden news that <i>Tietz</i>, whom
the Russians in their blind patriotism regarded as the first
violinist in the world, and who on account of his madness had
not played for six months, had suddenly commenced again.
<i>Leveque</i> related the nearer particulars to me. <i>Tietz</i> had been
invited to a musical party at the Senator <i>Teplow’s</i>, but had
refused to play in spite of all entreaty; Herr <i>Teplow</i>, much
annoyed, sent away the orchestra saying, “Then I also will
never again hear music!” This made so deep an impression
upon <i>Tietz</i> that he said, “most gracious Monarch, have the
orchestra recalled; I will play a symphony to their accompaniment.”
This took place, and having once began, he played<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
quartets until two o’clock in the morning. The next day the
amateurs assembled in his house and he played again. This
gave me the hope of hearing him also, and on that account
I hastened to him on May the second (20. April). Many amateurs
were once more assembled there, who again beseiged him
with requests to play; this time however in vain. He was not
to be moved, and I afterwards heard that some one had been
of the party whom he did not like.</p>

<p>On the eighteenth of May I took my new duet and my
violin, and went again to Herr <i>Tietz</i>, whom I this time found
alone. It did not require much to persuade him to play the
duet; but he would not take the primo. We had hardly ended,
when Herr <i>Hirschfeld</i>, hornist in the Imperial orchestra, and
others with whom I was unacquainted, came in. Herr <i>Tietz</i>
begged me to repeat the duet, and it appeared to please not
him alone, but also the others. Herr <i>Tietz</i> now opened a quartet
by <i>Haydn</i>, and required me to take the first violin. He
himself took the violoncello part. As the quartet was known
to me, I did not refuse. It was pretty well executed, and Herr
<i>Tietz</i>, as well as the others present, overwhelmed me with praises.
<i>Tietz</i> played the secondo of my duet, which is not easy, without
faltering and perfectly clean, executing the cantabile passages
with taste and feeling. The passages which, according
to the old method, he played with rebounding bow, pleased
me less.</p>

<p>On the 23<sup>rd</sup> May, we met <i>Tietz</i> at the weekly evening
concert of the Senator <i>Teplow</i>, where a pianiste named Madame
<i>Meier</i> appeared, and played a piano concerto of her
own composition, which was not bad. Then <i>Eck</i> and I followed
with a concerto of his brother’s, which we had been closely
practising for the previous fortnight. At the beginning, I was
nervous, and played the first solo not so well as at home; but
it soon went on better, particularly in the last parts.</p>

<p>Herr <i>Tietz</i> now produced a concerto of his own composition,
the Allegro and Rondo of which he played twice, possibly
because the first time did not please him. As he never had<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
practised since his madness, it may be readily conceived that
technical firmness was wanting in his play. The difficult
passages also, were executed very much better the second
time. Into all the three parts, he introduced cadences in the
old style, improvising them; they were in themselves very
pretty, but sounded quite different the second time.</p>

<p>The diary closes with the remark, “though <i>Tietz</i> indeed
is not a great violinist, much less the greatest in the world
as his admirers maintain, he is undoubtedly a musical genius
as his compositions prove.”</p>

<p>The best violinist then in St. Petersburgh was, without
doubt, <i>Fränzel</i> junior. He had just come from Moscow where
he had been engaged for six concerts at three thousand rubles.
His attitude in playing displeased me. The diary says:</p>

<p>“He holds the violin still in the old manner, on the right
side of the tail piece, and must therefore play with his head
bent...... To this must be added that, he raised the right
arm very high, and has the bad habit of elevating his eyebrows
at the expressive passages. If this is not unpleasant
to the majority of the listeners it is still very disagreeable
for a violinist to see...... His playing is pure and clean.
In the Adagio parts, he executes many runs, shakes, and other
fioriture, with a rare clearness and delicacy. As soon however
as he played loud, his tone is rough and unpleasant, because
he draws his bow too slowly and too near to the bridge,
and leans it too much to one side. He executed the passages
clearly and purely, but always with the middle of the bow,
and consequently without distinction of piano and forte.”</p>

<p>I heard another celebrated violinist, Herr <i>Bärwald</i>, afterwards
leader in Stockholm. As he came forward to play the
concerto of <i>Viotti</i> (A-sharp) he was already applauded, before
he had sounded a note.</p>

<p>This, together with his good bearing and his excellent
manner of managing his bow, raised my expectation very
high, and it was with the greatest impatience that I awaited
the end of the <i>Tutti</i>. But how was I disappointed on hearing<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
the solo! His playing was indeed clean and accomplished, but
still so sleeply and monotonous, the passages so flat and drawn
out, that I would have much preferred the false but still fiery
playing of <i>Pixis</i>. He introduced, and played an Adagio of
his father’s composition, something better, and thus somewhat
reconciled me again. After him, one Herr <i>Palzow</i>, a man celebrated
for his theoretical knowledge, played a concerto of his
own composition, on a piano with a flute attachment. Well
and scientifically as the concerto was worked out, it pleased
neither me nor the others listeners, on account of its length
and monotony. The tones also of the strings and of the flute
had together a very bad effect.</p>

<p>I also wrote my opinion of <i>Fodor</i>, the then celebrated
violinist and composer. I heard him in the concert of the
“Nobility’s, or Musical club,” where however everything was
very unmusical; for the elite assembled there, “not to listen,
but to chat and walk about in the saloon.” At first a fine
symphony by <i>Romberg</i>, (<i>C</i>-sharp) was extremely well executed.
Then Signor <i>Pasco</i>, first tenorist of the Italian theatre, sang
an aria so charmingly, tastefully and tenderly, that it actually
became somewhat more quiet in the saloon. Herr <i>Fodor</i> now
followed with a concerto of his own composition, which however
appeared to me worse than those I already knew. His
playing also did not please me. He played indeed in a pure
and rather accomplished manner, but without warmth and
taste. In the passages he also played with rebounding bow,
which soon became unbearable. Madame <i>Canavassi</i>, prima
donna of the Italian opera who before had not pleased me on
the stage, sung this time so beautifully, that I must confess
to having wronged her.</p>

<p>During Lent, the Greek church allowing no theatrical representations,
the Intendancy of the Court theatre gave two
grand concerts weekly in the Steiner theatre, in which, only
virtuosi of the Imperial orchestra performed, among whom Herr
<i>Eck</i> was now reckoned. The best whom I had the opportunity
of hearing there were the violinist <i>Hartmann</i>, <i>Jerchow</i> and<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
<i>Remi</i>, the violinist <i>Delphino</i>, the hautboyist <i>Scherwenka</i>, and
the hornist <i>Hirschfeld</i>.</p>

<p>In the first concert, the orchestra consisted of thirty six
violins, twenty bass and double set wind instruments. Besides
these the choruses were supported by forty hornists from the
Imperial orchestra, each of whom had only one single note
to blow. They served in place of an organ, and gave the
chorus, the notes of which were divided among them, great
firmness and strength. In several short soli, their effect was
ravishing. Before the orchestra, were the Court singers, men
and boys, about fifty in number, all in red uniform embroidered
with gold. After the first part of <i>Sarti’s</i> oratorio,
<i>Remi</i> played a violin concerto by <i>Alday</i> with much success.
“After the concert as we drove home, he asked me for my
opinion of his playing. As truth alone should be spoken between
friends I did not withold from him that: clean and pure
as his playing was, I had yet missed the shades of forte and
piano, expression in the cantabile, and a sufficiency of vigour
in the passages. He thanked me for my candour and declared
that he had been particularly embarrassed that day, at having
to appear in Herr <i>Eck’s</i> place, the latter having previously
been advertised for this concerto.”&mdash;After the second part
of the oratorio, Signor <i>Delphino</i> played a violin concerto.
As his playing was much extolled I had expected more from
him. “He played without taste, and not once perfectly clean.”</p>

<p>The Italian singers appeared in the second concert, and
the French in the third. Among the first, Signor <i>Pasco</i> and
Madame <i>Canavassi</i>, already mentioned, distinguished themselves.
Among the French there were only two, <i>M. St. Leon</i>
and the celebrated <i>Phyllis Andrieux</i>, who could lay claim to
be called singers; they had charmed all Petersburgh by their
correct and pleasing singing, their skilful and graceful acting,
and their personal beauty. There was especially a Polonaise
with which the latter fascinated everybody, and which was
always encored. The beginning of it is found in my diary as
follows:</p>

<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c046.png" width="500" height="78" alt="" />
</div>

<p>Between the first and second part of this concert, the Imperial
hornists executed an ouverture by <i>Gluck</i>, and with a
rapidity and exactness which would have been difficult for
stringed instruments, how much the more so then for hornists,
each of whom blew only one tone! It is hardly to be believed
that they performed the most rapid passages with the greatest
precision, and I could not have conceived it possible, had I
not heard it with my own ears. But as may be imagined,
the Adagio of the ouverture made a greater effect than the
Allegro; for it always remains somewhat unnatural to execute
such quick passages with these living organ pipes, and one
could not help thinking of the thrashings which must have been
inflicted.</p>

<p>These concerts, with the exception of one in which Herr <i>Eck</i>
played and Mademoiselle <i>Phyllis</i> sang, were but little frequented;
for which reason the managers soon discontinued them.</p>

<p>On the other hand a performance of <i>Haydn’s</i> “Seasons”
which was given for the benefit of a widow’s fund, (also during
Lent,) was very well attended. Baron <i>Rall</i>, one of the
projectors invited me also to take part. I therefore shared
in all the orchestra rehearsals, and in these, as well as in the
performance, played with M. <i>Leveque</i>, the same part. The
orchestra was larger than any I had yet heard. It consisted
of seventy violins, thirty bass, and double set wind instruments.
The whole therefore was something very grand, and my diary
mentions it with delight; as also of the work itself, which I
then heard for the first time, although I estimated the “Creation”
<i>yet higher!</i></p>

<p>My playing thus with <i>Leveque</i>, had increased our friendship,
and I learned from him that, during the summer he intended
to visit his parents in Hanover. We therefore agreed
to make the voyage to Lübeck in the same vessel.</p>

<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>

<p>As my new friend now visited me oftener, I played my
new violin concerto to him, and expressed my wish, to hear
it with the orchestra before I sent it to the publisher. <i>Leveque</i>
immediately offered to study it with his orchestra, took
the parts with him, and invited me to a rehearsal some days
later.</p>

<p>“I was in great agitation now that I was about to hear
my own composition with full orchestra for the first time. The
Tutti were well studied, and from this I could calculate how,
in every part, the effect I intended would be brought out.
The most of them satisfied me, some even surpassed my expectation......
But I was the less pleased with my own
play. All my attention being fixed on the accompaniment, I
played much worse than I did at home. I therefore begged
permission of Mr. <i>Leveque</i> to try the concerto once more at
the end of eight or ten days, when I should have received the
copy; this permission he readily granted.”</p>

<p>The following appears later: “I got the copy of my concerto
yesterday, for which I was obliged to pay eight silver
rubles. I could have had six concertos copied for a like sum
in Germany.”</p>

<p>The work was again tried from the new-copied parts. I
was much calmer than the first time, and played therefore
much better. It was also better accompanied than before, and
therefore more effective. <i>Leveque</i> declared himself very well
satisfied. “I therefore hastened home, packed up my concerto
and took it, together with a letter, to the post. I there heard
to my great amazement, that there was no parcel’s post in
Russia by which one can send things out of the country, and
that if I would send it as a letter I should have to pay at
least fifty rubles.” I therefore took it back in order to send
it by sea by the next opportunity.</p>

<p>I have mentioned the Imperial hornband, each member
of which had only one note to play. On the twelfth of January,
the Russian Newyear, upon which day the Emperor, as
usual, gave a grand masquerade in the Winterpalace, for which<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
twelve thousand tickets were issued, I found the said band
joined with the usual Ball-orchestra, and I heard a music
such as till then I had no idea of. “The accompaniment of
this hornband gave a fullness and harmony to the orchestra
such as I have never heard. Several Horn-Soli, produced a
most enchanting effect. It was long before I could tear myself
away from this place.”</p>

<p>In another saloon opposite the Throne-room, the Imperial
family, surrounded by the Court, were dancing. But as this
part of the saloon was cut off from the rest by a wall of
gigantic grenadiers with high bearskin caps, and as I, inspite
of my fair allowance of inches, could not even peep over the
shoulders of these giants, I was unable to see much of the
Imperial state, and of the diamonds of the ladies. I therefore
passed on, and entered the third and most beautiful of the
saloons. It is entirely of polished marbles, the walls white,
the pillars violet, and the window frames blue. The lights
mirrored themselves a thousandfold in the polished stone. The
whole building was lighted by twenty thousand wax tapers.</p>

<p>“After wandering several times through the apartments,
and having gazed at all the magnificence, I tried to find Herr
<i>Eck</i> again, he having been separated from me in the beginning
of the evening. Among the twelve thousand present this was
however a vain attempt. I now guessed that he had gone direct
home, and not finding our servant in the place where he had
been desired to wait, confirmed me still more in this idea. I
therefore thought it best to proceed home, also, and hoped,
thoroughly warmed as I was, to be able to go the short distance
to our hotel without a cloak, although the cold had
increased to twenty four degrees. But hardly had I reached
the square before the Winterpalace, on the opposite side of
which was our hotel, then I felt my nose and ears stiffen, and
should certainly have had them frozen, although I rubbed them
unceasingly, had I not been able to warm myself at a large fire
in the middle of the square which had been lighted for the
coachmen; before I attempted the other half of the way. Un<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>luckily,
however, Herr <i>Eck</i> had not yet come home, and as
he had the key to our apartment, and the coffeeroom was
already locked, I resolved to return again. Arrived there I
managed to press forward to a buffet, and warm myself with
a glass of punch. While I was observing the rich gold and
silver plate with which the room was decorated, Herr <i>Eck</i>
also came to the buffet. Arm in arm we wandered through
the magnificient rooms once more, and then our servant with
our cloaks having once more turned up, drove off together.
My friend <i>Remi</i>, to whom I related my adventure, blamed me
much for my want of precaution.”</p>

<p>On the 27. Feb. the so called “mad week” came to an
end. It has its name from the circumstance of the Russians
allowing themselves the most boundless extravagancies as a
sort of indemnification for the ensuing fast. “Not being
allowed to taste either meat, milk, or butter for six weeks,
they cram themselves well for the last time, and give themselves
so diligently to the brandy bottle, that they do not recover
their sobriety, and in this state allow themselves every
possible liberty, thinking to atone fully for all in the following
fast.&mdash;In all parts of the town, booths are erected,
in which fruit, liquors, and comfits are sold. In others, Polichinelli,
trained dogs, juggler’s tricks and other things of
the kind are exhibited. The chief delight of the Russians
during this week is sliding down the ice-mountains, most
likely because it is such a break-neck sport. Upon the Newa,
and in various other places, high scaffoldings are erected,
having on one side a flight of steps by which to ascend to the
top, and on the other an incline descending gradually to
the ground. This incline is laid down with large slabs of
ice, which are joined together in the closest manner by water
poured between the interstices. Down this glass-like surface
of ice, the descent is then made in little sledges shod with
steel, and these are guided by means of a short staff held
in each hand. Great skill is required in order to keep the
middle of the incline during the extreme velocity of the des<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>cent,
so as not to fall over the sides which are protected by
a slight barrier only. Four drunken Russians, who had scarcely
started, having come in contact with each other’s sledges
and being thereby brought too near the barrier, paid dearly
for their awkwardness. They fell over; two were killed upon
the spot and the others were carried away with broken limbs.
But this did not in the least disturb the enjoyment of the
people, who pressed forward anew in crowds to the steps.
On the 26, the Court drove out to the scene, and remained
for a long time spectators of the neck-breaking amusement.
At an evening party at <i>Baron Rall’s</i>, I met also the Governor
of Narva, who upon our passing through that town,
had had us fetched almost forcibly to his house. He enquired
in a friendly manner after my health; and added “on your
return through Narva you will find the Petersburgh gate open,
but the opposite one closed, and then you must remain my
prisoner for eight days without mercy.”</p>

<p>“This evening, <i>Field</i> played as well as Herr <i>Eck</i>, and
in truth wonderfully. At two o’clock, the company sat down
to supper, and we did not arrive home till past four o’clock.”</p>

<p>On the 5. April, my birth-day; Herr <i>Eck</i> invited me to
dine at the Hôtel de Londres. Previous to this, availing ourselves
of the fine weather we took a walk on the Newa, the
granite-faced bank of which was the resort of the <i>beau monde</i>.
The breaking up of the ice was impatiently looked for, and
heavy bets were made respecting the day on which this
would take place.&mdash;In the evening I had a great and unexpected
pleasure.</p>

<p>“<i>Remi</i> had again invited me to play duetts with him,
and to day I was able to bring him a new one of my composition.
After we had played this through for the second
time, he embraced me and said: You must change violins
with me, so that we may both possess a souvenir of each
other! I was overcome with surprise and joy; for his violin
had long pleased me better than my own. But as it was
a genuine <i>Guarneri</i>, and at least worth as much again as<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>
mine, I felt obliged to decline his offer. He, however, would
hear of no refusal and said: Your violin pleases me because
I have heard you play on it so frequently, and though
mine is really a better one; yet you must accept it from me
as a birth-day present! I could now no longer refuse, and
overjoyed carried my new treasure home with me. Here I
would have liked but too well to play on it all night, and
feast my ears with its heavenly tones; but as Herr <i>Eck</i> was
already gone to bed, I was obliged to let it lie quietly in its
case. Sleep, however, I could not!” On the 12. April, <i>Herr
Leveque</i> came for me to take a walk down to the Newa. “We
there found half St. Petersburgh assembled, awaiting the breaking
up of the ice. At length, a cannon shot from the
fortress announced the long desired moment. This was also
the signal for the sailors to break up the long bridge of
boats which connects Wasiliostrow with this part of the
city. This was effected in a few minutes. The ice could now
float down unimpeded, and in a short time boats were being
rowed up and down. The first of these brought over the Governor
of the fortress, who accompanied by a numerous
suite and by the band of the regiment, brings over a glass
of the water of the Newa to the Emperor in his Palace, and
receives for it a present of 1000 roubles. After this, the
serf-seamen of the Crown in red uniforms row all comers
to and fro across, without charge, until the communication
by the bridge of boats is re-established between both sides of
the town. After we had looked on all this with great interest,
walking up and down for some hours, we returned
home.”</p>

<p>On Easter-Eve, Sunday, 17. April, I was awakened by
the firing of cannon, which announced the commencement
of the Festival. As the night was very calm, every shot
was heard in long repeated echoes, until another fell upon
the ear.&mdash;On Easter Sunday the Russian greets his acquaintances
with the words: “Christ is risen!” upon which
the person saluted is obliged to kiss the other. One need<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
only go to the window, to see people on all sides embracing
and kissing each other. It was related to me that, “the Empress
Catherine was walking on the bank of the Newa one
Easter Sunday accompanied by all her Court, when a dirty
fellow, probably somewhat drunk, threw himself in her way
with the salutation: “Christ is risen” upon which in order
not to violate the holy custom, she was obliged to kiss him.
But, upon a sign given by her, he was immediately seized,
and had ample time afterwards in Siberia to repent of his
boldness!”</p>

<p>A few weeks afterwards, I received a commission from
<i>Breitkopf &amp; Härtel</i> of Leipsic to write an article upon the
state of Music in St. Petersburgh for their Journal, which
was published in the course of 1803.</p>

<p>On the 13. May, a most original popular Festival took
place. Every body who possesses either a carriage, a horse,
or a sound pair of legs, betakes himself on this day through
the Riga gate to the Katharinen Hof; where they stare at each
other for a couple of hours and then return home. I went
there with <i>Leveque</i>, and must confess, that the sight of the
handsome equipages, of which there may have been at least
two thousand, together with their fashionably dressed occupants,
afforded me much amusement. Katharinen Hof is a small wood,
which considering the climate looks tolerably green. From
here one has a fine view of the sea. In the middle of the
wood stands the Summer-Palace of Peter the Great, which together
with its antique furniture is still kept up in exactly
the same condition as when he lived there. It is a very
poor looking place, and more like the house of a citizen than
the Palace of a mighty Emperor. We returned home by
another road, and saw numerous fine Villas and gardens, of
which there are a great number outside this gate.</p>

<p>Thus amid various occupations, and short excursions to
view the magnificent City, the time of our departure drew
nigh. We agreed for our passage by sea with a Lubeck
captain to whom for the voyage inclusive of board for<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>
both of us, we paid 20 ducats. Just before we left, we were
present during the celebration of another grand Festival which
I have minutely described. It was the Jubilee commemorating
the foundation of St. Petersburgh by Peter the Great,
one hundred years since.</p>

<p>On the 28. May, the whole garrison assembled on the
Isaak Square and was drawn up and commanded by the
Emperor in person. In his suite rode the whole of the
General Staff, and the Ambassadors from Foreign Courts. At
ten o’clock the Empress made her appearance with the Court,
occupying some twenty magnificent carriages. The State
Carriage in which the Empress mother sat by the side of the
Empress, was covered with gilding and richly inlaid with precious
stones. On the top of the carriage was a crown of brilliants,
fixed upon a purple cushion. This state carriage was drawn
by eight cream coloured horses in silver harness, ornamented
also with precious stones. The other Court carriages which
were also very handsome, were each drawn by six horses.
The Emperor rode a magnificent horse richly caparisoned, but
was otherwise dressed in a very plain uniform. In his suite
was a Turkish Prince who attracted the attention of all by
the splendour of his dress. The hilt of his sabre was covered
with diamonds, and his stirrups and spurs were of massive
gold. When the cortège had arrived in front of the
Isaak’s Church, the Emperor dismounted and led the Empress
into the edifice, where the <i>Te-Deum laudamus</i> was immediately
chaunted by the Singers of the Court. Unfortunately
we were not successful in our effort to get into the Church,
as the doors were closed immediately after the entrance of the
Court. But it is very probable that even in the interior of
the building little of the Music could be heard, for not only
were all the bells set ringing, but salvos of artillery were
fired from the fortress, and by the ships of war lying in the
Newa. The Military drawn up on the Square before the
Church increased the noise yet more by the fire of musketry,
and the populace were not at all backward in shouting, so<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>
in this manner not a single note of the Music reached us on
the square. After the Service was ended, the Court proceeded
on foot through two lines of soldiers to the Senate House.
What ceremonies took place there, I was unable to ascertain.
After the space of about half an hour, the Court resumed
their places in the carriages, and the cortège returned in
the same order to the palace. In the evening the City was
brilliantly illuminated, and more so than I had ever yet seen.
At nine o’clock, <i>Leveque</i> came to fetch me, and took me first
of all to the Summer Garden. Dark clouds hung in the
sky, and threatened to extinguish the lamps which had been
but just lighted, with a heavy shower. With the now clear
nights, when it keeps so light till midnight that one can
read and write without a candle, this black sky was most
welcome, for otherwise the illumination would have been less
effective. The Garden was very brilliantly lit up. On both
sides of the alleys a wooden frame work had been raised
which was thickly hung with glass lamps of different colours.
At the end of the Alleys, were seen brilliantly illuminated
triumphal arches, in the centre of which shone the capital
letters P (Peter) and A (Alexander). The whole of the Pavillions
throughout the garden were also lit up in a splendid
and tasteful manner.</p>

<p>But the Fortress presented a truly magic sight, as on
leaving the Garden we came on the bank of the Newa. It
swam in a very sea of fire! The granite masonry of the walls
was hung with white lamps, the pillars and the cornice of
the entrance gate with red, and the sentry boxes on the top of
the ramparts with blue. The graceful tower of the fortress
was lit up to its topmost point, and as there was no wind,
there was not even one lamp that did not burn. From the
place where we stood, the whole fairy like scene was again
seen reflected in the Newa at our feet! It was indeed an
enchanting sight! But the sky grew constantly darker and
more threatening; we were therefore obliged to make haste,
in order to see other parts of the city. Near the bridge,<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span>
which was also brilliantly illuminated, we saw a large ship
hung with lamps up to the very tops of the masts, between
which countless streamers were waving.</p>

<p>The streets which radiate from the Admiralty in the
form of a fan, many of which are above two miles in length,
were lit up as light as day, and presented a magnificent sight,
with the merry crowds streaming through them in their gayest
attire. Among the Public Buildings which were richly decorated
with transparencies and devices, the Admiralty was
especially conspicuous. Some private houses also, exhibited
transparencies, among others that of the Grand Chamberlain
<i>Narischkin</i>; in which, Mars, accompanied by the allegorical
figures of Wisdom and Justice, crowned the letters P. and A.,
the first of which had beneath it the Inscription: <i lang="fr" xml:lang="fr">Gloire du
premier Siècle</i>, and the last: <i lang="fr" xml:lang="fr">Gloire du second Siècle</i>!&mdash;We
now followed the stream of the multitude, which pressed forward
to the Summer Garden where a display of Fire Works
was to take place. But we had scarcely reached the Arcades
of the Winter Palace, when a sudden torrent of rain put
an end at once to the splendour of the scene, and St. Petersburgh
but a few minutes before brilliant as with the light of
day, was shrouded in Egyptian darkness! Under the Arcades
of the Square where we had taken shelter, was the only place
that remained illuminated. This circumstance procured for us
a curious and amusing spectacle. The mass of people all
dressed in their various coloured Sunday attire, who were
flying home out of the Summer Garden, were obliged to pass
in review before the place where we stood, and dripping with
rain they presented a comical sight enough. Some women had
drawn their dresses over their heads in place of umbrellas;
others, trusting to the darkness, had even taken off their shoes
and stockings to save them, and waded by barefooted, not a
little discomposed at being obliged to pass by a place lit up
so brightly, and filled with laughing spectators. At length
after about an hour, the rain ceased, and we now could also
return to our homes. On the 1. June, (20. May) I packed up<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
my last things and then went to take leave of my friends
and acquaintances. The parting from my kind friend <i>Remi</i>,
was very painful, and cost us both many tears. He promised
in a few years to pay me a visit in Germany. My leave
taking from my Instructor to whom I owed so much, was
a very sad one, and the more so, that for some time past he
had again been very unwell, and I therefore feared I should
never see him again!</p>

<p>This fear was but too well grounded; we never saw each
other more! Respecting his subsequent and in part highly
romantic fate, I have learned the following, but cannot pledge
myself for its entire truth, since I derived it for the most
part from hearsay.</p>

<p>At the time I left St. Petersburgh, <i>Eck</i> had entered upon
a love affair with a daughter of a Member of the Imperial
Orchestra, but without the least notion of marrying the girl.
Shocked at such levity, I thought it my duty to caution the
parents. I did so; but my warning was received with coldness
and disbelief. Some months afterwards, when the visits of
Herr <i>Eck</i> had suddenly ceased, the daughter confessed with
tears that she had been seduced by him, and that she already
felt the consequences of it. Her mother, a resolute woman,
succeeded in obtaining an audience of the Emperor; threw
herself at his feet, and implored the restitution of her daughter’s
honour. The Emperor consented. In true Russo-Imperial
style he offered Herr <i>Eck</i> the choice: either to marry his
sweetheart within twenty four hours, or prepare for a
promenade to Siberia. Herr <i>Eck</i> naturally chose the former.
That a marriage sprung out of such circumstances would soon
become a hell upon earth, may easily be imagined. <i>Eck</i>,
whose health had been already greatly shattered by his former
excesses, could not long endure the effects of the daily
recurring matrimonial discords. He lost his senses, and soon
became so furious, that the mother in law was again obliged
to entreat the Emperor’s assistance. He granted a dissolution
of the marriage; gave the wife a pension, and ordered the<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>
husband to be sent under proper care to his brother, at
Nancy. The selection of the man to whom the unfortunate
sufferer and the sum granted by the Emperor for the journey
were entrusted, was however, a very unluckly one, and failed
in its object; for scarcely had he arrived in Berlin with the invalid,
than he declared to the Russian Ambassor there, that
the money was expended, and therefore he could accompany
his charge no farther. At the same time he laid before
the Ambassor an account of his expenses, according to which
indeed, the sum given by the Emperor was exhausted. There
were however some very extraordinary items in the account;
among others, a dinner of one hundred covers, which the
lunatic had ordered without the knowledge of his guardian,
in one of the first Hotels in Riga, and which the latter had
been obliged to pay. Whether the Ambassador remained satisfied
with this account, was never known; but the Guardian
disappeared all of a sudden!</p>

<p>In the meantime, the lunatic finding that he was no
longer watched, was seized with the desire to escape. One
evening, half dressed only, he succeeded in slipping out of his
room unperceived; and as there was a heavy fall of snow at
the time, he effected his escape unperceived through the city
gate. He had already got some miles from Berlin when he
was seized by some peasants, and as they believed him to be
an escaped convict they brought him back bound to the
city. At the Police Office, the poor half frozen fugitive was
soon discovered to be a lunatic, and handed over to the Asylum
for the insane. Some members of the Court Orchestra
who a few years before had known and admired the unfortunate
man in the height of his artistic career, became interested
for him. They set on foot a subscription among their
colleagues and some wealthy amateurs of the Art, and with
the proceeds they sent him under the care of a trustworthy
man to his brother at Nancy. The latter procured for him
a becoming treatment in the Asylum at Strasbourg, where he
remained for several years. His misfortune then reached<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
the ears of his former patroness the Dowager Electress of
Bavaria, who sent him to a clergyman of Offenbach or somewhere
near that place, who devoted himself to the cure of the
insane. There, it is said, if not quite cured, he became much more
composed, so that a violin could again be placed in his hands,
from which it is said he drew the most touching melodies.
After the death of the Electress he was then placed in the
Asylum for the insane at Bamberg, where, either in 1809 or
1810, he died.</p>

<p>On the 2. June (21. May) at 9 in the morning, we sailed
from St. Petersburgh.</p>

<p>“On passing a guard ship at the mouth of the Newa we
were compelled to show our passports, these were returned to
us without charge, which from our previous experience astonished
us greatly. As the wind was against us, the sailors
were obliged to row continually, this made the progress
slow and at length very tedious; so that we were very glad
when at last we arrived at 2 o’clock at Cronstadt. We there
put up at the German eating house, the master of which had
been recommended to us for his honesty. But with all that,
he retained also the thorough bluntness, not to say rudeness
of his class, for when we returned at 9 in the evening from
a walk, and asked for supper, he replied with a true north-German
accent: now is no time for eating, people go to bed
now! And with that he turned his back upon us. Dumbstruck,
we went up stairs, and had already made up our minds
that we must go hungry to bed, when he at length had us called
down to supper. At first we were much inclined to refuse it;
but our hunger got the better of our sensitiveness. We
went down, found a right good repast, and the host who
waited upon us himself, sought to make amends for his previous
rudeness by the most friendly behaviour.”</p>

<p>It was not until after some days that the wind became fair
for the farther voyage; but very soon, and for a very long
time, the “Saturn”&mdash;so our ship was called&mdash;was obliged to
tack about, and on the 14 June “we were still not far distant<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
from the high land, which we had already reached on the first
day.” On the second day the sea rose very high, and the
passengers therefore, three women and nine men, became
all sea-sick one after the other. With me it began with
a head ache. “I felt my courage so depressed, that I bitterly
repented to have come by sea.” But on the fourth day I
got better, and in a short time, although the sea was still
very rough, I felt as well as on land. It was not so
with all, for the ladies and also some of the gentlemen were
for a long time sick and invisible. <i>Leveque</i> and I amused ourselves
meanwhile very well. We played duetts, read, wrote,
and made sketches; walked up and down the deck and ate
and drank with real appetite. In this way passed day after
day. But like the others, we longed for a fair wind, “for this
eternal tacking, with which one makes but little progress, is
quite unbearable!”</p>

<p>On the 15 June, the wind grew fair; on the 16, it fell
almost calm, and on the 20, we had a storm. This was so
violent that the ship cracked in every timber. “I crept ill
as I was, upon deck, to see the terribly grand spectacle. I
got thoroughly drenched it is true, for the waves broke every
moment over the deck, nor could I long endure above the
piercing wind and cold. But it was worth the effort, to see
how the waves like mountains, came rolling on, threatening
to submerge us, how they then suddenly seized us, lifted us
high in air, and then again as quickly let us plunge into a
deep abyss! Although I had become somewhat accustomed to
this sight by the previously experienced high sea, yet every
time we made a plunge, I felt my back run cold, and should
have thought we were in great danger, had I not read the
contrary in the calm face of the captain. He gave his orders
always with the same coolness. But it was nevertheless fearful
to behold how the seamen clambered to the top of the
masts, and then out upon the yards to reef the sails. Only
those who have grown up amid such perils can brave unmoved
the wild rage of the elements.”</p>

<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>

<p>On the 26 June, we arrived off Bornholm, a Danish island,
on which we could perceive two small towns, several villages,
and a carefully cultivated country. “The sight of the green
cornfields which I had not beheld for so long a time was
particularly cheering to me.” From a small neighbouring island
“some peasants put off to us in a boat with some fresh
meat, vegetables and milk. I was particularly pleased with
the latter, for I could not at all relish the black coffee.”</p>

<p>“On one or two evenings, with a clear sky and calm
weather, we had a sight, such as one never sees in the same
grandeur upon land, namely, the sun set. It is impossible to
describe the splendour of the ever changing colours, with
those also of the clouds scattered over the heavens, and which
were again reflected in a sea as smooth as glass; but the
impression made by this heavenly sight in the solemn stillness
of the evening, upon the whole ship-company assembled
on the deck, will never be forgotten by me. I saw the most
callous among them moved by it.”</p>

<p>At length on the 28 June, after a voyage of one and
twenty days, the “Saturn” cast anchor in the roads of Travemünde,
and on the 5. July, 1803, I was once more in my
native town Brunswick, which after my long absence was now
doubly dear to me. We arrived at 2 o’clock in the morning.</p>

<p>I alighted at the Petri Gate, crossed the Ocker in a
boat, and hastened to my grandmother’s garden. But
arrived there, I found both the house and garden doors locked,
and as my knocking was not heard, I clambered over the
garden wall, and laid myself down on the ground in an open
summer house at the bottom of the garden. Fatigued by the
journey I immediately fell asleep, and notwithstanding the
hardness of my couch, would probably have slept on for a
long time, had not my aunts in their morning walk in the
garden, discovered me in my retreat. Greatly allarmed, they
turned back, and told my grandmother that a strange man
was lying in the summerhouse. Returning all three together,
they had courage to approach nearer, recognised me, and I<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
was now awakened with joyous exclamations, embraces and
kisses. For some time I could not recollect where I was; at
length I recognised my dear relations, and was overjoyed to
find myself among them once more, and in the home of my
childhood. They had been very anxious about me, as owing
to our tediously long sea passage they had received no intelligence
of us for six weeks.</p>

<p>The first pleasing news that I heard, was, that the celebrated
<i>Rode</i> was there, and would shortly play at Court. I
therefore immediately announced my return to the Duke, in
order to be permitted to attend the Court-concert.</p>

<p>I immediately closed my oft cited Diary, with the wish
that “it might often afford me a pleasing remembrance of the
agreable journey.” I was received by my Patron with the
same benevolent kindness as formerly, which was manifested
also, by his gift of the remainder of the sum furnished for
my travelling expenses, which was by no means inconsiderable,
and which upon my handing in the account and the balance,
was presented to me by the Grand Chamberlain. For the
dedication of my Concerto, which I had handed to the Duke
on my first interview, I also received twenty Friedrichsd’or.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>

<p>I now burned with the desire, to appear with this Concerto
before the Duke, in public, as a Violinist and Composer;
to exhibit proofs of my industry, and the progress I
had made. But this was not to be effected so readily, for
<i>Rode</i> had already announced a Concert to be given in the
Theatre. The idea of making my appearance so soon after
that celebrated Violinist was also a source of some anxiety
to me. For the more I heard him play, the more was I
captivated with his playing. Yes! I had no hesitation to place
<i>Rode’s</i> style of play (then still reflecting all the brilliancy
of that of his great master <i>Viotti</i>,) above that of my Instructor
<i>Eck</i>, and to apply myself sedulously to acquire it as
much as possible by a careful practice of <i>Rode’s</i> compositions.</p>
<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
<p>In this I succeeded also, by no means ill, and up to the
time when I had by degrees formed a style of playing of my
own, I had become the most faithful imitator of <i>Rode</i> among
all the young violinists of that day. I succeeded more especially
in executing in his style the eighth Concerto, the three
first Quartetts, and the world famed Variations in G-Major;
in these, both in Brunswick, and afterwards on my first grand
artistic tour, I achieved great success.</p>

<p>Shortly after <i>Rode’s</i> departure, the day I had so ardently
wished for arrived, on which in a Concert given by me
at the Theatre, I was to exhibit the first proofs of the artistic
skill I had acquired on my travels. Curiosity had assembled
a numerous audience. From the ready surety with
which I could play not only my own Concerti, but the other
music I had practised under <i>Eck’s</i> direction, I might have been
expected to feel no embarrassment upon my appearance. Nevertheless,
I could not wholly overcome it, when I thought, that,
but shortly before, in the very place where I stood, so great a
Violinist had played before the same audience. But I had now
to put to shame my invidious detractors, who on my setting out
upon my journey had loudly asserted that the Duke would again
throw away his money upon one who would prove incapable
and ungrateful. I therefore summoned all my resolution, and
already during the Tutti of my Concerto, I succeeded in banishing
from my mind all and every thing around me, and
gave myself up to my play with my whole soul. The result,
also, was a success beyond all expectation; for already after
the first Solo, a general applause broke forth, which increased
with every succeeding one, and at the end of the Concert
seemed as though it would never cease. The Duke, also, who
during the intervening pause sent for the young <i>artiste</i> to his
box, expressed to him his full satisfaction. That day, therefore,
is still borne in my remembrance as one of the happiest
of my life.</p>

<p>I was now appointed First Violin, in the place of a recently
deceased “<i>Kammermusicus</i>” and received the additional<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
salary accruing to that post, of 200 thalers. But as on account
of the three months grace allowed to his widow, this
salary could not immediately commence, I was compensated
by another present of twenty Friedrichsd’or.</p>

<p>With my salary of three hundred thalers, and my additional
evenings I could at that time live quite respectably
and free from care. I therefore, again took my brother
Ferdinand to live with me, and devoted myself assiduously
to his improvement. As I had not yet seen my parents and
brothers and sister, I went to Seesen to fetch him. While
there I received a visit from my fellow traveller <i>Leveque</i>, who
was about to return to St. Petersburgh. During the eight
days we were together, we played diligently, and my parents
and musical friends of the little town were especially delighted
with the performance of my Duetts, which we had so perfectly
studied during the sea voyage.</p>

<p>On my return to Brunswick, I began anew my labours
in composition. I first of all completed a Violin-Concerto in
E-Minor, which I had commenced on the journey, but which remained
unpublished, because it no longer pleased me after I
had adopted <i>Rode’s</i> style of execution. Nevertheless I played
it several times with great applause in the Winter-Concerts.
At that time also, at the wish of the Violoncellist <i>Beneke</i>,
whom I frequently met at Quartett parties, I wrote a Concertante
for Violin and Violoncello with orchestral accompaniment.
Neither was this work ever published, and not even
included in the list of my compositions, as at the time I began
to make that, I did not lay my hand on it, and indeed
had wholly forgotten it. Nevertheless there must be some
copy of it in existence, for I heard it once in 1817 or 1818,
at a concert in Mayence given by the brothers <i>Gans</i>, afterwards
members of the Royal Orchestra at Berlin, who played it
without at the same time acknowledging it as my composition.
It is true, the piece of music seemed known to me, just
as though I had heard it before; but not until I had asked
my neighbour for the programme of the concert, and seen my<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
name affixed to the piece, did the recollection of that production
of my youth recur to my mind. I now recollect
nothing more of it, than that it consisted of an <i>Adagio</i> and
<i>Rondo</i>, and the last written in 6/8 time. But I can no
longer remember the key.</p>

<p>The practise of this Concertante with <i>Beneke</i> may probably
have given rise to the resolution we formed to make
an artistic tour together, and to Paris; where I had long
desired to go. The permission for this journey was readily
obtained through the favour in which I stood with the Duke,
and so we set out upon it in January, 1804, with the most
pleasing anticipations.</p>

<p>We first spent some few days with my parents at Seesen,
from whence we announced our coming to Göttingen, to give
our first concert there. For the journey thither, we hired a
carriage. Shortly before my leaving Brunswick I had had a
case made more worthy of the splendid Violin I had brought
from Russia, i. e. a very elegant one, and in order to protect
this from all injury, I had packed it in my trunk between
my linen and clothes. I therefore took care that this, which
contained my whole estate, should be carefully fastened behind
the carriage with cords. But, notwithstanding, I thought
it necessary to look out round at it, frequently, particularly
as the driver told me that but recently between Nordheim
and Göttingen, several trunks had been cut down from behind
carriages. As the carriage had no window at the back, this
continual looking out behind was a very troublesome business,
and I was therefore very glad, when towards evening we
arrived between the gardens of Göttingen, and I had convinced
myself for a last time that the trunk was still in its
place. Delighted, that I had brought it so far in safety, I
remarked to my fellow-traveller: my first care shall now
be to procure a good strong chain and padlock for the better
security of the trunk.</p>

<p>In this manner we arrived at the town gate, just as they
were lighting the lamps. The carriage drew up before the<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>
guardhouse. While <i>Beneke</i> gave our names to the sergeant,
I anxiously asked one of the soldiers who stood round the
carriage: is the trunk still well secured?</p>

<p>“There is no trunk there!” was the reply. With one
bound I was out of the carriage, and rushed out through the
gate with a drawn hunting knife. Had I with more reflection
listened awhile, I might perhaps have been fortunate enough
to hear and overtake the thieves running off by some side
path. But in my blind rage, I had far overshot the place
where I had last seen the trunk, and only discovered my overhaste
when I found myself in the open field. Inconsolable
for my loss, I turned back. While my fellow-traveller looked
for the Inn, I hastened to the Police Office, and requested
that an immediate search might be made in the gardenhouses
outside the gate. With astonishment and vexation I was informed
that the jurisdiction outside the gate belonged to
Weende, and that I must address my request there. As
Weende was half a league from Göttingen, I was compelled
to abandon for that evening all further steps for the recovery
of my things. That these would prove fruitless on the
following morning, I now also felt assured; and I passed a
sleepless night, in a state of mind such as in my hitherto
fortunate career had been wholly unknown to me. Had I not
have lost my splendid Guarneri-violin, the exponent of all
the artistic excellence I had till then attained, I could
have lightly borne the loss of the rest. A moderate success
during the tour would soon replace them. But in this manner,
without a violin, I should be compelled not only to give
up the journey, but in a certain degree recommence my study
anew from the very beginning.</p>

<p>On the following morning the Police sent to inform me
that an empty trunk and a violin-case had been found in
the fields behind the gardens. Full of joy I hastened thither,
in the hope that the thieves might have left the violin in
the case, as an object of no value to them, and as likely to
lead to their discovery. But unfortunately it did not prove<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
so. The bow of the violin, only, a genuine <i>Tourté</i>, secured
in the lid of the case, had remained undiscovered; everything
else, inclusive also of a sum in gold for the expenses of the
journey, had been carried off. The Music had been considered
unworthy of the thieves’ notice. It was found strewed all
over the field. As my manuscripts were among it, of which
I had no copies, I was glad to have recovered these at least.</p>

<p>Without money, without clothes and linen, I was now
first of all obliged to procure on credit what was most necessary,
before I could give with my fellow-traveller the concert
which we had already announced. In the meantime, I practised
diligently upon a very good violin by <i>Stainer</i> which I
borrowed of a student from Hanover, and thus prepared, I
made my first appearance out of Brunswick as an artiste.
The concert was unusually well attended. Perhaps the account
of my loss had contributed to it. The Solo performances of
the two artistes, as also together, in my Concertante, were
received with enthusiastic applause.</p>

<p>This it is true was very encouraging for a further prosecution
of the journey; but anxiously concerned for my reputation,
I could not make up my mind to appear publicly,
before I had procured a good violin of my own, and had
carefully practised myself upon it.</p>

<p>As <i>Beneke</i> was unwilling to proceed further on the journey
without me, we therefore returned to Brunswick. The intelligence
of my loss had already become generally known there.
The Duke, also, had heard of it, and in order to facilitate
my purchase of a new instrument sent me again a handsome
present. With the aid of that, I purchased from a <i>Herr von
Hantelmann</i>, a distinguished amateur, the best violin in Brunswick
at that time, but I soon felt, that it could not fully
replace the one which I had lost.</p>

<p>In order to prepare myself well for a future journey, I
again applied myself diligently to composition. Thus I wrote
the Concerto in D-Minor which was published by <i>Kühnel</i> of
Leipsic as (Op. 2), a Potpourri upon chosen themes (publish<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>ed
also by the same, as Op. 5.) and a Concerto in A-Major
which has remained in manuscript. In these, as also, in some
subsequent compositions, <i>Rode’s</i> style is predominant, from
which at a later period only, my own style and peculiar mode
of execution develloped themselves.</p>

<p>In this manner passed the summer of 1804. In the
autumn, fully prepared for a fresh Musical tour, I felt disposed
to repair first to the German Capitals. I much desired
also to appear once in Leipsic, which through the excellently
conducted Musical Journal of <i>Rochlitz</i> had risen to be the
Centre of Musical criticism. I therefore set out upon my
second Artistic tour on the 18. October, through Leipsic and
Dresden, to Berlin.</p>

<p>Of this journey also, a Diary exists, but which extends
only to the 9. December, and then suddenly breaks off. The
cause of this will be related hereafter.</p>

<p>I made my first stay at Halberstadt, where I gave a
public Concert, and on the following day played at the house
of Count <i>Wernigerode</i>. Among the Musical amateurs who
received me in a particularly kind manner I must mention
the Vicar of the Cathedral, <i>Augustin</i>, and the Auditor <i>Ziegler</i>.
With the latter, who was an accomplished connoisseur of
Music and an excellent pianist, I remained on terms of intimacy
until his death. I received also great attention and
assistance in getting up my Concert, from the there resident
Musicians, the brother Organists <i>Müller</i> and <i>Holzmärker</i>, the
Violinist <i>Glöckner</i>, with whom I played my Duetts, the Bassonist
<i>Barnbeck</i>, and <i>Clase</i>, the Secretary and Musical Director
of Count <i>Wernigerode</i>. I therefore passed many pleasant
days in Halberstadt.</p>

<p>One afternoon, “I took a walk with Herr <i>Holzmärker</i>
and one of his friends outside the gate of the town. We
visited the Klus, a mountain on the top of which rise several
isolated steep rocks, the inside of which is excavated, and
which according to the legend was the work of robbers, who
in former times took up their abode there. I could not<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
resist the desire to ascend one of these rocks, hazardous as
was the attempt, and earnestly as my companions dissuaded
me from it. I succeeded in reaching the summit without accident,
and besides the pleasure I felt at having effected what
few had the courage to attempt, I had that of an extensive
and magnificent view. So far all went well. But when at
length I wished to descend, and looked down the declivity,
a sudden giddiness overcame me, and I was instantly obliged
to sit down to save myself from falling over the precipice.
Full ten minutes elapsed before I could summon the necessary
composure to make the descent, and it is doubtful whether I
should have effected it in safety, if the gentlemen below had
not shouted to me, where to set my feet, which I could not
see to do, having my face turned towards the rock. Trembling
from the exertion and the convulsive clinging to the
rock, as well as thoroughly ashamed at having disregarded
the warning of the two gentlemen, I reached them at length,
and returned with them to the town not a little glad to
have escaped uninjured from so eminent a danger.”</p>

<p>On the 22. October, I gave my Concert. At the rehearsal,
my Concerto in D-Minor had made a great sensation.</p>

<p>“Messrs. <i>Ziegler</i>, <i>Müller</i> and others declared to my great
satisfaction, that they had never heard a finer Violin Concerto.”</p>

<p>“The Concert itself began at five o’clock. The Theatre
was very empty, but the audience was composed of persons
possessed of a high intelligence of Art, as I could readily see
by the deep silence and sympathy with which my play was
listened to.” Among other things, the following were executed:
A Symphony by <i>Haydn</i>; my Concerto in D-Minor; a Concerto
in D-Major by <i>Kreutzer</i>; a Polonaise by <i>Rode</i> from the Quartett
in Es-Major. After the Concert, Count <i>Wernigerode</i> expressed
his satisfaction to me, and invited me to a Concert at
his house on the following day, in which the third Count
assisted as Clarionetist in the orchestra. I played <i>Rode’s</i>
Concerto in A-Major and his Quartett in Es-Major.</p>

<p>“After the Concert was over, the company surrounded<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
me and overwhelmed me with expressions of praise. I was
obliged to relate to the ladies a great deal about St. Petersburgh.”</p>

<p>In Magdeburg, as artiste I also met with the most friendly
reception. Captain <i>von Cornberg</i>, Major <i>von Witzleben</i>,
Regimental Quartermaster <i>Türpen</i>, and Privy Counsellor
<i>Schäfer</i>, to whom I was recommended, exerted themselves to
the utmost, both to procure a numerous audience for me,
and to make my stay as agreeable as possible. Already at
my first Concert on the 3. November, the audience was very
numerous. I played my D-Minor-Concerto, the A-Minor-Concerto
of <i>Rode</i>, and the G-Major-variations.</p>

<p>“I succeeded right well in all, and the people seemed
to be quite carried away by my play.”</p>

<p>At this time I occupied myself with the remodelling of
my last Concerto but one, in E-Minor. I wrote an entirely new
Adagio for it.</p>

<p>At a Musical party at the house of the Secretary to the
Board of Finance, <i>Feska</i>, I heard his son play in a Quartett
of his own composition.</p>

<p>“The Quartett,” says the Diary, “is very well worked
out and evinces great talent. As a Player he pleased me
less. He is certainly not wanting in mechanical skill, but in
a finished and well regulated handling of the bow, and therefore
in a good tone, and in clearness of the passages.
Neither was his intonation always pure. Were he to study
under a good master, he might become something great.”</p>

<p>I went frequently to parties at the houses of the Merchants
<i>Hildebrandt</i> and <i>Schmager</i>, of the Criminal-Counsellor
<i>Sukrow</i>, and the Privy Counsellor <i>Schäfer</i>, and “everywhere
pleased much.”</p>

<p>“I was also invited by <i>Türpen</i> to an interesting Musical
Soirée. I found assembled there a small but a very select
company of the most zealous friends of Music in Magdeburg.
I played Quartetts by <i>Haydn</i>, <i>Beethoven</i>, <i>Mozart</i>, and in
conclusion the Es-Major-Quartett of <i>Rode</i>. I was accompa<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>nied
very well in all of them, so I that could give myself
entirely up to my feelings. The company seemed enchanted.
Herr <i>Türpen</i> affirmed that I understood better than any one
how to render the peculiar style of each Composer. As finale,
our host played a Trio by <i>Mozart</i>, right well, on a very good
pianoforte by <i>Blum</i> of Brunswick. But he has the bad habit
of drawing out the “Canto” too much, by which he rather
injures the expression than improves it.”</p>

<p>On the 10. November, I gave my second Concert, which
was not quite so numerously attended as the first, and in
which I executed a Symphony by <i>Haydn</i> and my Violin-Concerto
in E-Minor, I also played a Concertante by <i>Eck</i>, with
<i>Feska</i>. The remodelled E-Minor-Concerto went well. The new
Adagio appeared to please very much.</p>

<p>Of the other circumstances that occurred while I was in
Magdeburg, I will only mention a theatrical representation,
the Author of the Piece having made himself a name in the
theatrical world by his piquante notice “Musical Ollapodrida
from Paris.” It was the first representation of “The Female
Abällino” by <i>Sievers</i>.</p>

<p>“Never have I read or seen enacted a more wretched
piece. It is a sorry imitation of the well known “Great Bandit,”
but has neither the exciting scenes nor the clever dialogue
which made that piece a favorite of the public. The
chief personage Rosa Salviatti, who in order to protect her
lover from a conspiracy of his uncle’s, resorts to the most
romantic and absurd means, explains the reasons of her
conduct in a speech that lasts at least a quarter of an
hour. The public, which had already previously manifested
signs of impatience, became so noisy during this discourse,
that the play could scarcely be concluded. At length when
the curtain fell, a general hissing and whistling broke forth.
The unfortunate Author, unappreciated as he considered he
had been in Brunswick, and who thought to achieve a triumph
here, is said to have been present in the Theatre, but made
a hasty retreat before the end of the piece.”</p>

<p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>

<p>Respecting my stay in Halle, whither I next went, the
Diary gives but very scanty information. The more I was
drawn into society by an increased circle of acquaintances,
the less pleasure I took as it would appear, in the previous
frequent freedom of style in my remarks upon it. I may also
not have had the time, as I was very careful in preparing
myself for every performance whether public or private, and
was constantly engaged in composing.</p>

<p>My two Concerts on the 21. and 23. November, were very
well attended. Besides my own works, I played a Concerto
of <i>Rode</i>, A-Minor and the G-Major variations.</p>

<p>“My play met with an enthusiastic reception.” The persons,
who took a particular interest in me, and whom I have
to thank for many pleasant hours, were the Family <i>Garrigues</i>,
consisting of the father, mother, daughter and two
sons, all of them very charming, polite people; <i>Lafontaine</i>
and his fascinating adopted daughter; <i>Chodowiecki</i>, <i>Niemeier</i>
and <i>Loder</i>. Among the students I made the acquaintance of
some clever amateurs. One Herr <i>Schneider</i> played well on
the piano; another, Herr <i>Müller</i> right well on the violin.
Herr <i>Gründler</i>, from Trebnitz near Breslau, immediately took
instruction from me on the violin.</p>

<p>I yet remember also the following incident: Among
those who were also of assistance to me in the arrangements
for my Concert was the celebrated Counterpointist <i>Türk</i>.
He directed the Academical Concerts, one of which took place
during my stay in Halle. The Opera “<i>Titus</i>” was given as
Concert-Music. The public had been already assembled for
the space of half an hour; the Orchestra had finished tuning
and awaited the signal to begin. Among the Student part
of the audience, great dissatisfaction had begun to shew itself
at the delay in the appearance of the Singer; but when
he at length made his appearance, in very unseemly dress for
the occasion, in an overcoat and with dirty boots, the general
disapprobation was shewn by hissing and a shuffling of
the feet. The Singer, into whose hands the impatient Direc<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>tor
had already thrust the notes, stepped forward and said
with a contemptuous look: “If I do not please you as I am,
why then I can go away again!” Hereupon he threw the
notes at the feet of the Director and rushed out of the place.
They ran after him to bring him back; but all in vain! I
now expected that the Concert would be postponed, or at least
that all those “Numbers” in which Titus has to sing, would be
omitted. Nothing of the kind! The conscientious Director
did not allow his auditory to go short of a single bar of the
music; he knew how to help himself!</p>

<p><em class="gesperrt">He played upon his Grand-Piano the whole Part of
Titus, Recitative, Airs, and Concerted-pieces from
the first note to the last!</em> I was astounded, and knew
not whether to be vexed, or to laugh at the singularly naive
expedient. But it was made quite clear to me that evening,
that a man may be a learned Counterpointist and yet not
possess an atom of good taste!</p>

<p>After my arrival in Leipsic on 29. November, the Diary
gives two short notices and then remains wholly silent. The
first concerns a representation of the Opera by <i>Paer</i>: “<span lang="de" xml:lang="de">Die
Wegelagerer</span>” (The Way-layer); the second relates to a visit
to the Drapers-Hall-Concerts.</p>

<p>“These Concerts”, it says, “are got up by a Society of
shopkeepers. But they are not Amateur-concerts; for the
orchestra is alone composed of professional musicians, and is
both numerous and excellent. For the Vocal part a foreign
female singer is always engaged, as the Director of the Theatre
does not allow his singers to appear in concerts. This year
it is a Signora <i>Alberghi</i> from Dresden, the daughter of a
Church-singer of that City. She is still very young, but has
already a very good method, and a clear, melodious voice.
She sang two arias with great applause. Besides that, I
heard the Concert Master of the society, Herr <i>Campagnoli</i>,
play a Concerto by <i>Kreutzer</i>, extremely well. His method, it
is true, is of the old school; but his play is pure and
finished. The Room in which these Concerts are given is<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
exceedingly handsome, and particularly favorable to the effect
of the music.”</p>

<p>I had many difficulties to overcome for the arrangements
of my concert. Engrossed in the business pursuits of this
commercial city, people did not come forward to assist me
with the readiness I had been hitherto accustomed to meet,
and I had much to do before every obstacle was overcome.
It annoyed me also that the wealthy merchants to whom I
was recommended appeared as yet to know nothing of my
artistic reputation, and that though politely, they received me
coldly. I was therefore exceedingly desirous to be invited to
some musical party, in order to attract notice to my capabilities.
This wish was gratified; I received an invitation to a
large evening party, with the request to perform something.
I selected for the occasion, one of the finest of <i>Beethoven’s</i>
six new Quartetts, with my performance of which I had so frequently
charmed my audience in Brunswick. But already
after a few bars, I remarked that those who accompanied me
were as yet unacquainted with this music, and therefore
unable to enter into the spirit of it. If this already annoyed
me, my dissatisfaction was much more increased when I
remarked that the company soon paid no more attention to
my play. For by degrees, a conversation began, that soon
became so general and so loud that it almost overpowered
the music. I therefore rose up in the midst of my playing,
before even the first Theme was concluded, and without uttering
a word, hastened to replace my violin in its case. This
excited a great sensation among the company, and the master
of the house advanced towards me with an enquiring look.
I went forward to meet him, and said aloud, so as to be heard
by the company: “I have hitherto been accustomed to find
my play listened to with attention. As that has not been
so here, I of course thought the company would prefer that
I discontinued.” The Master of the house knew not what
reply to make, and retired much embarrassed. But when, after
having apologised to the Musicians for breaking off so suddenly,<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
I shewed the intention to take my leave of the company, the
host returned and said in a friendly tone: “If you could be
persuaded to play something else for the company more
adapted to their taste and capacity you will find a very
attentive and grateful auditory.” I, who had already clearly
comprehended, that I was most to blame for what had occurred,
from my misapprehension in the choice of music for <i>such</i>
an auditory, was glad of the opportunity to conciliate matters.
I therefore willingly resumed my violin and played <i>Rode’s</i>
Quartett in <i>Es</i>, which the Musicians knew and therefore well
accompanied. A breathless silence now reigned, and the interest
shewn in my play increased with every passage. On the
conclusion of the Quartett so many flattering things were
said to me of my play, that I was induced now to parade
my hobby-horse the G-Major-Variations of <i>Rode</i>. With this I
so enchanted the company that I became the object of the
most flattering attention for the remainder of the evening.</p>

<p>This incident became the subject of conversation for many
days, and was probably the cause, that the musical-amateurs
whose attention had been thereby directed to me, came even
to the rehearsal of my Concert in considerable number.
At this, I succeeded so well in winning them over to me, by
the execution of my D-Minor-Concerto, that before the evening
on which my Concert was to take place they had spread a
favourable account of my performances throughout the City,
and thereby a more numerous audience was attracted
than I had dared to hope. The élite of the musical amateurs
of Leipsic and a very sympathetic public were present.
I now succeeded also in awakening such an enthusiasm in my
auditory, that at the conclusion of the concert I was vehemently
solicited to give a second. This took place a week
later, and was one of the most numerously attended that had
ever been given by a foreign artiste in Leipsic. In the meanwhile,
I was frequently invited to Quartett parties, at which,
after I had previously practised them with those who were
to accompany me, I obtained more particularly a hearing for<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>
my favorites the six first of <i>Beethoven’s</i> Quartetts. I was the
first, who played them in Leipsic, and I succeeded in obtaining
a full appreciation of their excellence by my style of
execution. At these Quartett parties I also first made the
acquaintance of the Editor of the Musical-Journal, Councellor
<i>Rochlitz</i>, and from that time till his death maintained the
most friendly relations with him. <i>Rochlitz</i> wrote a notice of
my concert in his paper.</p>

<p>As that Notice first established my reputation in Germany,
and had an influence upon my career in life, it may
serve as apology for my verbal citation of it in this place:</p>

<p>“On the 10. December, 1804, Herr <i>Spohr</i> gave a Concert
in Leipsic, and at the solicitation of many, a second, on the
17. in both of which he afforded us a treat such as, so far
as we can remember, no Violinist with the exception of <i>Rode</i> ever
gave us. <i>Herr Spohr</i> may without doubt take rank among the
most eminent violinists of the present day, and one would be
astonished at his powers, more especially when his youth is
considered, were it possible to pass from a sense of real delight
to cold astonishment. He gave us a grand Concerto of
his own composition (D-Minor), which was called for a second
time, and another, also from his own pen (E-Minor). His Concerti,
rank with the finest existing, and in particular, we
know of no Violin Concerto, which can take precedence of
that in D-Minor, whether as regards conception, soul and charm,
or also, in respect of precision and firmness. His peculiarity
inclines mostly to the grand and to a soft dreamy melancholy.
And so it is with his brilliant play. Herr <i>Spohr</i> can
execute everything; but he charms most by the former. As
regards, in the first place, correctness of play in the broadest
sense, it is here, as may be presupposed, as sure fundamental
principle; a perfect purety, surety and precision, the
most remarkable execution; every manner of bow-ing, every
variety of violin-tone, the most unembarrassed ease in the
management of all these, even in the most difficult passages;
these constitute him one of the most accomplished virtuosi.<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span>
But the soul which he breathes into his play, the flights of
fancy, the fire, the tenderness, the intensity of feeling, the
fine taste, and lastly his insight into the spirit of the most
different Compositions, and his art of rendering each in its
own peculiar spirit make him a real Artiste. This last
faculty we have never seen possessed in so remarkable a
degree as by Herr <i>Spohr</i>, and more especially in his Quartett-playing.
It is therefore not surprising that he should please
everywhere, and scarcely leaves any other sentiment behind,
than the wish to detain and to hear him always.”</p>

<p>I felt exceedingly happy that moment! But it was not
alone the recognition of my merits as an artiste that infused
a new life into my whole being: it was another, a more tender
feeling. I loved and was beloved.</p>

<p>The day after I saw and heard <i>Rosa Alberghi</i> for the first
time at the Draper’s Hall Concert, I paid her a visit, to
invite her to take part at my concert. Both mother and
daughter received me in a very friendly manner. The former,
although a resident in Germany for many years, had not acquired
one word of our language. As she also shook her
head on my addressing her in French, I was obliged to make
my wishes known to the daughter, who, educated in Dresden,
spoke German fluently. She very willingly assented to my
request, and forthwith chatted with me a child-like ingenuousness,
as though we had long known each other. On my
taking leave, <i>Rosa</i> asked me to come again soon. I had
already gazed too deeply into her brilliant dark eyes, to
let her wait long for me. And as the mother soon made
me cordially welcome, I passed all my hours of leisure
at their house. I accompanied <i>Rosa</i> in her singing practice
on the piano, to the best of my ability; assisted her in the
study of the Music sent to her by the Directors of the Concerts,
and embellished her Arias with new ornaments, at which
she always evinced a really child-like pleasure. In this
manner, without our perceiving it, our relations became constantly
more tender. The notes in my Diary on this subject<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
had however come to a stop, nor were they afterwards resumed.
<i>Rosa</i> now sang in my second Concert, and as her
engagement in Leipsic was drawing to a close, and that she was
about to return to Dresden, she offered also to sing in my
concerts there.</p>

<p>I now therefore, left for Dresden, furnished with high
recommendations. A letter from <i>Rosa</i> introduced me to her
father, who received me in the most friendly manner. He, with
some members of the Dresden Royal Orchestra, namely the
brothers <i>Röthe</i> assisted me in the arrangements for my concert,
and thereby made an always unpleasant business much
lighter for me.</p>

<p><i>Rosa</i> returned to Dresden a few days before the concert,
and sang in it with her father. The success which my play
and compositions met with, was even more brilliant than in
Leipsic. As there, also, I was invited on all sides to give a
second concert. While I was making arrangements for this,
I was advised to announce myself also at Court, as from the
sensation which my Play had made, there could be no doubt
of a favourable result.</p>

<p>But, when I was informed, that the Court-Concerts
took place during Dinner and that no exception to the rule
was made in favour of foreign artistes, my youthful Artistic
pride kindled with indignation at the idea that my Play
would be accompanied by the clatter of plates; so that I
immediately declined the honour, of playing at Court.</p>

<p>My second Concert was extremely well attended, and
the applause almost greater than at the first.</p>

<p>I now thought of my departure for Berlin, but could not
make up my mind to it; for the parting from my beloved
<i>Rosa</i> seemed too painful to think of. When, on a sudden,
her father surprised me with a proposal which still further
delayed the dreaded parting. He said, that he had long
wished his daughter should appear in Berlin, and if I had no
objection to give some concerts there together with her, as<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
he was himself unable to obtain leave of absence, his wife
should accompany her on the journey.</p>

<p>To this proposal with joy I acceded and immediately
began to make every preparation for our departure. As
the journey by Coach, was considered too fatiguing for the
ladies, we hired a carriage together. I sat opposite to my
beloved one, and complained neither of the slowness of our
progress nor the length of the journey. Arrived in Berlin, we
found apartments all ready for us in the same house, which
my former Instructor <i>Kunisch</i>, now a member of the Berlin
Royal Orchester, had provided for us upon receipt of a letter
from me announcing our coming. The latter, not a little
proud to introduce the young Artiste as his former Pupil,
procured for me the acquaintance of the most distinguished
artistes of Berlin, and was also of great assistance to me in
making arrangements for a concert, which nevertheless owing
to the great number of persons then giving concerts, was
obliged to be postponed for some time.</p>

<p>Meanwhile I delivered my letters of recommendation, and
thereupon was invited to some Music parties. I first played
at <i>Prince Radziwill’s</i>, himself well known as a distinguished
Violoncellist, and talented Composer. I there met <i>Bernhard
Romberg</i>, <i>Möser</i>, <i>Seidler</i>, <i>Semmler</i>, and other distinguished
artistes. <i>Romberg</i>, then in the zenith of his fame as a Virtuoso,
played one of his Quartetts with Violoncello obligato.
I had never yet heard him, and I was charmed with his play.
Being now solicited to play something myself, I thought that
to such Artistes and Connoisseurs I could offer nothing more
worthy than my favorite Quartetts of <i>Beethoven</i>. But again
I soon remarked that, as at Leipsic, I had committed an
error; for the musicians of Berlin knew as little of those
Quartetts as the Leipsickers, and therefore could neither play
nor appreciate them. When I had finished, they praised my
play, it is true, but spoke very disparagingly of what I had
performed. <i>Romberg</i>, even, said very bluntly: “But dear
<i>Spohr</i>, how can you play such stuff as that?” I was now<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
quite doubtful of my own taste, when I heard one of the most
famous artistes of the day express such an opinion of my favorites.
Later in the evening when again asked to play, I
selected as I had done in Leipsic, <i>Rode’s</i> Es-Major-Quartett,
and was gratified by a similar favourable result in this instance.</p>

<p>The second Music-party, to which also my fellow-travellers
were invited, was at Prince Louis Ferdinand’s of Prussia.
We drove there together, and were received by the host in
the most courteous manner. We there found a brilliant circle
of decorated gentlemen and fashionably dressed ladies, as also
the principal artistes of Berlin. I met there, also, a former
acquaintance of Hamburgh, the celebrated Pianist-Virtuoso and
Composer <i>Dussek</i>, who was now Instructor to the Prince, and
resided in his house. The music commenced with a Piano-Quartett,
which was executed by him with real artistic brilliancy.
It was now my turn. Made wise by my recent experience,
I only selected such compositions, as I could shine in as Violinist,
namely: a Quartett, and the G-Major-Variations of
<i>Rode</i>. My play met with the most enthusiastic applause, and
<i>Dussek</i> in particular, seemed delighted with it. My loved <i>Rosa</i>,
also won general admiration by her execution of an aria, in
which she was accompained by <i>Dussek</i> on the piano.</p>

<p>After the conclusion of the music, the Prince offered his
arm to one of the Ladies present, and led the company who
at a sign from him had done the same, to the dining room,
where a splendid supper had been laid out. Each gentleman
without ceremony took his place by the side of his lady; and
I by the side of my dear fellow-traveller. At first the conversation
though free and unembarrassed was yet marked
with decorum. But when the champagne began to circulate,
many things were heard not suited for the chaste ears of an
innocent girl. As soon therefore as my observation had led
me to infer that the supposed distinguished ladies did not
belong to the Court as I had believed, but more probably to
the Ballet, I began to think of withdrawing unperceived from
the company, with my fellow-traveller. I succeeded also,<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span>
without being remarked or prevented, in making good our retreat;
and reaching my carriage, I returned with <i>Rosa</i> to her expecting
mother. The next day I was told that the Prince’s
Music-parties generally ended in similar orgies.</p>

<p>I still remember an other Music-party&mdash;it was at the
house of the Banker <i>Beer</i>&mdash;where I heard for the first time,
the now so celebrated <i>Meyerbeer</i>, play in his paternal house,
then but a boy of thirteen years of age. The talented lad
already then excited so much attention by his accomplished
execution on the piano-forte, that his relatives and admirers
regarded him with the greatest pride. It is related, that, one
of these on returning from a Lecture on popular Astronomy
exclaimed full of joy to the boy’s parents “Only think! our
<i>Beer</i> has been already placed among the Constellations! The
Professor shewed us a constellation, which in honour of him
is called “the little <i>Beer</i>!”<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p>

<p>I conceived the shrewd idea of inviting the young virtuoso
to perform a Solo in my Concert, this was willingly
assented to by the family. As it was the boy’s first appearance
in public, it drew a crowd of his admirers, and I may
chiefly thank that circumstance for my concert having been
one of the most numerously attended of a period that teemed
with Musical performances. After overcoming numerous obstacles
it eventually took place in the theatre. My playing,
and the singing of my fair fellow traveller were received here
as at Leipsic with great applause. Not so favorable however
was the criticism that appeared in the new Musical Journal
then but recently published by <i>Reichard</i> the Musical conductor
of the Royal Orchestra. He animadverted in his own peculiar
offensive manner chiefly upon my easy <i>abandon</i> in respect
to Time.</p>

<p>Although I felt hurt by such an imputation, to which I<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
was not yet accustomed, I was obliged to confess that yielding
to my depth of feeling, I had kept back in the Cantabile,
perhaps, too much, and in the Passages and more impassioned
parts carried away by my youthful fire, I had
precipitated them too much. I therefore determined to correct
such blemishes in my execution without diminishing its force
of expression, and by unremitting attention I succeeded.</p>

<p>After several unavailing attempts to give a second concert
in Berlin, I was compelled to abandon the idea. I therefore
divided the not unconsiderable receipts of the first, with
my fellow-traveller, and began to think of my return to
Brunswick, as the period of my leave of absence was drawing
to a close. <i>Rosa’s</i> mother also made preparations to return
home, having failed in an endeavour to procure an engagement
for her daughter at the Italian Opera in Berlin.</p>

<p><i>Rosa</i> had daily evinced an increasing attraction towards me,
and manifested her partiality without disguise. I, on the contrary,
on a nearer acquaintance, was obliged to confess to myself
that she was not suited for a partner in life for me, and I
therefore carefully avoided being betrayed into any declaration.
She was it is true, an amiable, unspoiled girl, and richly endowed
by nature; but her education, apart from the polish of
social forms, had been greatly neglected, and what was more
especially displeasing to me, was her bigotted piety, which had
once even led her to attempt the conversion of the Lutheran
heretic to the only true Church of salvation. I bore the
parting with tolerable self-controul; but <i>Rosa</i> burst into tears,
and with the last embrace pressed into my hand a card with
the letter <i>R</i>, worked upon it with her beautiful black hair,
as a souvenir.</p>

<p>Upon my return to Brunswick, I devoted myself with
renewed zeal to Composition. I wrote my H-Minor-Concerto,
which was subsequently published by <i>Simrock</i> as Fourth
Violin-Concerto. For the first time, a foreign pupil was sent
to me, one Herr <i>Grünewald</i> from Dresden. During my stay in
Brunswick, I also gave lessons to a Miss <i>Mayer</i>, a talented<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>
young lady of sixteen, who as Violiniste gave several concerts
at Brunswick with much applause; under my direction she
studied my concerto in D-Minor. This pupil, after a lapse of
five and twenty years, during which time I had heard nothing
more of her, suddenly excited a general interest, as much on
account of her fate, as of her accomplished execution on the
violin.</p>

<p>On one of her earlier artistic-tours, when in Poland,
she had there married a landed-proprietor of considerable
fortune. Although then in affluent circumstances, she never
neglected the further cultivation of her great talent, though
only as amateur. This enabled her, after her husband had
lost his whole fortune in the Polish revolution, and had become
a refugee, to support herself and her daughter. As
Madame <i>Filipowicz</i>, she again made her appearance as an
artiste, in Dresden, and played there the same D-Minor-Concerto
she had studied under me five and twenty years before. As
she considered that she was chiefly indebted for her now increasing
success to her rendering of that Concerto, she felt impelled
to express her thanks to her former Instructor in a
letter. It was thus I became acquainted with the above circumstances.
After her artistic-tour through Germany, she
settled in Paris, and at a later period in London. From both
places I received several letters from her. Upon my last
journey but one to London, when I had hoped to have seen
her again, I was informed that she had died a few days before
my arrival, and I only made the acquaintance of her daughter,
and of her husband, who was a Doctor, and also a Polish
refugee.</p>

<p>But to return to the year 1805. In the spring, I received
a letter from <i>Rosa</i>, in which with her ingenuous simplicity
she said, that, so great had her longing become to see me
again, that she had prevailed on her father to make an artistic
tour to Brunswick; that she would arrive in a few days,
and begged me to make the preliminary arrangements for a
concert. I was not best pleased with this intelligence, and<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
foresaw that great embarrassments might arise from it. I
now perceived with regret that <i>Rosa’s</i> inclination towards me
was much more earnest than I had beleived, and I reproached
myself bitterly for my conduct towards her. It was also evident
to me, that her father had only undertaken this journey
to bring me to some declaration in respect to his daughter.
I therefore looked forward to their arrival with great anxiety.
But everything passed off much better than I had anticipated.
<i>Rosa’s</i> heartfelt joy, to see me again, her lively unsuspecting
simplicity, which did not permit her to feel the least doubt
of a reciprocity of her feelings, assisted me to the avoidance
of any explanation. Thus, after a fortnight’s stay, they left
Brunswick and returned to Dresden, very satisfied with their
visit, and the brilliant Concert which my assistance obtained for
them; and it was arranged that I should visit them after my
projected journey to Vienna, in the autumn.</p>

<p>As they wished to return by way of Göttingen, I gave
them a letter of introduction to my parents. During a stay
of several days with my parents, <i>Rosa</i> so won their hearts
by her amiability, that with unhesitating confidence she confessed
her love for their son. Concluding from this, that I
returned her affection, my parents had embraced her as my
betrothed. I was greatly allarmed when I learned this in a
letter from my father; protested against this engagement,
and assigned as ground for my refusal, <i>Rosa’s</i> want of education,
and the difference in our religious faith. My father
would not see the matter in this light, and repeatedly declared
that I was a fool, to refuse so charming a girl.</p>

<p>In June 1805, I received a letter from <i>Bärwolf</i>, a Musician
of the Ducal Orchestra at Gotha, who was unknown to me,
that greatly influenced my destiny. Herr <i>Bärwolf</i> wrote to
inform me of a vacancy that had taken place in the Orchestra
there, by the death of the Director <i>Ernst</i>, and that the Intendant,
Baron <i>von Leibnitz</i>, who had read so favorable a notice
of my performances in the Leipsic Musical-Journal, was very
desirous to recommend me to that post, if I would make im<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>mediate
application for it. But, for this, it was required that
I should repair personally to Gotha. He therefore invited me
to come and play at the Concert that was to take place at
Court on the 11. July, in celebration of the birth-day of the
dutchess.</p>

<p>Extremely pleased at this, I hastened to the Duke, to
request his consent to my journey. I received it, and immediately
announced this at Gotha. Arrived there, Herr <i>Bärwolf</i>
introduced me to the Intendant. The latter appeared astonished
to see before him so young a man, and said with a
thoughtful expression of countenance, that I appeared to him
almost too young to place at the head of so many men, all
older than myself. But after I had conducted two Overtures
at the rehearsal, and executed my Concerto in D-Minor, the
Herr Intendant, had quite changed his mind, for he requested
me to conceal my real age, and to give myself out as four
or five years older. I was therefore introduced to the Court
as a competitor for the situation, of twenty fours years of age.
But the resort to such a deceit was indeed scarcely requisite
to obtain it, for on my first appearance at the Court-Concert
I won the favour of the Dutchess so completely, that the other
competitors were all obliged to retire. By a Decree of the
5. August, 1805, I was installed as Concert-Director to the
Ducal Court of Gotha, with a salary of nearly five hundred
thalers, inclusive of allowances, my service duties to commence
on the 1. October.</p>

<p>As my leave of absence was not quite expired, by the
advice of Herr <i>Bärwolf</i>, before returning to Brunswick, I made
a little excursion to Wilhelmsthal near Eisenach, the family
seat of the Court of Weimar. With the recommendation of
the Dutchess of Gotha it was easy for me to obtain a hearing.
I played, pleased greatly, and on leaving, received a handsome
present. On my return to Gotha, I gave in haste, a Concert
that had been meanwhile arranged for there, which was also
attended by the Court, and then set out on my return to my
native town highly gratified with the result of my journey.<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
I went by way of Seesen, and was joyfully congratulated by
my parents and the friends of my family upon the new dignity
conferred upon me. In order to make the rest of the
journey more pleasant for me, my father lent me his saddle-horse,
and thus conduced to give my hitherto prosperous
journey a tragical end; for a few leagues from Brunswick,
while riding homewards at a sharp trot, absorbed in deep
thought upon the future, and paying but little attention to
the road, the horse fell, his foot having caught in a deep rut,
and threw his rider rudely to the ground. I fell over the
horse’s head with my face upon a small heap of broken road-stones,
before I could spread out my hands sufficiently to
break my fall; my face was therefore cut in such a manner
by the sharp stones, that the blood flowed profusely. In a
few minutes also, the wounds became so swollen as almost to
close my eyes. Half blind, and wholly unable to help myself,
I stood in the road, until at length some foot-passengers
came to my assistance. After they had caught my horse, they
led me to the nearest village. They there procured for me
a four wheeled peasant’s-cart, with straw spread out in it,
upon which I was brought in the most deplorable condition
to my lodgings at a late hour in the evening. A Doctor
having been sent for, he ordered my face to be bathed and
bound with linen-rags steeped in Goulard water, which being
continued throughout the night, the swelling had so much
subsided by the morning, that I could again open my eyes.
After the Doctor had carefully examined my face, and allayed
my anxiety respecting all further results from my fall; I
soon recovered my cheerfulness of mood, and alone lamented
that I could not immediately wait upon my noble Patron to
solicit his permission to accept the situation of the Directorship.
But as meanwhile I was not without some anxiety, lest
my benefactor, to whom I was so greatly indebted, might
take it ill that I could thus leave his service, I was rather
pleased that my accident furnished me with an excuse to
address a letter to the duke. But I had judged him wrong<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>fully;
for on the following day I received the solicited permission
in his own handwriting. I have carefully preserved
that letter as a cherished Memorial, and cannot deny myself
the pleasure of quoting it here, as follows:</p>

<div class="blockquot">
<p class="salut">
My dear Herr <i>Spohr</i>.
</p>

<p>I have read with much interest the successful result of
your performance at Wilhelmsthal and Gotha. The advantageous
offer made to you at Gotha is such as your talents
well merit, and as I have always taken great interest in your
fortune and success, I can but congratulate you on your appointment
to a position where you will undoubtedly find more
opportunity for the exercise of your talent.</p>

<p class="sig">
I remain very respectfully<br />
your well wisher<br />
<i>Carl W. Ferd</i>.
</p></div>

<p>Releived now of my last anxiety, I was truly happy. But
it occurred to me, that in this letter, the Duke addressed
me for the first time “<i>You</i>”, while hitherto he had always
honoured me with the benevolent, fatherly “<i>Thou</i>”. I nevertheless
consoled myself readily with the reflexion, that the
Duke might have thought it more becoming so to address a
person leaving his service.</p>

<p>In about a fortnight or three weeks, my face was so far
healed, that I could again announce myself ready to resume
my orchestral duties.</p>

<p>Before I had done so, I received a letter from <i>Dussek</i>,
who wrote to say that his master, Prince <i>Louis Ferdinand</i>,
was about to proceed to the grand military manoeuvres at
Magdeburg, and wished that I should be his guest during
that time, in order to give my assistance at the projected
Music-parties there. The Prince would himself write to the
Duke to solicit the leave of absence for me. This was immediately
granted. I therefore proceeded to Magdeburg, and
found in the house which the Prince had taken for himself
and his suite, a room also, for me. I now led an extraordinary,
wild and active life, which nevertheless suited my<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
youthful taste right well for a short time. Frequently at
six o’clock in the morning, were <i>Dussek</i> and I roused from our
beds and conducted in dressing-gown and slippers to the Reception-saloon,
where the Prince was already seated at the
pianoforte in yet lighter costume, the heat being then very
great, and indeed, generally in his shirt and drawers only.
Now began the practice and rehearsal of the music that was
intended to be played in the evening circles, and from the
Prince’s zeal, this lasted frequently so long, that in the
meantime the saloon was filled with Officers decorated, and
bestarred. The costume of the Musicians contrasted then
somewhat strangely with the brilliant uniforms of those
who had come to pay their court to the Prince. But this
did not trouble his Royal Highness in the least, neither would
he leave off until everything had been practised to his satisfaction.
Then we finished our toilet in all haste, snatched
as hasty a breakfast, and rode off to the review. I had a
horse appropriated to me from the Prince’s stud, and was
permitted to ride with his suite. In this manner for a time
to my great amusement, I took part in all the warlike evolutions.
But, one day I found myself jammed in close to a
battery, where I was obliged to endure for more than an hour
a truly hellish-noise, and when in the evening at the Music
party I found that I could not hear so distinctly as before, I
held back from the warlike spectacle and from that time spent
those hours in which the Prince did not require me, with my
former acquaintances in Magdeburg. In the house of the
Privy Counsellor <i>Schäfer</i> I met with a most friendly welcome.
His daughter <i>Jettchen</i>, who, previously, while residing in Brunswick,
in the house of her brother-in-law the Conductor <i>Le
Gaye</i> had been an object of my admiration, was now returned
to her paternal home, and here also performed the part
of a kind and attentive hostess to me.</p>

<p>Soon, however, the Prince was recalled from his exile to
Magdeburg, and dismissed by him with friendly thanks, I
could now return to Brunswick. <i>Dussek</i> on taking leave of<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span>
me, told me that the Prince had intended to have made me
a present, but that his purse was at so low an ebb,
he must postpone it to a later and more favorable time.
But that time never came; for the Prince found an early
death in the following year in an action near Saalfeld. In
the beginning of October, after an honourable discharge from
the Duke’s service had been duly made out for me, I left my
native town. On my taking leave, the Duke said to me with
truly paternal benevolence, as he extended his hand to me:
“should you dear <i>Spohr</i> find your new place unpleasant to
you, you can re-enter my service at any time.”</p>

<p>I parted with my benefactor, deeply moved; and alas!
never saw him more,&mdash;for as is well known he fell mortally
wounded at the unfortunate battle of Jena, and died a
fugitive in a foreign land. I mourned for him, as for a father.</p>

<p>Arrived in Gotha, I was introduced to the members of
the Ducal Orchestra by the Intendant Baron <i>von Leibnitz</i>, as
Concert-Director, and made acquainted with my sphere of
duties. This consisted, both in winter and summer, in the
arrangement of a concert at Court every week, and in practising
and rehearsing the orchestra in the music chosen for
the occasion. As the orchestra had no other duties beyond
these concerts, I was enabled to have three or four
rehearsals of each, and to practise all that was to be performed
at these with the greatest precision. By my zeal, and
the good-will of the members, I soon succeeded in attaining
an exceeding accuracy of <i>ensemble</i> which was recognised
by the Dutchess and some of the Musical-connoisseurs in the
Court-circle, and elicited much praise.</p>

<p>The orchestra consisted in part of musicians of the Ducal
Chamber, and in part of Court-hautboyists. It was the duty
of the latter to play also during the repasts, and at Court-balls.
Among the musicians of the Chamber, there was a
whole bevy of solo-players. The chief were: on the violin,
Madame <i>Schlick</i> and Messrs. <i>Preissing</i> and <i>Bärwolf</i>; on the
violoncello, Messrs. <i>Schlick</i>, <i>Preissing jun.</i> and <i>Rohde</i>; on the<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>
clarionet, bassoon and harp, Herr <i>Backhofen</i>; on the hautboy,
Herr <i>Hofmann</i>; and Herr <i>Walch</i> on the horn.</p>

<p>For the vocal parts at the Court-Concerts two Court-singers
Mesdames <i>Scheidler</i> and <i>Reinhard</i> were engaged. The
husband of the latter accompained the vocalists on the piano-forte.
Being the oldest member of the orchestra, he had warmly
competed for the vacant post of Conductor; and as the Duke’s
musical instructor, some regard was due to him; he also, therefore,
had the title of Concert-Master conferred upon him on my
appointment, and his rescript was even of anterior date to
mine. For this reason he at first made some weak attempts,
to assume the direction of the vocal performances. But I
knew so well how to overawe him by my decisive bearing as
first Violin, that he soon succumbed as willingly to my lead
at the pianoforte, as at the viol, on which he performed in the
instrumental music. I was also soon enabled to overcome the
opposition of the <i>Schlick</i> family who relied on the favour of
Prince <i>Augustus</i>, the Duke’s uncle, and then undisturbedly
maintained my directorial-position.</p>

<p>In the introductory visits I made to the members of the
orchestra I was received most cordially by the Court-singer
Madame <i>Scheidler</i>. She introduced me to her daughter
<i>Dorette</i>, of the age of eighteen, of whose skill upon the harp
and pianoforte I had already heard much. In this charming
<i>blondine</i> I recognised the girl whom I had seen on my first
visit to Gotha, and whose pleasing form had since then frequently
recurred to my memory. At the Concert which I
then gave in that town, she had sat in the first row of the
auditory, by the side of a female friend, who upon my appearance,
astonished at so tall a figure, exclaimed rather
louder than she had intended: “Just look, <i>Dorette</i>, what a
long hop-pole!” Upon hearing this exclamation, my eye fell
upon the girls, and I saw <i>Dorette</i> blush with embarrassment.
With a similar graceful blush she now again stood before me,
probably recollecting that circumstance. To put an end
therefore to a situation so painful to me, I entreated her<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span>
to play something on the harp. Without the least affectation
she complied with my wish.</p>

<p>When a boy, I had myself once made an attempt to learn
the harp, and took lessons of one Herr <i>Hasenbalg</i> in Brunswick,
when I soon got so far as to be able to accompany
my songs. But after my voice had broken, and that for a
considerable time I remained without any voice at all, the
harp was neglected, and at length wholly laid aside. My
predilection for that instrument had nevertheless remained the
same; and I had given my attention to it sufficiently long, to
know, how difficult it is, if one would play more than mere
accompaniments upon it. My astonishment and delight may
therefore be imagined, when I heard so young a girl execute
a difficult “Fantasia” of her instructor <i>Backofen</i>, with the
greatest confidence, and with the finest shades of expression.
I was so deeply moved, that I could scarce restrain my tears.
Bowing in silence, I took my leave;&mdash;but my heart remained
behind! Irresistibly impelled, my visits now became
frequent, and my reception more friendly every time.</p>

<p>I accompanied the daughter on the piano, which she played
with the same excellence as the harp, assisted the mother in
the practise of her songs for the Court-Concerts, and so made
myself more and more necessary to the family. The first
piece that I composed in Gotha, was a grand “Vocal Scena”
for a soprano voice, which I dedicated to <i>Dorette’s</i> mother,
and which she sang with great applause at one of the Court-Concerts.
For myself and the daughter, I then wrote a Concerted
Sonata for violin and harp, which I practised with her
in the most careful manner. They were happy hours!</p>

<p>Thus, after my arrival, had a month passed away for
me in the most agreable manner, when the Court set out
for the session of Parliament at Altenburg and took the orchestra
with it. <i>Dorette</i> also accompanied her mother thither.
I offered myself to them as a travelling-companion, but unfortunately
made my application too late, for they had already
arranged to travel in company with Messrs. <i>Preissing</i>, the<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>
brothers of Madame <i>Scheidler</i>. I was therefore obliged to
seek other travelling-companions; but at every place where
we stopped to take refreshment I did not fail to join immediately
the <i>Scheidler</i> family, and always contrived to get possession
of the place at table next to <i>Dorette</i>. These meetings
after a separation of four or five hours, gave a peculiar charm
to the otherwise long and tedious journey, so much so indeed,
that when at length on the evening of the third day we
entered the gates of Altenburg, it seemed too short to me. I
was lodged in the house of Secretary <i>Brummer</i> who as a
great lover of music had begged that I might become his
guest. I met with the most friendly reception and a well
furnished table. But I had previously arranged to dine always
at Madame <i>Scheidler’s</i>, who like an active housewife had immediately
established a kitchen of her own, for herself and
brothers. Henceforth, treated almost like a member of the
family, I had full opportunity to become more nearly acquainted
with my beloved <i>Dorette</i>. Her father, an excellent musician,
and a man of scientific attainments, had, up to his death, which
had taken place two years before, devoted himself entirely to
the education and improvement of this daughter. With an
almost extreme severity he had compelled her not only from
her earliest childhood to pursue the study of Music, but also,
instructed her, in part personally, and partly through the
medium of other able teachers in every branch of education
suitable to a young female. She therefore spoke Italian and
French with the greatest fluency and wrote her mother tongue
with ease and correctness. But her brilliant execution both
on the harp and pianoforte was already then despite her youth,
truly remarkable! Yes, even upon the violin on which instrument
her uncle <i>Preissing</i> gave her instruction, she had acquired
so much skill, that she could play <i>Viotti’s</i> Duetts with me.
But as I advised her to discontinue the practise of that instrument
so unbecoming for females, and to devote rather her
undivided study to the two others, she adopted my advice and
from that moment gave it up.</p>

<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>

<p>Meanwhile the Court-concerts had commenced. They took
place in a large saloon in the Palace, very favourable for
music, and together with the Court were attended by the parliamentary
Deputies and by the dignitaries of the town. The
orchestra, as well as the performances both of myself and the
other soloplayers met with great applause. <i>Dorette’s</i> Soli’s
on the harp and piano made also a great sensation. In this
manner the concert-days were soon looked forward to by the
Altenburgers as real festival days, and the auditory encreased
so much in number each time, that at length there was scarcely
room for their accommodation. There were also many
private Music-parties, at which I and the members of the
<i>Scheidler</i> family never failed to be invited. One day, however,
I was invited with <i>Dorette</i>, but without her mother, to a Fête
given by the Minister <i>von Thümmel</i>, to the Court and its immediate
circle. We were requested to reproduce my Sonata
for the harp und violin, which we had already played with
great success at the Court-concerts. With some timidity I
ventured to ask whether I might fetch <i>Dorette</i> in the carriage,
and felt delighted beyond measure, when her mother without
hesitation gave her consent. Thus alone for the first time
with the beloved girl, I felt the impulse to make a full confession
of my feelings towards her; but my courage failed me,
and the carriage drew up, before I had been able to utter a
syllable. As I held out my hand to her to alight, I felt by
the tremor of hers, how great had also been her emotion.
This gave me new courage, and I had almost plumped out
with my declaration of love upon the very stairs, had not the
door of the Reception-saloon been thrown open at the same
moment.</p>

<p>That evening we played with an inspiration and a sympathy
of feeling that not alone carried us wholly away, but
so electrified the company also, that all rose spontaneously,
and gathering round us, overwhelmed us with praise. The
Dutchess whispered some words in <i>Dorette’s</i> ear, which brought
blushes to her cheek.</p>

<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>

<p>I interpreted them as favorable to me, and now on the
drive home I at length found courage to say: “Shall we thus
play together for life?” Bursting into tears, she sank into
my arms; the compact for life was sealed! I led her to her
mother, who joined our hands and gave us her blessing.</p>

<p>The next morning I announced my happiness to my parents.
But before I could enjoy it without alloy, I felt compelled
to write another letter, and one which was to me a
most disagreable task. I felt the injustice of my conduct
towards <i>Rosa</i>, and the necessity to ask her forgiveness. I had
it is true, never made a declaration of my love to her; but it
had been but too apparent in the earlier period of our acquaintance.
To that was added moreover, the circumstance
that, my parents had greeted her in Seesen as my betrothed.
What the arguments were that I resorted to in exculpation of
my injustice, I no longer remember at this distance of time.
Probably I may have again adverted to the difference of religion,
which could alone serve me as excuse for my withdrawal.
The letter was at length finished; and with a lightened heart I
took it to the post. I anxiously expected an answer; but none
came. At a later period I learned that <i>Rosa</i> had returned to
Italy with her parents who had acquired some fortune in Germany.
Some years afterwards, I was told when in Dresden,
that <i>Rosa</i>, led by her devotional turn of mind, had retired
to a convent, and after the year’s novitiate had taken the
veil. I never could think of that charming maiden without
sentiments of the deepest sorrow!</p>

<p>At the dinner-table on the following day all appeared in
full dress; it was to celebrate our betrothal. The news of
this had soon spread through the town, and not only the
members of the Ducal orchestra, but also many of the inhabitants
of the place came to felicitate the engaged couple. At
the next concert the same took place on the part of the
Dutchess and the Court.</p>

<p>With the end of the year, the session of Parliament drew
also to a close, and the return of the Court to Gotha was<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
already spoken of, when I solicited an eight day’s leave of
absence to go to Leipsic in order to give a concert there.
Preparatory to that, I had already made enquiries of my
friends of the foregoing year, and received from them the most
favorable assurances. My bride, and her mother accompanied
me, to appear also in the same concert. This therefore
offered a diversity of attraction to the public, and consequently
the attendance was very numerous. I played a new Violin-Concerto
in C-Major (published by <i>Kühnel</i> as the third) which
I had begun in Gotha and finished at Altenburg. Both my
playing and composition found as warm a reception as in the
previous year. My bride also met with the most enthusiastic
applause. She played <i>Backhofen’s</i> Fantasia, and with me the
new Sonata. On this occasion, it was again our combined
play that was considered the most brilliant performance
of the evening. The mother, a singer possessed of a powerful,
pleasing tone, and of a good school, executed, accompanied
by her daughter, the aria of <i>Mozart</i> with Pianoforte
obligato, as also, my new vocal-Scena, with great success.</p>

<p>Highly satisfied with the result of our undertaking, we returned
to Altenburg, and shortly afterwards with the Court to Gotha.</p>

<p>Madame <i>Scheidler</i> resided there in a very roomy and
well furnished house, of which without feeling in the least inconvenienced,
she could readily give up to me an apartment
or two. As she offered to take my brother <i>Ferdinand</i>
who as my pupil lived with me, together with ourselves as
boarders, nothing therefore stood in the way of my immediate
marriage. The wedding was accordingly fixed for the 2. February,
1806. I hastened therefore, to procure the documents, requisite
for the occasion, my certificate of baptism, and
the consent of my parents. To my regret, they were unable
to bring this to me in person, as my father dare not leave
his patients, some of whom were dangerously ill, but they
sent my brother <i>William</i><a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> to be a witness to my happiness.</p>
<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
<p>It created no little astonishment when I produced my
certificate of baptism, that instead of growing older in Gotha,
I had become several years younger! But as I had already
sufficiently established my authority as Concert-Director I
experienced no subsequent prejudice from this discovery.</p>

<p>The ardently desired 2. February, dawned at length.
At the request of the Dutchess who wished to be present,
the marriage took place in the Palace-chapel. Upon the conclusion
of the ceremony the newly married pair received the felicitations
and wedding-presents of their illustrious Patroness. At
home, we found assembled as wedding-guests, the two uncles
<i>Preissing</i> and several other of the most intimate friends
among the members of the Ducal orchestra, as also Cantor
<i>Schade</i>, an old friend of the <i>Scheidler</i> family. After dinner
many others came. Among these the playmates and school-fellows
of <i>Dorette</i>. All brought with them their friendly gifts.
Neither was she wanting who had compared me to a hop-pole,
and as punishment for the unbecoming comparison, she was frequently
obliged to endure a little raillery. As the weather
was too unfavourable for an excursion, or promenade, music
was kept up till a late hour in the evening.</p>

<p>In the midst of Music also, the happy pair passed the
honeymoon. I began forthwith a diligent study of the harp,
in order to ascertain thoroughly what was best adapted to
the character of the instrument. As I was prone to a richness
of modulation in my compositions, it was therefore requisite
to make myself especially well acquainted with the pedals
of the harp, so as to write nothing that would be impracticable
for them. This could not readily occur, on account of
the great accuracy with which my wife had already then mastered
the whole Technics of the instrument. I therefore gave
free play to my fancy, and soon succeeded in obtaining wholly
new effects from the instrument.</p>

<p>As the Harp sounded most advantageously in combination
with the singing tones of my Violin, I wrote more especially
Concerted compositions for both instruments alone. At a<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>
later period, it is true, I made trial, also, of two Concertanti
with Orchestral accompaniment, and of a Trio for Harp, Violin
and Violoncello; but as I found that every Accompaniment
only disturbed our mutual and deeply felt harmony of action,
I soon abandoned it.</p>

<p>Another attempt to obtain a greater effect, had however,
a more successful result. I conceived the idea of pitching the
harp half a tone lower than the violin. By so doing I
gained in two ways. For, as the violin sounds most brilliantly
in the cross or sharp notes, but the harp best in the
B-tones or flat notes, when the fewest pedals possible are
moved; I thereby obtained for both instruments the most favourable
and most effective key-notes: for the violin namely, D
and G; for the harp E and A-flat. A second advantage was,
that, from the lower tuning of the harp, a string would less
frequently break, which in public performances in very warm
rooms so frequently happens to the harpist, and mars the
enjoyment of the hearers. From this time therefore, I wrote all
my Compositions for harp and violin in that difference of the keys.</p>

<p><i>Dorette</i>, forcibly attracted by these new Compositions,
devoted at that time her attention exclusively to the study
of the harp, and soon obtained such a brilliant execution,
that I felt an eager desire to exhibit this before a larger
public than that of the Court-concerts of Gotha. As I beleived
also, to have now perfected my own Play in a manner such
as no other could readily surpass, I resolved to set out on an
Artistic tour with my wife in the ensuing autumn. I had
already stipulated for such a leave of absence upon receiving
my appointment, and it had been acceded to in consideration
of my then small salary.</p>

<p>Meanwhile as the autumn drew near, a twofold obstacle
presented itself to the execution of my cherished projects.
The war between Prussia and France threatened to break
out. The Prussian army prepared for the struggle, was already
assembled in the neighbourhood of Gotha, and the in<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span>habitants
of the Dutchy had much to endure from the billeting,
and overbearing insolence of the Prussians.</p>

<p>Even though I might have been able to take my journey
in a direction that would have carried us from the tumult of
war, yet when my home was in danger of becoming the scene
of conflict, I could not well leave it in such an extremity.
Then, one day, with blushing cheek and beaming eyes, my
little wife imparted to me that towards the end of winter she
looked forward to a mother’s joys. Now, therefore, indeed it
was no longer possible to think of undertaking a journey, and
all hesitation on the subject was set at rest. I therefore bethought
me of some engrossing work that would distract my
attention as much as possible from all the anxieties of the
times. I had long wished to try my hand at a Dramatic
composition; but I had never yet found a favourable opportunity.
Neither, indeed, did that present itself now, for Gotha
possessed no Theatre. Yet, I thought; if the opera were once
written, some opportunity to hear it might yet present itself.
Just at that time, I received a visit from a companion of my
youth <i>Edward Henke</i> my mother’s youngest brother, afterwards
Professor of Jurisprudence at the university of Halle, who had
already met with some success in lyrical compositions. I
persuaded him to write the words of an opera for me. We
cogitated together the subject-matter, and the scenes, of a
one act Opera, to which we gave the Name of “<span lang="de" xml:lang="de">Die Prüfung</span>”
(The Trial). <i>Edward</i> began forthwith the composition of
the Song-parts and finished them wholly before his departure.
He promised to supply the dialogue afterwards.</p>

<p>But before I could begin my work, the storm of war
broke loose. The battle of Jena had been fought; and with
that, the fate of Prussia decided. The Prussians who had
lain in and around Gotha, and who but shortly before had
been so-overbearing in their demeanour were now seen flying
in the greatest confusion. The disorganisation of their troops
was so complete, that their arms were to be found in thousands
strewn over the fields near Gotha. In a walk I took<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span>
a few days afterwards, I found as a further gleaning, a ramrod,
which I took home with me as a reminiscence of that
fatal day. Suspended from a thread it gave with a clear
sound the note <i>B</i>, once struck, and served me for many years
instead of a tuning-fork when tuning the harp.</p>

<p>Although after the advance of the French army in pursuit,
the theatre of war was soon removed farther and farther
from Gotha; yet the quartering of troops upon the inhabitants
was no less continuous. Fresh reinforcements of French and
South-German troops were constantly moved forward in support;
and a greater part of the Prussian prisoners taken at Jena,
was brought through Gotha. These came in bodies of from
3 to 4000 men of all arms, frequently escorted by 40 or 50
voltigeurs, only, and were shut up in the great Church on the
market place, opposite to our dwelling, with merely a few
sentries mounting guard over them before the closed doors.
As the nights were already very cold, the men in their thin
uniforms must indeed have been nearly frozen. For that reason
also they kept up a continual noise and outcry. The inhabitants
of the houses in the neighbourhood, in constant dread
that the prisoners from their greatly superior numbers would
liberate themselves, were obliged to keep continually on the
watch, and for many nights together could not retire to rest.</p>

<p>This, therefore, was by no means the most propitious
time for me to attempt a style of composition that was quite
new to me. But as my study was situated near the garden,
at a distance from the noise in the streets, I soon succeeded
in forgetting every thing around me, and gave myself up
heart and soul to my work. In this manner, before half the
winter had passed, I completed the composition of the 8
“Numbers” of the Opera, together with the Overture. The four
Song-parts in these, permitted of being well rendered by the
Female Court-singers and two Dillettanti whose assistance I
had already obtained for the Court-concerts. I therefore had
the opera written out with all despatch, practised it carefully,<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
and then played it as Concert-Music at one of the Court-concerts.</p>

<p>Great as at first was my satisfaction with the new work,
I nevertheless soon became sensible of its deficiencies, and
weak points. With every successive rehearsal these were made
more clear to me, and even before its production in public
took place, the Opera (with the exception of the Overture and
one aria for a tenor-voice) had become distasteful to me. Even
the great applause it had met with from those who executed
it, and those who heard it, could not reconcile me the more
to it; so that I laid it aside, and with the exception of the
two “Numbers” mentioned, I never played any thing more of it in
public. But with this feeling of dissatisfaction with my work
I was truly unhappy; for I now thought to perceive that I
had no talent for Operatic compositions. There were, however,
two things which I had forgotten duly to consider; first, that
I had assumed a much too elevated style, for I had put my
Opera upon a par with those of <i>Mozart</i>, and secondly, that
I was wholly wanting in the practice and experience requisite
for this kind of composition. This did not occur to me till
some years afterwards, and encouraged me then to make
another attempt at dramatic composition.</p>

<p>For the present, I again devoted myself wholly to Instrumental
composition; wrote the already mentioned Concertanti
for Harp and Violin with full orchestra; a Fantasia
(op. 35) and Variations (op. 36) for Harp-Solo; and, for myself,
my Fifth Violin Concerto (op. 17. published by <i>Nägeli</i> of
Zurich) and the Pot-Pourri (op. 22, at <i>André’s</i> in Offenbach).</p>

<p>As <i>Dorette</i> anticipated her confinement in the spring, it
was impossible we could remain longer in the limited accommodation
of her mother’s house, and we were now obliged to
furnish a house of our own. This took place at Easter 1807.</p>

<p>Shortly after, on the 27. May, we were gladdened by the
birth of a little daughter. I now had to invite the Duke as
Godfather to the new-born, he having already previously
offered himself for that post of honour. On the day of the<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>
Christening, he made his appearance, in the full splendour
of his Ducal rank, accompanied by the dignitaries of his
Court and followed by the idlers of the town, who attracted
by the grandeur of the rarely used state carriage and its
occupants, stared with astonishment to see it draw up before
my house, at the door of which I received him, and conducted
him to the apartment decorated with garlands of flowers.
The ceremony began, and the new-born was christened
<i>Emilie</i>, after the Duke’s second Name, Emilius.</p>

<p>To my great regret, my parents could not take part in
this delightful family festival. And yet, in the previous
summer, when on a visit at Seesen, I had introduced my dear
wife to them, and had the gratification to see not only that
they soon evinced much affection for her, but the satisfaction
also, that my father was obliged to admit I might not have
been so happy with <i>Rosa</i>, even had my love for her been
more lasting.</p>

<p>As soon as <i>Dorette</i> had fully regained her strength, she
began anew to practise the recently finished compositions
for the Harp, in order to prepare herself for our projected
artistic tour. But while thus engaged, she became more and
more convinced of the defects of the instrument she had
hitherto used, a Strasburg pedal-harp, which she had received
as a present from the Dutchess. It was therefore decided
in a family consultation, to apply a small capital appertaining
to her as inheritance, to the purchase of another, and a better
harp. Herr <i>Backofen</i>, had such an instrument, a very superior
one, by <i>Nadermann</i> of Paris, and was disposed to part with
it to his pupil for a moderate price. This, therefore, was
purchased. Of <i>Dorette’s</i> small inheritance there yet remained
a few hundred thalers, to expend in the acquisition of an
indispensible convenience for travelling, namely a travelling-carriage,
constructed at the same time for the transport of
the harp. For a considerable time I turned over in my
mind the form of build best adapted to this purpose. There
were two things that required especial consideration; first,<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span>
that it should not be too expensive, and secondly that it
should be sufficiently light for one pair of post-horses. At
length I hit upon the right plan. I ordered a long, but not
too heavy Basket-carriage to be built, with a chaise compartment
behind for the travellers. In front of this between
the basket-sides, lay the box for the harp, slung by leather
straps, and covered with a leather apron, which fastened by
means of a bar of iron hooking into the chaise-seat in front
of the occupants. Under this was a seat-box to hold the
violin-case, and behind it a larger one to contain a trunk adapted
to the space, in which all the other travelling requisites
could be packed. In front, above the harp-box, was the
raised seat for the driver. A trial trip, for which the carriage
was completely packed, shewed that it fully answered
the object proposed. Thus, therefore, every thing was in
readiness for our artistic tour.</p>

<p>After a painful leave-taking of our child, of whom my
mother-in-law undertook the care, we set out on our journey,
in the middle of October. As I unfortunately kept no diary
upon this and our subsequent journey from Gotha, I am left
wholly to my somewhat faint recollections of that period,
which have been but sparingly refreshed by a few notices in
the Leipsic Musical-Journal. Of a diary kept by my wife at
that period, but which she never let me see, I have neither
been able to find anything since her death. Probably, it
was destroyed by her in after years.</p>

<p>On the very first day, our journey began in a very ominous
manner, by the overturning of our carriage at a place
between Erfurt and Weimar, where there was at that time no
paved high-road. Fortunately, however, neither the travellers
nor their instruments were injured, we therefore considered
ourselves very fortunate to have escaped with the fright only.
No such accident re-occurred to us on any of our numerous
journeys. In Weimar, whither we took letters of introduction
from the Dutchess of Gotha, we played at Court with great
applause, and received a munificent present from the Heredi<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>tary
Grand Dutchess, the Princess <i>Maria</i>. Among the auditory
at the Court-Concert were the two Poet-heros <i>Goethe</i> and
<i>Wieland</i>. The latter seemed quite charmed with the play of
the artiste-couple, and evinced it in his own animated and
friendly manner. <i>Goethe</i>, also, addressed a few words of praise
to us with a dignified coldness of mien.</p>

<p>In Leipsic, as I perceive from a notice in the Musical-Journal,
we gave a concert on the 27. October. The opinion
therein expressed of the compositions I played on that occasion,
namely the Overture to the “<span lang="de" xml:lang="de">Prüfung</span>”, the Violin-Concerto
in Es, the first Concertante for Harp and Violin, the Potpourri
in B, and the Fantasia for the Harp, was very favorable.
As regards our play, it says:</p>

<p>“Respecting the play of Herr <i>Spohr</i>, and his wife, we
have already spoken in detail, and here alone add, that he
has entirely corrected himself of many of the too arbitrary
mannerisms (in Time, and the like) which he had acquired,
and of which we had now and then complained; and, without
a doubt, as regards Tone and Expression, Surety and Skill,
both in <i>Allegro</i> and in <i>Adagio</i> (in the latter more especially,
in our opinion) he now takes rank among the foremost of all
living Violinists: and Madame <i>Spohr</i>, by her great skill, neatness
and feeling in her play, is certain to meet with the most
distinguished reception.”</p>

<p>Of Dresden, where we also gave a Concert and also, if
I do not mistake this occasion for a later one&mdash;played at
Court (though certainly not during dinner, to which neither
of us would have consented) I recollect nothing more particular.
But I well remember many circumstances of our stay
at Prague. My fame had not yet reached there, and at first
I had many difficulties to contend with. These, however, were
forthwith overcome when I and my wife had played at a Soirée
given by the Princess Hohenzollern, and when that lady declared
herself our Patroness. We now immediately became
the fashion, and the <i>beau-monde</i> came in crowds to the two
concerts we gave in the City so famed for its cultivation of<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>
Art. We had therefore full reason to be satisfied with our stay
there. This is also confirmed by a notice in the Musical-Journal
beginning as follows: “Among the strangers who have
given concerts, the third was Herr <i>Spohr</i>, the celebrated
Director of Concerts to the Duke of Saxe-Gotha. Herr <i>Spohr</i>
performed on the Violin, as did his wife on the Pedal-Harp.
It will be long before another artiste will have such reason to
be satisfied with the reception he met here as Herr <i>Spohr</i>,
and of a certainty every friend of Art, will acknowledge that
he well deserved that distinction.”</p>

<p>But in the course of his notice, the Editor animadverts
on several points in my Play, though this opinion would seem
to have been a somewhat isolated one, as in his notice of
the concert given by the brothers <i>Pixis</i> which immediately
followed mine, he says: “his place has been assigned to him
far below <i>Spohr</i>,” and then continues: “as but a few days
before people were so charmed by the Play of the latter, and
the opinion was expressed from that point of view, it may not
be considered altogether fair.”</p>

<p>Among the friends of Art in Prague, I then made the
acquaintance of a man with whom up to the time of his death
I constantly remained on terms of the closest friendship. This
was Herr <i>Kleinwächter</i>, the head of the commercial firm of
<i>Ballabene</i>. At his house, every Sunday forenoon, a small but
select circle of Professionals and lovers of Art met to play
and listen to Quartett-music. Every foreign artiste sought to
be introduced there, and whether violinist or violoncellist took
an active part in them. I took a pleasure in playing there;
for my execution and my endeavours to give each composition
in its appropriate style were fully appreciated. One Sunday
morning I was playing a Solo-quartett of mine (D-Minor, op. 11.
published by <i>Simrock</i>) when the master of the house was
suddenly called away; but returning after some time, announced
to the company, that during the playing of the Quartett
a son had been born to him! Among the congratulations of
those present the wish was also expressed that this harmo<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>nious
greeting of the new citizen of the world, would be of
the most happy augery for his future life, and above all
things might endow him with a taste for Music! With the latter,
he was indeed gifted in a high degree. <i>Louis Kleinwächter</i>,
(in compliment to me he was christened after me) though
only as an amateur (his profession was the law) became
a distinguished musician, as his compositions many of
which have been published, sufficiently attest. Whether it
was that he had been told he was born during the performance
of one of <i>Spohr’s</i> compositions, and that, that had awakened
his predeliction for them, or whether it was his diligent
study of them, there never was a more enthusiastic admirer
of my music than he. Whenever in the Musical Reunions of
Prague, a choice was mooted of the Compositions which were
to be played, he always strove for those of <i>Spohr</i>, and never
rested until he had carried his point. For that reason, also,
he soon acquired the general cognomen of “the mad Spohrist.”</p>

<p>It is to be regretted that this young man of whom
mention will frequently be made in these pages, was snatched
from his family by an early death; he died several years before
his father.</p>

<p>From Prague, the Artiste-couple proceeded to Munich,
via Ratisbonne. I no longer recollect whether I succeeded in
getting up a Concert in the latter town. I could find no notice
of it. And respecting Munich, in a summary notice of
the Musical-Journal on the winter-season of that year, it was
curtly remarked “Herr <i>Spohr</i>, from Gotha, gave a Concert and
met here also with a warm approval.” Of our stay there I
have nevertheless a tolerable clear recollection. Before we
gave our concert in the City, we played at Court. When we
came forward to play our Concertante for Harp and Violin,
there was no stool for <i>Dorette</i>. King Maximilian who sat
beside his Consort in the front row of the audience, observed
it, and immediately brought his own gilded arm-chair surmounted
with the Royal Crown, before an attendant could
procure one. In his own friendly good-tempered manner he<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>
insisted upon <i>Dorette</i> seating herself in it, and only when I
explained to him that the arms of the chair would impede her
playing, he consented to her taking the seat brought by the
servant.</p>

<p>When the Concert was over, he presented us to the Queen
and her Ladies of the Court, who discoursed with us in the
most friendly manner. On the following day the Royal Gifts
were presented to us; to me a diamond ring, to <i>Dorette</i> a
tiara of brilliants; both of great value.</p>

<p>At our Public Concert, we were supported by the members
of the Royal orchestra with the greatest good will. Herr
<i>Winter</i>, the Director, led. I was delighted with the precision
and spirited execution of my compositions, and thought it very
natural that they should please, played in such a manner.
But it was a special satisfaction to me that the Composer of
the “<span lang="de" xml:lang="de">Opferfest</span>” (the Festival of the Sacrifice) assured me also
in his candid and straight forward way, of his full approval.
I went frequently to <i>Winter’s</i> house, and was greatly amused
with his original character, which united the most singular
contradictions. Of a colossal build, and gifted with the
strength of a giant, <i>Winter</i> was withal as timid as a hare.
Readily excited to the most violent rage, he nevertheless
allowed himself to be led like a child. His housekeeper had
soon observed this, and tyrannised over him in a cruel
manner. As an example of this, he took great pleasure in
dressing up the little images for the Christmas tree, on the Eve
of that Festival, and would amuse himself in this way, by the
hour. But ill befel him if the housekeeper caught him at it.
She would then immediately drive him away from them, and
call out: “Must you then be eternally at play?! Sit down
directly to the Pianoforte, and get your song ready!”</p>

<p>The junior members of the Royal orchestra, whom he
took great pleasure in having about him, and sometimes invited
to dinner, teazed him in return, unceasingly. They had
soon discovered that he had a great fear of Ghosts, and invented<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span>
all manner of tales of apparitions and ghostly narratives to frighten
him. In the summer time he frequently went to a public garden
outside the town, but as he was timerous in the dark,
he always returned before night-fall. One day, the mischievous
young folks contrived by various means to delay his
return longer than usual, and it was already quite dark when
he set out on his way home. As the other guests still remained
quietly seated, he found the road which lay between two
gloomy hedge-rows fearfully lonely. Seized with a sudden
terror, he unconsciously began to run. Scarcely had he commenced,
than he felt a heavy load upon his back, and he
beleived that it could be nothing also but a Hobgoblin that
had sprung down upon him. Hearing other footsteps behind
as though running after him, he thought the Devil and all
his Imps were in full chase, and he now ran still faster.
Reeking with perspiration and panting for breath he at length
reached the city gates; when the goblin sprung down from
his back, and said in a voice that he knew: “Thank you Herr
Kapellmeister, for carrying me, for I was very tired!” This
speech was followed by a general titter, and he whom they
had so befooled, burst into an uncontrolable rage.</p>

<p>From Munich, we continued our journey to Stuttgard,
where we took letters of introduction to the Court. I presented
these to the Court-Chamberlain, and on the following day
received from him the assurance that we should be permitted
to play at Court. But in the meantime I had been informed
that here also cards were played during the Concerts at
Court, and that little attention was paid to the Music. At
Brunswick I had been already sufficiently disgusted with such
a degradation of the Art, that I took the liberty to declare
to the Court-Chamberlain, that I and my wife could alone
appear, if the King would be graciously pleased to cease card-playing
during our performance. Quite horrified at so bold
a request, the Court-Chamberlain made one step backward,
and exclaimed: “What? You would prescribe conditions to my
gracious Master? Never should I dare make such a proposal<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>
to him!” “Then must I renounce the honour of playing at
Court”, was my simple reply. And on this, I took my leave.</p>

<p>How the Court-Chamberlain betook himself to lay so unheard
of a proposition before his Sovereign, and how the latter
prevailed upon himself to yield to it, I never learned. But
the result was, that the Court-Chamberlain sent to inform
me: “His Majesty would be graciously pleased to grant my
wish; but on the condition, that the musical pieces which I
and my wife would play, should follow in quick succession,
so that His Majesty would not be too frequently inconvenienced.”</p>

<p>And so it occurred. After the Court had taken their
seats at the card-table, the Concert began with an Overture,
which was followed by an aria. During this, the lacqueys
moved to and fro with much noise, to offer refreshments,
and the card-players called out: “I play, I pass” so loud,
that one could hear nothing connectedly of the music and the
singing. The Court-Chamberlain now came to inform me that
I should hold myself ready. Upon this, he announced to the
King, that the strangers would begin their performances.
Presently, His Majesty rose from his chair, and with him all
the company. The servants placed two rows of stools in front
of the orchestra, upon which the Court seated themselves.
Our play was listened to in the greatest silence, and with
interest; but no one dared utter a syllable of approval, as
the King had not given the lead. The interest he took in the
performances was shewn only at the close of each by a gracious
nod of the head, and scarcely were they over, than all
hastened back to the card-tables, and the former noise began
anew.</p>

<p>During the remainder of the Concert, I had leisure to look
about me. My attention was particularly directed to the King’s
card-table, in which in order to accommodate itself better to
his Majesty’s obesity, a semi-circular place had been cut out,
into which the King’s belly fitted closely. The great size of
the latter, and the little extent of the Kingdom, gave rise as<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
is well known to the smart caricature in which the King in
his Coronation-robes, with the map of his Kingdom fastened
to the button of his knee breeches, is represented as uttering
the words: “I cannot see over all my States!”</p>

<p>As soon as the King had finished his game, and moved
back his stool, the Concert was broken off in the middle of
an aria by Madame <i>Graff</i>, so that the last notes of a cadence
actually stuck in her throat. The musicians accustomed to
this vandalism, packed their instruments quietly in their cases;
but I was deeply exasperated at such an insult to the Art.</p>

<p>At that time, Würtemberg groaned under a despotism
such as indeed the rest of Germany had never known. To
cite only a few examples of this, it suffices to say: that rain
or snow, every one who entered the Palace-Court at Stuttgard
was compelled to walk hat in hand from the irongates to the
portal of the palace, because his Majesty’s apartments were on
that side. Every civilian was furthermore obliged by the most
imperative order to take off his hat before the sentry, who
was not required to salute him in return. In the theatre, it
was strictly forbidden by notices to that effect, to applaud
with the hands before the King had commenced. But his
Majesty on account of the extreme cold of the winter sat with
his hands buried in a large muff, and only took them out
when his Royalty was graciously pleased to feel the want of
a pinch of snuff. When that was done, it little mattered what
was going on upon the stage, he then clapped his hands.
Upon this the Chamberlain who stood behind the King, immediately
joined in, and thereby gave notice to the loyal people,
that they might also give vent to their approbation. In this
manner the most interesting scenes and the best pieces of
music of the opera were almost always disturbed, and interrupted
by a horrid noise.</p>

<p>As the citizens of Stuttgard had long learned to accommodate
themselves to the Royal humours, they were not a little
astonished at what I had stipulated for before my appearance
at the Court-concert, and had actually granted to me. This<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>
made me the object of public attention, and the result was,
that my concert in the town was attended by an unusually
numerous auditory. The Royal orchestra gave me their support
in the most friendly manner, and the Director <i>Danzi</i> endeavoured
to facilitate the whole arrangements for me in every
possible way.</p>

<p><i>Danzi</i> was a most amiable artiste, and I felt the more inclined
towards him, from finding he had the same admiration
for <i>Mozart</i>, that I was so deeply impressed with. <i>Mozart</i>,
and his works, were the inexhaustible subjects of our
conversation, and I still possess a most cherished memorial
of that time, a four-handed arrangement of <i>Mozart’s</i> Symphony
in G-Minor, composed by <i>Danzi</i>, and in his own handwriting.</p>

<p>In Stuttgard I also first made the acquaintance of the
since so greatly famed <i>Carl Maria von Weber</i>, with whom up
to the time of his death I was always on the most friendly
terms. <i>Weber</i> was then Secretary to one of the Princes of
Würtemberg and cultivated the Art as an amateur only. This
however, did not hinder him from composing with great assiduity,
and I still well remember hearing at his house, as a
sample of <i>Weber’s</i> works some “Numbers” from the Opera “<i lang="de" xml:lang="de">Der
Beherrscher der Geister</i>.” (The Ruler of the Spirits.) But
these, from being always accustomed to take <i>Mozart</i> as the
type and rule by which to measure all dramatic works,
appeared to me so unimportant and amateur-like, that I had
not the most distant idea <i>Weber</i> would ever succeed in attracting
notice with any opera.</p>

<p>Of the Concerts which we gave besides, in Heidelberg and
Frankfort on the Mayne, before our return home, I can now
speak but imperfectly from memory&mdash;I therefore give a few
extracts from the notices of the Musical-Journal.</p>

<p>First of all speaking of Heidelberg, it says: “<i>Eisenmenger’s</i>
violin would still have been unforgotten, had not the Heidelbergers
had the pleasure in the last Concert to hear <i>Louis Spohr</i>
play in his <i>Rode</i>-like style of firm, sustained and skillful bow-stroke.
His wife played the harp, in a way one seldom hears<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span>
in Germany&mdash;with a tenderness, lightness and grace, with
a confidence, strength, and expression, that are quite captivating.”</p>

<p>To me it seems very strange, that even at this time my
play was still designated as a <i>Rode</i>-like style, for at that
period at least I thought to have wholly laid aside his manner.
Perhaps it arose merely, from the circumstance, that, on
account of the easier accompaniment, I had selected a Concerto
of <i>Rode’s</i> for execution.</p>

<p>Respecting the Concert in Frankfort on the 28. March,
the remarks were also very eulogistic. The Frankfort Journal
spoke of the “wellmerited, and distinguished applause” that
we met with, and reverted to a “in many respects similar
Pair, who five and twenty or thirty years before made much
sensation in Mannheim, and afterwards in London&mdash;to <i>Wilhelm
Kramer</i>, the great Violinist and his wife, the splendid Harpiste”.</p>

<p>On my return to Gotha I was met at some miles from
the town by my pupils, some of whom had remained there
during my absence, and others but shortly returned, and escorted
by them as in triumph to my tastefully decorated
dwelling. We there found <i>Dorette’s</i> parents and relatives
all assembled to welcome us, and also our dear child, who
under her grandmother’s excellent care was in blooming health.
As on our tour we had not only earned a rich harvest of
applause, but had saved a sum of money which for our circumstances
was considerable, we now felt on our return to our
domestic hearth right happy and free from care.</p>

<p>As soon as I had resumed the Direction of the Court-concerts,
I felt impelled to set to work at new compositions.
I first wrote a Potpourri for the violin with orchestral accompaniment
(Op. 23, published by <i>André</i> of Offenbach) which
had already suggested itself to me during the journey, and for
the most part in the carriage. I was very desirous to see
on paper what I there thought a very artistic combination
of two Themes in one and the same; but still more desirous
to hear it executed by an orchestra. This Potpourri begins<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
with a lively, and for the solo, brilliant <i>Allegro</i> in G-Major,
connected with and passing into the Theme from the “<i lang="de" xml:lang="de">Entführung</i>”:
“<i lang="de" xml:lang="de">Wer ein Liebchen hat gefunden</i>” in G-Minor. After
this has been varied five times alternately in the Minor and
Major, it is taken up in sixth Variation by the wind-instruments,
and for a time carried out in free-fugued Entries. On the
return into the principal key, the first horn takes up the
melody of the song in the Major and carries it out completely
to the end. This is then succeeded anew in a very startling
manner by the introductory <i>Allegro</i> of the primo, blending
with it as it were in the style of a Fantasia, though
it previously appeared as an independant piece of Music.</p>

<p>With the working of this combination at the Rehearsal,
I was very satisfied; but when the Potpourri was executed at
the Court-Concert, I was doomed to see my ingenious combination
of the two themes was noticed by a few musicians
only, and was totally lost upon the rest of the hearers.</p>

<p>The next that I wrote, was the Concertante for two
Violins (Op. 48, published by <i>Peters</i> in Leipsic). I was prompted
to this chiefly by the artistic genius of one of my pupils
one Herr <i>Hildebrandt</i> of Rathenow, with whom I was very
fond of playing. This young man had made so much progress
under my guidance in twelve months, that he promised to
become one of the first violinists of Germany. Unfortunately,
at a later period, by what mischance I now no longer
remember, a wound which he received in his left hand became
a bar to the full development of his talent, so that he did
not become so known in the Musical world, as was previously
to have been expected. This pupil had acquired to such a
degree his instructor’s method of execution in all its shadings,
that he might have been considered a true copy of him. Our
play blended therefore so intimately, that, without looking at
us, no one could tell by the ear which of us played the upper
or which the lower key. In this manner we had practised
the new Concertante, before we executed it at the Court-concert.
We achieved, also, such success with it, that the<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>
Dutchess requested its repetition in the next concert, and afterwards,
insisted, also, as long as <i>Hildebrandt</i> remained in Gotha
to have it put in the programme when strangers were on visit
at Court.</p>

<p>As my pupils at that time were of much the same age as
myself, and were young people of good breeding and inspired
with a love of their Art; I liked to have them about me, and
took great pleasure in permitting them to accompany me in
my walks and little excursions in the neighbourhood. I used
then to join in all their amusements, played at ball and other
games with them, and taught them to swim. Yes, perhaps I
was even somewhat more <i>en camerade</i> with them than beseemed
the dignity of the Instructor with his pupils. But my
authority suffered no diminution on that account; for I knew
not only how to maintain a strict discipline during the hours
of tuition, but also at other times, a becoming behaviour.</p>

<p>In this manner, I had already made a longer excursion
in the spring, to Liebenstein, and up the Inselsberg, and returned
from that journey so pleased, that I longed once more
to make a similar excursion to the Harz, which I so loved.
Quite unexpectedly, a temporary absence of the Dutchess,
through which some Court-concerts were suspended, furnished
the necessary leave of absence. I therefore, immediately,
proposed to my pupils, a pedestrian journey to the Harz,
which they welcomed with the most joyful assent. As our
absence would of a necessity extend to a fortnight, the lessons
could not be suspended for so long a time without great prejudice
to the pupils, and I therefore determined to continue
them on the journey. For this purpose I took two violins
with me, with which the orchestra-servant <i>Schramm</i>, yet a
young man, and greatly attached to me was loaded, while we
carried all the other necessaries distributed in two knapsacks,
each in his turn. Before our caravan could set out, I had
yet to console my wife, who could not make up her mind to
so long a separation, the first since our marriage, and who
shed, indeed, a torrent of tears. Not until I had promised to<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>
write to her every other day, could she be somewhat pacified,
and it was long before she let me from her arms. To me,
also, this first separation was no less extremely painful!</p>

<p>How far we went the first day and where we stopped
the following night, I no longer remember; but I still know
well, that at every rest after dinner, I gave two of my pupils
regular instruction, and required of them a punctual alternate
practise of the lesson in the evening, as soon as we reached
our quarters for the night. In this way, on the third or fourth
day, (the heat was intense,) we arrived about a league from
Nordhausen, and very tired sat down to rest ourselves under
the shade of an oak by the side of a large pond, when by an
unlucky accident one of our knapsacks rolled down the steep
bank and fell into the water&mdash;and so far from the bank,
also, that we could not reach it with our walking sticks. As
the water was deep, I was soon obliged as the only practised
swimmer of the party, to make up my mind to jump in and
fetch it out. But before I could get my clothes off, the knapsack
had taken in so much water, that it began to sink. I
was therefore obliged to dive at the place where it had disappeared
until I succeeded in recovering it. When I brought
it to the bank, and it was opened, I found its contents so saturated
with water, that we were obliged to spread them on
the grass in the sun to dry them. As it was to be anticipated
this would be an operation of several hours, and noon
was drawing near with its attendant hunger, I resolved to
take our customary dinner-rest in this place, and to send to
Nordhausen to procure the necessary provisions. The purchase
of these fell by lot to one of the pupils, and <i>Schramm</i> accompanied
him to carry them. Meanwhile, I gave my two lessons
unter the great oak, and those pupils who were not engaged
therein, bathed themselves at a more shallow part of the
pond. After the lapse of two hours, our foragers returned
heavily laden, and under the shadow of the dear oak, which
served us with equal hospitality as a Dining- or Concert-room,
a capital-dinner was soon spread and despatched<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span>
in the merriest humour, and with the best appetite. Then
resounded in joyous harmony the tones of four male-voices, in
choice four-part glees of which we carried with us a good
collection, and had also well-practised them. After this, our
properties which were once more dry, were packed up, and
our troop set itself again in motion.</p>

<p>After this merry fashion we visited every remarkable spot
of the lower Harz, and then climbed the “Brocken.” When
we got to the top, that which occurs to nine tenths of all travellers,
befel us also; we found it envelloped in mist, and
waited in vain until noon, in the hope that it would clear
off and enable us to enjoy the view from the summit. We
endeavoured to dispel as much of our disappointment as we
could by singing, playing and looking through the pages of
the many tomed “Book of the Brocken”; indeed, one of the
party put our Jeremiade on this misfortune into really decent
rhyme, which I immediately converted into a Canon for three
voices. This was diligently practised, sung both within the
“Brockenhause” and outside in the mist, and then written together
with our names in the Brocken-Book, in the hope that
at length the weather would clear up.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> But in vain! We
were obliged to make up our minds to continue our journey.</p>

<p>We now took the direction of Clausthal, and when we
reached the plain, we had the mortification to see the summit
of the Brocken, after we had left it about one hour, lit
up with the brightest sunshine!&mdash;Arrived at Clausthal; our
first care was to get rid of the unseemly growth of beard
that had accrued to all during our journey, so as to reassume
a somewhat more civilized appearance. We sent, therefore,
for a barber, and submitted ourselves one after the other to
his razor. A somewhat comical incident arose out of this
operation. We had all of us more or less, a sore place under
the chin from holding the violin, and I who first sat down,<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span>
directed the barber’s attention to this, and begged him to go
over it very lightly with his razor. As the barber found a
similar sore place under the chin of each that followed, his
countenance assumed more and more the grotesque expression
exhibited in the disposition to whistle and smile at one and
the same time, murmuring every now and then something, inwardly.
Upon being asked the reason, he replied with a
grave look: “Gentlemen, I see very clearly that you all belong
to a secret Society, and you all carry the sign. You are
Freemasons, probably, and I am right glad that I know at
last how that is to be discovered!” As upon this we all broke
out into a loud peal of laughter, he was at first very much
disconcerted, but, nevertheless, not to be shaken in his belief.</p>

<p>After we had descended into a mine, and visited the
smelting-huts and stamping-works, we continued our journey
to Seesen, by way of Wildemann. There, we were joyfully
welcomed by my parents and brothers and sister as well
as by the musical friends of the little town. We had music
now from morning to night, and even got up a Public concert,
in which all exhibited our skill to the utmost in playing and
singing. The proceeds of the concert, we presented to the
School for the Poor, for the purchase of new schoolbooks.</p>

<p>Highly pleased with our journey we returned through
Göttingen and Mühlhausen to Gotha. I yet think with emotion
on the intense pleasure, with which my dear little wife
welcomed me home, and never did I feel more acutely, the
happiness of being loved!</p>

<p>At this period, a young Poet, a Candidate in Theology,
who was awaiting his appointment in Gotha, offered to me
an Opera he had written, to set to music, and I seized this
opportunity with pleasure, to try my hand, and as I hoped
with more success, in dramatic composition. The Name of
the Opera was “Alruna, <i lang="de" xml:lang="de">die Eulenkönigin</i>” (the Owlet-Queen),
it was founded on a popular tradition, and in matter had
much resemblance to the “<i lang="de" xml:lang="de">Donauweibchen</i>”, (the Danube
Water-Nymph) which at that time excited general admiration.<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>
I immediately commenced my work with great zeal, and
finished the three Acts of the Opera before the end of the
year. As some of the “Numbers” which I played at the
Court-concerts found great favour, I was encouraged by this
to offer my work for representation at the Court-Theatre in
Weimar. I went thither in person to obtain a favourable
reception of it from Herr <i>von Goethe</i>, the Intendant of the
Theatre, and Frau <i>von Heigendorf</i>, the prima Donna and the
mistress of the Duke. To the former I handed the Libretto,
to the latter the Music of the Opera. As she found some
brilliant parts for herself and her favorite <i>Stromeyer</i>, she
promised to interest herself in getting the Opera accepted,
and as I knew that this depended solely upon her, I returned
to Gotha with the most sanguine hopes. Yet it required
many reminiscences from me, and month after month passed
away, until at length the study of the Opera was commenced.
As this had now gone so far that a grand orchestral rehearsal
could be effected, Frau <i>von Heigendorf</i> invited me to direct
it. I therefore proceeded to Weimar a second time, and now
in company with the author.</p>

<p>As I had written all manner of new things after I had
completed the Opera, it had somewhat faded from my recollection,
and I therefore thought I should be the better
able to judge of it without partiality. Accordingly I was
greatly preoccupied with the impression that it would make
upon me.&mdash;The Rehearsal took place in a Saloon at the
house of Frau <i>von Heigendorf</i>. Among the assembled Auditory,
besides the Intendant Herr <i>von Goethe</i>, and the Musical Amateurs
of the Town, <i>Wieland</i> was also present. The Singers
had well studied their parts; and as the orchestra had already
had one rehearsal, the Opera was right well executed under
my direction. It gave general satisfaction, and the Composer
was overwhelmed with congratulations. Herr <i>von Goethe</i>, also
spoke in praise of it. The Author did not come off so well.
<i>Goethe</i> found all manner of defects in the Libretto, and especially
required that the dialogue which was written in Iam<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>bics
should first be put into simple prose, and considerably
curtailed before the Opera was performed. This requisition
was particularly painful to the Author, as he prided himself
not a little on his metrical dialogue. He nevertheless declared
to me his readiness to undertake the required alteration,
but on account of other pressing work, he could not set about
it immediately. This was not displeasing to me, for with the
exception of a few of the “Numbers”, my Music at the rehearsal
in Weimar had not satisfied me, greatly as it had pleased there,
and I was again tortured with the thought, that I had no talent
for Dramatic music. For this reason the Opera became more and
more indifferent to me, and I was glad to see that its representation
would be delayed. At length the thought of seeing it represented
and thus made public was so distasteful to me, that I
withdrew the parts and score. Hence with the exception of the
Overture which was published as Op. 21 by <i>André</i> in Offenbach,
nothing else of it was engraved. But on the other hand, I was
unjust towards this work; for it shews, compared with the
first Opera, an unmistakably great progress in dramatic style.</p>

<p>In the year 1808, took place the celebrated Congress of
Sovereigns, on which occasion, <i>Napoleon</i> entertained his friend
the Emperor <i>Alexander</i>, and the Kings and Princes of Germany
his Allies. The lovers of sights and the curious of the whole
country round, poured in to behold the magnificence which
was there displayed. In the company of some of my pupils
I also made a pedestrian excursion to Erfurt, less to see the
Great Ones of the earth, than to see and admire the great
ones of the French Stage, <i>Talma</i>, and <i>Mars</i>. The Emperor
had sent to Paris for his tragic performers, and every evening
one of the classic works of <i>Corneille</i> or <i>Racine</i> was played.
I and my companions had hoped to have been permitted to
see one such representation, but unfortunately, I was informed
that they took place for the Sovereigns and their suite only,
and that every body else was excluded from them. I now
hoped, with the assistance of the musicians, to obtain places
in the orchestra; but in this I also failed, for they had been<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>
strictly forbidden to take any person in with them. At length
it occurred to me, that I and my three pupils, by taking the
places of the same number of musicians who played between
the acts, might then be enabled to remain during the performance.
As we were willing to pay handsomely, and the
musicians knew that their substitutes would fill their places in
a satisfactory manner, they gave their consent. But, now a
new difficulty presented itself: three of us only could be introduced
for the violins and the bass-viol; and as neither of
us played any other orchestral-instrument but those, one of
us of a necessity must remain excluded. The thought then
struck me, to try whether I could learn sufficient of the horn,
by the evening, so as to be able to undertake the part of the
second hornist. I immediately prevailed upon him whose
place I wished to take, to yield his horn to me; and began
my studies. At first I produced the most terrific tones from
it; but after about an hour, I succeeded in bringing out the
natural notes of the instrument. After dinner, while my pupils
went to walk, I recommenced my studies in the house of
the “Stadt-Musicus”<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> and although my lips pained me very
much, yet I did not rest until I could play my horn-part,
perfectly, in the certainly, very easy overture and “between
acts” which were to be played in the evening.</p>

<p>Thus prepared, I and my pupils joined the other Musicians,
and as each carried his instrument under his arm, we
reached our places without opposition. We found the saloon
in which the theatre had been erected, already brilliantly lit
up, and filled with the numerous suite of the Sovereigns. The
seats for Napoleon and his guests were close behind the orchestra.
Shortly after the most able of my pupils to whom
I had assigned the direction of the music, and under whose
leadership I placed myself as a new fledged hornist, had
tuned up the orchestra; the high personages made their appearance,
and the overture began. The orchestra with their
faces turned towards the stage, stood in a long row, and<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
each was strictly forbidden to turn round and look with curiosity
at the Sovereigns. As I had received notice of this
beforehand, I had provided myself secretly with a small
looking-glass, by the help of which as soon as the music was
ended, I was enabled to obtain in succession a good view of
those who directed the destinies of Europe. Nevertheless, I
was soon so entirely engrossed with the magnificent acting of
the tragic artistes, that I abandoned my looking-glass to my
pupils, and directed my whole attention to the stage.&mdash;But
at every succeeding “entre-acte”, the pain of my lips increased,
and at the close of the performance they had become so
much swollen and so blistered, that in the evening, I could
scarcely eat any supper. Even the next day, on my return to
Gotha, they had a very negro-like appearance, and my young
wife was not a little alarmed when she saw me; but she
was yet more nettled, when in a jesting tone I said: that it
was from kissing to such excess the pretty Erfurt-women!
When, however, I had related to her the history of my studies
on the horn, she laughed heartily at my expense.</p>

<p>About that time, though I do not exactly remember
whether it was on that journey to Erfurt, or upon a previous
one, the Emperor Napoleon slept also once in the palace
at Gotha, and on that account a Court-concert had been
commanded the previous evening. I and my wife had the
honour to play before the allpowerful man, and he addressed
a few words to us. On the following evening also, we received
our share of the “Gold Napoleons” which he had left as a
present to the Court-orchestra.</p>

<p>The Duke of Gotha was at that time high in his favour,
and therefrom great advantages were expected for the Duchy.
But he must have lost it afterwards by some neglect; for
when the Emperor passed through on a subsequent journey,
a scene occurred that filled the inhabitants of Gotha with
bitter rage against the tyrant. The Emperor was expected
about 11 o’clock. A breakfast had therefore been prepared
in the palace at Friedrichsthal, the summer-residence of the<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span>
Court, and the whole Court-circle was assembled in state-costume.
The posthorses ready harnessed were waiting in the
palace-square, to take the Emperor immediately after breakfast
upon his farther journey.&mdash;At length, the first gun of
the salute resounded above on the Friedenstein, from whence
every time the Emperor passed through, 101 guns were fired.
Shortly afterwards, his carriage drove up. The Duke, surrounded
by his Court, already stood with uncovered head at
the iron gates, approached the carriage with humble demeanour,
and begged that his Imperial Majesty would deign to
take breakfast. An abrupt <i>non!</i> and the order to his Mamelucks
to put to the horses, was the reply. Without condescending
any further word or look to the Duke, he leaned back
in the carriage and left the Prince standing at the closed
door in the most painful perplexity. The Duke turned pale
with inward rage to see himself so insulted in the presence
of his Court and People, and yet, had not the courage to
return immediately to the palace. Thus passed in a dead
silence, five or six fearfully long minutes, until the horses
were put to. At the first forward movement they made, the
Emperor’s head was once more visible, and with a cold nod,
he drove off. The Duke, as though annihilated, returned to
the palace, and the citizens loudly expressed their rage, that
the overbearing Corsican should have so insulted their Prince.</p>

<p>On the 6. November, 1808, my wife presented me with a
second daughter, who was named <i>Ida</i>, after my wife’s step-sister
Madame <i>Hildt</i>, who held her over the font. Her confinement
passed over as lightly and happily as the former
one, and during the first days the health of the invalid was
excellent. This, however, induced her to leave her bed too
soon, whereby she caught cold, and the sad consequences
were, that she was seized with a violent nervous fever. For
several days her life was in imminent danger. I left her
neither by day nor night, for she would receive attention from
no one but me. What I suffered at the side of her sick-bed
is indiscribable! Alarmed by her fits of delirium, by the grave<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span>
countenance of the physician, who shunned my interrogatories, and
tortured with self-reproaches for not having taken more care of
her, I had not a moment’s rest during <i>Dorette’s</i> illness. At length
the more cheerful expression of the physician’s face betokened
that the danger was passed, and I, who during the last days,
first became really sensible of all I possessed in my wife, and of
the intense love I bore her, now felt unspeakably happy. Her
recovery progressed rapidly. Yet there was great weakness
still remaining, from which <i>Dorette</i> was not wholly releived
until the spring, when by the recommendation of the Doctor
I hired a house in the country with garden attached, and by
that means procured her the continual enjoyment of fresh air.
Strengthened by this, she then gradually began her musical
studies, which for almost six months she had been obliged to
discontinue. In the Catalogue of the whole of my works,
which I began shortly after my appointment in Gotha and
continued up to the present time, besides those Compositions
already named, dating from 1808, the following are specified:
Two Duetts for violin (op. 9) and one for violin and viola
(op. 13), Variations for the harp and two Quartetts for stringed
instruments. In Quartetts, certainly the most difficult of all
compositions, I had already made a trial the year before.
But with them I succeeded no better than with Song-compositions.
Shortly after their completion they no longer pleased
me; and for that reason I should not have published them
had not my Leipsic publisher, Herr <i>Kühnel</i>, at whose house I
played them in the autumn of 1807, retained them almost
by force, and shortly afterwards published them (as op. 4).
The new Quartett (op. 15) also brought out by <i>Kühnel</i>,
pleased me it is true somewhat longer; but at a later period
when I had learned to produce a better style of Quartett-composition
I regretted also that I had published them. The
two first Quartetts I dedicated to the Duke of Gotha, but
only at his personal request; for though I felt a pleasure in
dedicating my works to <i>Artistes</i> and amateurs of music, as a
token of my respect and friendship, yet my artistic pride<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span>
would never permit me to dedicate them to Princes for profit’s
sake, though even at their express desire.</p>

<p>At the time when the Duke invited me to dedicate my
Compositions to him, he frequently used to send for me to
converse with him upon his tastes in Art. As is well known,
in spite of his peculiarities, he was a man of mind, and cultivated
taste, which his published Poems and his Correspondance
with <i>Jean Paul</i> sufficiently prove. But with the affairs of
Government he did not in the least trouble himself, and left
them entirely to the Privy-Counsellor <i>von Frankenberg</i>, who,
therefore, was virtually the Regent of the land. Obliged <i>pro
forma</i> to be present at the sittings of the Privy-Council, he
invariably got tired of the subjects of discussion, and endeavoured
to make them as short as possible, himself frequently,
saying, in derision of his own want of interest “will not the
Gentlemen of the Privy-Council soon be pleased to command
what I am to command?”</p>

<p>At that time, perhaps incited by my Compositions for
the voice, he was seized with the desire to have one of his
longer poems, a kind of Cantata, set to music. He did me
the honour to consult me on the subject. But as the Duke
probably could not prevail on himself to let me see his limited
knowledge of music, he applied to his old music-master,
the Concert-Director <i>Reinhard</i>, to carry it out. From him at
a later period, in an unguarded and confiding moment, I heard
how the composition of the Cantata was brought about. The
Duke, read to his master seated at the piano, a passage of
the text, and explained to him his ideas respecting the style
in which it should be composed. When the Duke had once
heard or read the characteristics of the different tones, <i>Reinhard</i>
was then obliged to strike several of them in sequent
accords, so that he might find the right one for his text. If
this was cheerful, a Major-Key was chosen, if it was mournful,
a Minor-Key was selected. It happened one day that
the Duke took the Major too sprightly, and the Minor was
too mournful, upon this he required poor <i>Reinhard</i> to sound<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>
the Key in <i>half</i> Minor. When they had agreed upon this
point, the melody suited to the text was next sought for.
The Duke then whistled every melody that came into his
head, and left his master to choose the most suitable to the
character of the words. When in this manner a few lines of
the poem had been disposed of, they passed on to the next. As
<i>Reinhard</i> could not compose, or at least not arrange the instrumentation,
the plan of the Cantata thus sketched out in
the Duke’s leisure-hours was handed over to the “Kammer-Musicus”
<i>Backofen</i> to complete with score. The latter, as
may readily be imagined, could make but little use of the
materials given to him, and was therefore obliged to recompose
as it were the Cantata anew. Possessing considerable
talent for composition, he accordingly put out of hand a piece
of music such as could well be listened to. The work thus
completed, was now written out, carefully practised under my
direction, and then produced at a Court-Concert. The Duke,
though he may well have been somewhat astonished that his
music sounded so well, received the congratulations and praises
of the Court with a satisfied mien, praised me for having so
well entered into his ideas in practising it with the orchestra,
and privately sent his two fellow-workmen their gratuity. In
this manner all parties were satisfied.</p>

<p>In the winter of 1808-9, I arranged some Subscription-Concerts
in the town for the benefit of the Court-Orchestra.
But as these could present nothing better than was heard at
the Court-Concerts, and those were much frequented by the
amateurs of music of the town, for whom a large space behind
the orchestra in the Concert-saloon was set apart, these Subscription
concerts met with but little support. The product
therefore was so small after the deduction of the expenses,
that it was not considered worth while repeating the undertaking.</p>

<p>At one of these Concerts, Herr <i>Hermstedt</i>, Director of the
“Harmonic-music” to Prince Sondershausen, appeared as Clarinet
player, and attracted much attention by his admirable<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
performance. He had come to Gotha to request me to write
a Clarinet-concerto for him, for which the Prince upon the
condition that <i>Hermstedt</i> should be put in possession of the
manuscript, offered to pay a handsome gratuity. To this
proposal I gladly assented, as from the immense execution,
together with the brilliancy of tone, and purity of intonation
possessed by <i>Hermstedt</i>, I felt at full liberty to give the reins
to my fancy. After, that with <i>Hermstedt’s</i> assistance I had
made myself somewhat acquainted with the technics of the
instrument, I went zealously to work, and completed it in a
few weeks. Thus originated the Concerto in E-minor, published
a few years afterwards by <i>Kühnel</i> as op. 26, with which
<i>Hermstedt</i> achieved so much success in his artistic tours, that
it may be affirmed he is chiefly indebted to that for his fame.
I took it over to him myself to Sondershausen, at the end of
January, and initiated him in the way to execute it. On this
occasion, I appeared also as Violinist at a concert given by
<i>Hermstedt</i>, and played for the first time, my Concerto in G-Minor
(op. 28) which I had just finished a few days before,
and, also, a new Pot-pourri (op. 24).</p>

<p>Secretary <i>Gerber</i>, the author of the “Musical Lexicon”,
speaks of these not only in that work, under the article
“<i>Spohr</i>” but also in a spirited notice in the Musical-Journal,
a reprint of which is to be found in number 26. of the eleventh
volume. The third part of this Concerto is a Spanish
<i>Rondo</i>, the melodies of which are not mine but genuine Spanish.
I heard them from a Spanish soldier who was quartered in
my house, and who sang to the guitar. I noted down what
pleased me, and wove it into my <i>Rondo</i>. In order to give
this a more Spanish character, I copied the guitar-accompaniments
as I had heard them from the Spaniard, into the
orchestral part. At the beginning of the same winter, I had
also a visit from <i>Reichardt</i>, Director of the orchestra at Cassel,
and then first made his personal acquaintance. <i>Reichardt</i>
told me he was going to Vienna by the command of his Court,
to engage singers for a German theatre that was about to be<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
opened at Cassel. This, proved afterwards to be false; for
<i>Reichardt</i> was at that very time no longer in the Westphalian
service. I had felt at first much annoyed by a sharp criticism
of <i>Reichardt’s</i> upon my play, on my first appearance at
Berlin; but as I soon found that it contained many truths
and well founded strictures, and that it had prompted me to
correct the faults it pointed out in my execution, a sentiment
of gratitude had long taken the place of my former resentment.
I therefore welcomed my guest with great cordiality,
and immediately arranged a musical party at my house in
his honour, at which I let him hear my two new and just
finished Violin-Quartetts.</p>

<p>As at that time I knew none of <i>Reichardt’s</i> compositions
beyond a couple of successful songs, and looked upon the
famous author of the “Confidential letter from Paris” and the
dreaded Critic, as a great Composer, I set much value upon
his opinion, and awaited it with a feeling of acute expectancy.
I therefore again felt somewhat chafed when <i>Reichardt</i>
had various objections to make, and expressed them <i lang="fr" xml:lang="fr">sans gène</i>.
But it was perhaps more the self sufficient look of infallibility
with which he pronounced his judgement, that wounded me;
for some time after, I was again obliged to admit to myself,
that <i>Reichardt’s</i> observations were in many respects just.
There was <i>one</i> remark, which I frequently called to mind in
my subsequent studies. For instance, in an <i>Adagio</i>, from the
beginning to the end, I had carried out a figure after the
style of <i>Mozart</i>, now in one Key, and then in the other, and
in my delight at this scientific interweaving, had not remarked
that it at last became monotonous. But although
<i>Reichardt</i> praised the manner in which I had carried it through,
he spoke unsparingly against it, and added more over, maliciously,
“You could not rest until you had worried your motive
to death!”</p>

<p><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>

<hr class="tb" />

<p>In the spring of 1809, from the unusual expenses attendant
upon my wife’s confinement and subsequent illness, as
well as those incurred by the necessary removal to another
house outside the town, I found myself in such straightened
circumstances, that I earnestly desired to see realised the
promise of an increase of salary that had been made to me
on my appointment. I therefore addressed a petition to the Duke,
which as he never troubled himself with administrative matters,
was without effect, and probably, was laid aside unread. I
was therefore advised by the Intendant, Baron <i>von Reibnitz</i>
to make a personal application to the Privy-Counsellor <i>von
Frankenberg</i> and deliver to him my petition for the desired
increase of salary. I followed this advice, and in the afternoon
of a fine spring-day, walked over to the seat of the
Privy-Counsellor, distant about two miles from Gotha, on the
road to Erfurt. I found him in his garden, sitting under a
large lime tree, playing chess with his daughter. As I had
been familiar with this game from my early youth, played it
often, and was passionately fond of it; after a short salutation
of the players, I immediately directed my whole attention
to the game as it stood. The Privy-Counsellor observing
this, had a chair placed for me close to the table, and quietly
played on. When I first arrived, the game looked very
threatening for the daughter, and it was not long before she
was checkmated by her father. I had taken particular notice
of the position of the pieces, and in so doing, a move had
suggested itself to me by which the checkmate could have
been prevented. I represented this, and was immediately
challenged by the Privy-Counsellor, who thought himself sure
of the victory, to try it. The pieces were again replaced in
the position they stood when I arrived, and I now took the
daughter’s game. After a few well combined moves I succeeded
in extricating my King from all danger, and I then
played against my opponent with such success, that he was
soon obliged to confess himself beaten. The Privy-Counsellor,
though somewhat nettled at his defeat, was nevertheless much<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span>
struck with the unexpected issue of the game. He held out
his hand to me in a friendly manner and said: “You are a
capital Chess-player, and must often do me the pleasure of
playing with me.” This I did; and as I was world-wise
enough not to win too many games, I soon got in great
favour with my new patron; the result was, that a rescript,
for an additional two hundred thalers to my salary was soon
made out.</p>

<hr class="tb" />

<p>Towards the middle of the summer, from the constant
enjoyment of fresh air, and frequent walks which were extended
by degrees to little excursions into the neighbourhood;
<i>Dorette</i> had regained her former strength and health, and again
devoted herself with renewed assiduity to the study of her
instrument, in order to prepare herself thoroughly for our
projected second artistic-tour. As I also now became more
and more acquainted with the properties of the harp, with its
effects, and what my wife in particular was capable of performing
with it, I at that time wrote another grand Sonata
for harp and violin (op. 115 published by <i>Schuberth</i> in Hamburg),
and took great pains to introduce into it the result
of my experience. I was completely successful; the part for
the harp in this Sonata was easier to play, and at the same
time more brilliant than in the previous ones. <i>Dorette</i> therefore,
practised it with special predeliction and soon played
this new work with the same precision as the others.</p>

<p>Thus once more prepared for an Artistic tour, we began
to consider in which direction it would be most advantageous
to go. I had learned from a traveller just returned from
Russia, that my Musical fame and that of my wife had already
reached there, and that in the previous winter a visit from us had
been expected. As I had reason to hope, moreover, that I
should receive powerful letters of recommendation from the
Court of Weimar to the Imperial Court of St. Petersburgh,
the journey to Russia appeared to me to hold out the most<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span>
advantages. But, <i>Dorette</i> would not consent to so distant a
journey from home, as she beleived herself unable to bear so
long a separation from her children. Yet, when I represented
to her, that if at any time it was our intention to go to
Russia, the present was the most favourable moment, in which
our children under the assiduous care of their grandmother,
would miss us less than at a later period, she at length,
though with a bleeding heart, consented to it. As I had
foreseen that the Dutchess, also, would not consent to so long
an absence as would be required for a journey to Russia,
I kept secret for the present the real aim of our journey,
and named Breslau as its object, for which I asked and obtained
a three-month’s leave. From there, I intended to apply
for an extension of leave, to proceed farther.</p>

<p>We set out on our journey in October, 1809; played first
at Weimar, and received from the Grand-Dutchess the desired
introduction to her brother, the Emperor Alexander, as also
to other Russian Magnates. We then gave a Concert in
Leipsic, of which the Musical-Journal contains the following
short notice: “Herr Concertmeister <i>Spohr</i> and his wife afforded
us the pleasure to hear for a whole evening, several of his
newest Compositions, and himself on the Violin; as, also, his
wife on the Harp. Respecting this <i>true</i> artiste and his talented
wife we have already spoken fully and decidedly, we shall
here therefore be succinct. Since we last heard them, both
have made a surprising progress, not alone in their mastery
and ready command of all the resources of their Art, but in
their skilful application of them to the best and most effective
purposes:&mdash;And if the former Compositions of this Master
found both here and everywhere else the most unanimous
applause, his later Compositions which we have now heard,
will much less fail to do so.”</p>

<p>Of our Concerts in Dresden, and Bautzen, having sought
in vain for a notice of them, I am unable to say more than
that they took place on the 1. and 7. November, as I perceive
from a memorandum of the receipts on this journey,<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
which has by chance been preserved. But of the three Concerts
we gave in Breslau, on the 18. November, and the 2.
and 9. December there is a notice in the Musical-Journal,
which speaks in great praise of our Play, though it finds some
fault with the Compositions. It says: “The opinion of our
musical friends of Herr <i>Spohr</i> as a Composer, agrees fully with
that which they previously pronounced respecting him. He
is in truth a Musician of high merit. He has nevertheless a
peculiarity, and one which by degrees perhaps, will lead him
to uniformity in style; namely, his latest compositions, so far
as we are acquainted with them are <i>one and all of a melancholy
character</i>. Even the Pot-Pourri which he played at the
close of the Concert, partook somewhat of it.”</p>

<p>This remark upon the melancholy character of my Compositions,
which is here made for the first time, and so often
repeated at a later period in criticisms upon my works, as
to become regularly stereotyped, has always been a riddle for
me; for, to me, my Compositions appear for the most part
quite as cheerful as those of any other Composer. Those in
particular which I then played in Breslau, with the exception
of two subjects, were all of so lively a character, that I am
still unable to understand the above remark. The two
first Allegro’s alone of the Concertante in H- and G-Minor
are serious, the former perhaps even somewhat mournful, but
the other subjects are all of them, lively. The same may be
said from beginning to end of the Concertante for two violins
in A-Major, which I played with Herr <i>Luge</i>, and more
than that, the third Thesis is even saucily playful. Neither
does the Composition for the harp, nor the Overture to
“Alruna” bear any trace of melancholy; how then does the
Reviewer come by his remark?&mdash;Nevertheless, as something
similar has been maintained respecting my Compositions even
up to the present time, so that people who have not known
me personally, have considered me a misanthrope, or an
hypochondriac, though I am happy to say I am always
of a cheerful tone of mind; there must be something in it,<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span>
and I think it is, that people have taken the prevailing dreaminess
and sentimental character of my Compositions, and my
predeliction for the Minor Keys, as outbursts of melancholy.
If it is so, I am content to bear with it, though at first it
always annoyed me. Of the Overture to “Alruna”, the same
Breslauer critic says: “It is not free from reminiscences.”
He might have said right out, it is an exact imitation of the
Overture to the “<span lang="de" xml:lang="de">Zauberflöte</span>”; for that was the object I had
in view. In my admiration of <i>Mozart</i>, and the feeling of
wonder with which I regarded that Overture, an imitation of
it seemed to me something very natural and praiseworthy, and
at the time when I sought to develope my talent for Composition
I had made many similar imitations of <i>Mozart’s</i> master
pieces, and among others that of the aria full of love-complaints
in Alruna, imitated from the beautiful aria of Pamina: “<i lang="de" xml:lang="de">Ach,
ich fühl’s, es ist verschwunden.</i>” Although shortly after that
time, I became sensible that a Composer should endeavour to
be original both in the form of his musical pieces, and in the
development of his musical ideas, yet I retained even up to
a later period, a predeliction for that imitation of the Overture
to the “<i lang="de" xml:lang="de">Zauberflöte</i>”, and still consider it as one of my
best and most effective Instrumental-compositions. Neither is
it so slavish an imitation as to contain nothing of my own
invention; for instance, the striking modulations in the introductory
<i>Adagio</i>, and the second Fugue-theme with which the
second half of the <i>Allegro</i> begins, and, which then is so happily
connected with the chief theme. The instrumentation,
also, though quite in the <i>Mozart</i> style has nevertheless, some
original characteristics.</p>

<p>In Breslau we met an old acquaintance from Gotha,
Baron <i>von Reibnitz</i>, who hitherto had been Intendant of the
Orchestra, but had resigned, and retired to his estate in
Silesia. He was then in town for the winter months, and
acquainted with all in Breslau who were fond of music, and
who played, he introduced me into the Musical Circles there,
and was of great assistance to me in making arrangements<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>
for my concerts. In Breslau, from olden time one of the
most musical Towns of Germany, there was at that moment
such a succession of Concerts, that one took place almost
every day in the week. As the Theatre, was open also every
evening, it was therefore very difficult to fix upon a day
favourable for an Extra-Concert, and almost more difficult to
get together a good and numerous orchestra. The kindness
of <i>Schnabel</i> the Leader of the Cathedral-Choir enabled me
nevertheless to overcome this difficulty, for he not only procured
for me a good Orchestra for each of my three Concerts,
but each time undertook to conduct it. The experienced Director
evinced a particular interest in my compositions, which
he soon transferred to the Composer, who returned it in the
most hearty manner. We became much attached to each
other, and until <i>Schnabel’s</i> early death remained on the most
intimate terms of friendship.</p>

<p>Shortly after my arrival in Breslau, just as I was about
to write to Gotha for an extension of my leave to proceed to
Russia, I received through Baron <i>von Reibnitz</i> a letter from
the Court-Chamberlain Count <i>Salisch</i> in Gotha, to the following
effect:</p>

<p>The Dutchess has with great regret received the information
from Weimar, that I had the intention of proceeding
to Russia and did not contemplate returning before the expiration
of the year. As she would be extremely unwilling
to miss my services and those of my wife at the Court-Concerts
for so long a period, she therefore offered, if I would
give up the journey to Russia, and return speedily to Gotha,
to indemnify my wife, by procuring for her the appointment
of Solo-player at the Court-Concerts, and Teacher of Music
to the Princess.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a>&mdash;Scarcely had I communicated to my wife
the contents of this letter, than I saw how the hope of sooner
rebeholding her children brought tears of joy into her eyes.<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
This moved me so deeply, that I at once resolved to give up
the journey. I therefore immediately put myself in communication
with Count <i>Salisch</i>, the new Intendant of the Gotha
Orchestra, and when he had definitively arranged the appointment
of my wife with a suitable salary to commence from
the 1. January 1810, I agreed on my side to return to Gotha
as soon as possible. We therefore hastened our departure
from Breslau to Berlin, and proceeded through Liegnitz to
Glogau, where we gave two Concerts on the 13. and 18. December,
that had been previously arranged for by our musical
friends there, and which were very numerously attended.</p>

<p>Of the Concert at Glogau, I still remember a very ludicrous
incident. It took place in a building which was perhaps
unique of its kind; for on the basement were the Butcher’s
shambles, on the first floor the Concert-Saloon, and above that
the Theatre of the town. As the Saloon was very low and
much overcrowded, it soon became insufferably hot. The public,
therefore, soon demanded that a trap-door in the ceiling of
the Saloon should be opened, which could be effected from the
Pit of the Theatre overhead. Now, however, the key of the
Theatre was nowhere to be found, the latter not having been
used during the whole of the winter; a long pole was therefore
brought with which to push up the door. At first, it
would not move; but upon several men combining their strength,
it sprung suddenly, open, and at the same moment let down
upon the ladies sitting underneath such a shower of dust,
cherry-stones, apple-peel and the like, the accumulation of
years, in the pit, that not only were they completely covered,
but the whole orchestra and audience envelloped in such a
cloud of dust, that at first nobody could make out what it
really was. When it had cleared off again, the ladies endeavoured
as well as they could to free their necks and dresses
from the dirt; the Musicians cleaned their instruments, and
the Concert was continued.</p>

<p>We found Berlin very full of strangers, and in a state
of festive excitement in expectation of the return of the Court,<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>
which ever since the unfortunate battle of Jena had continued
to reside in Königsberg. The moment was favourable for giving
Concerts, and even before the arrival of the Court we had
a numerous audience at our first. Of our performances, the
Editor of the Musical Journal says: “Yesterday, the 4. January,
the Director of Concerts in Gotha, Herr <i>Spohr</i>, gave
a Concert at the Theatre. Of his own Compositions he played
a Violin-Concerto in G-Minor, with a Spanish <i>Rondo</i>, a Pot-Pourri
for the Violin, and with his wife an accomplished and
most expressive player, a Sonata for pedal-Harp and Violin,
also of his composition. The Musical Journal has already
frequently spoken in praise of this talented Virtuoso, and recently
also adverted to this composition. In the present instance,
also, both his Compositions and his Play were highly
commended. Particularly admired were the double chords, the
distances, and the shakes which Herr <i>Spohr</i> executed with the
greatest skill, and by the impassioned expression of his play,
especially in the <i>Adagio</i>, he won every heart. We hope, to
hear this estimable Artiste-Couple again next week.”</p>

<p>On the 10. took place the Public Entry of the returning
Court. It was indeed an affecting scene, when the King seated
by the side of his Wife in an open carriage, drove slowly
through the crowded streets, greeted by the acclamations of
thousands and by the waving of handkerchiefs from every
window. The Queen seemed deeply affected; for tear after
tear was seen to steal from her beautiful eyes. In the evening
the City was splendidly illuminated.</p>

<p>On the following day, we gave our second Concert. Early
in the morning we were beseiged with questions, whether the
Court would be there. We could as yet afford no information
on the subject; but when about noon, the Queen sent for
tickets, the news of it spread through the City like wildfire,
and the auditory now came in such crowds that the spacious
Saloon could scarcely hold them. I played, as I see by the
notice in the Musical Journal, my third Concerto in C-Major;
and with my pupil <i>Hildebrandt</i> who was on a visit to a re<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span>lation
in Berlin, my Concertante in A-Major. The precision
of our Duo-playing was the same as usual, and here, as in
Gotha gained for us the most lively applause. But the critic,
nevertheless does not appear to have been wholly of the same
opinion, since he expresses himself as follows: “Both Players
in the Concertante played not only together, but as <i>one</i>; and
though this merits on the one hand praise and even elicits astonishment,
yet on the other, it is somewhat uniform and monotonous;
one missed and regretfully, that charm which derives
from the union of things different in themselves, when through
that very unison the difference is still observable&mdash;instead
of being a union of accord, it was one and the same thing.”&mdash;This
sounds very sensible, and yet has very little sense
in it! The two Solo-voices of this Concertante are written in
such a manner that their full effect is only to be attained by
the closest union of play. But to achieve that in the highest
degree, is possible only when both players are of the same
school and have the same style of execution. In fact, it is
even necessary that their Instruments should possess a like
power, and as much as possible the same qualities of tone.
These were all combined in my Pupil and me; hence the great
effect of our Duo-playing. At a subsequent period in my travels
both in Germany and abroad, I have played that Concertante
with several of the most celebrated Violinists of the
day, who as Virtuosi stood higher than my pupil <i>Hildebrandt</i>,
but with them I never could attain the same effect as in my
play with him, their school and mode of execution being too
dissimilar from mine.</p>

<p>It was at first my intention to return to Gotha direct
from Berlin, in order to keep my promise. But being informed
by a musical friend in Hamburgh that it was then a most favourable
time of the year to give Concerts, I wrote to Gotha
requesting a few weeks more extension of leave, to visit Hamburgh
before my return. It was granted to me.</p>

<p>Hamburgh was at that time in the possession of the
French, who had laid a severe interdict upon all commerce<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>
with England. The then even very rich merchants had therefore
little to do, and the more leisure to occupy themselves
with Music and Concerts. As we were now preceeded by a
good artistic reputation, our first Concert, which we gave on
the 8. February in the Apollo-Saloon was exceedingly well
attended, and brought in at the high admission-price of one
Hamburgh Species, nearly 400 thalers. Our play in that Concert
having made a great sensation, the receipts increased at
the second, on 21. February, to the large sum of 1015 Thalers.
Between those two Concerts we gave one also at Lubeck on
the 14. which we had been invited to do by the Musical amateurs
of that place, and, lastly, played also at Altona in the
Museum, for a moderate remuneration.</p>

<p>Highly gratified with the business we had done, we were
now on the point of leaving; when the Secretary to the French
Governor called upon us, and invited us in his name to give
a third Concert, as he and his Circle had missed the opportunity
of hearing us. Under the apprehension that a third
would not be well attended, as I hesitated in my reply, the
gentleman added, that he was charged to take two hundred
tickets for the Governor and his friends. All hesitation on
my part was now dismissed, and on the 3. March we gave a
third Concert, which again brought a receipt of 510 thalers.</p>

<p>At that time, in Hamburgh, I first became personally acquaintained
with <i>Andreas Romberg</i> and the Director of Music
<i>Schwenke</i>. Both those celebrated Artistes received me in the
most friendly manner, and rendered me every possible assistance
in my concerts. <i>Romberg</i> took care to provide a good
Orchestra and directed it himself, and <i>Schwenke</i>, the dreaded
critic, undertook to announce the Concerts in the newspapers.
As his opinion was considered the highest authority, the favourable
manner in which he introduced the Artiste-Pair to
the notice of the Public, and afterwards pronounced upon
our performance, and upon my compositions, contributed
not a little to the great success we met with in Hamburgh.
Both those Artistes lived amid an agreable family circle and<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span>
were much pleased when I and my wife looked in upon them
at tea-time. We then chatted on nothing but Music, and
many were the entertaining and instructive discussions that
arose. <i>Romberg</i> took great pleasure in reverting to his former
residence in Paris, and related many piquante incidents of the
musical celebrities there. <i>Schwenke</i> amused us highly with
his witty but biting criticism, which scarcely spared any one.
I might therefore well be proud that my Compositions and
Play were favourably spoken of by him. The specialities
touched upon by <i>Schwenke</i> in these discussions were very instructive
for me, and I was therefore always delighted when
I met him at these Music-Parties. At this time, Quartetts were
much played in Hamburgh, and <i>Romberg</i> had studied his Quartett
admirably, in which the execution of the Violincellist <i>Prell</i>
formed a most attractive feature. It was therefore a pleasure
to join them. <i>Romberg</i> only played particular Quartetts, and
though no great Virtuoso on his instrument, executed them
with skill and taste. But he only grew right warm with the
subject, when he could smoke his pipe at his ease while Quartett-playing<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>.
I played his favorites among the Quartetts of
<i>Mozart</i> and <i>Beethoven</i> and in this instance, also, excited much
sensation by my truthful rendering of the distinctive characters
of each. <i>Schwenke</i> expressed himself thereon in the most
eloquent terms. At his desire, also, I was obliged to play
two of my own Quartetts. I did it unwillingly, as they no
longer came up to the standard I now prescribed to myself
in that kind of composition. This I expressed also without
reserve; but they pleased nevertheless, and found grace even
from <i>Schwenke’s</i> sharp criticism. <i>Romberg</i> was of a different
opinion. He said to me with ingenuous openheartedness: “Your
Quartetts will not do yet; they are far behind your Orchestral
pieces!” Much as I agreed with him, yet it wounded me to
hear another express that opinion. When therefore, a few<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span>
years afterwards I wrote some Quartetts in Vienna, which
seemed to me more worthy of my other Compositions, I dedicated
them to <i>Romberg</i>, in order to shew him that I could
now write Quartetts, “which would do.”</p>

<p>At one of the Musical Parties where I and my wife were
present, a comical misunderstanding arose which excited much
laughter.</p>

<p>A rich Jew banker, who had heard my Quartett-playing
much praised, was desirous to give his Circle a treat, and so
he invited me to his house. Although, I knew that I should
meet an auditory there but little able to appreciate such high
class Music, I could not well refuse, as the wealthy man had
taken forty tickets for each of my concerts. I therefore accepted
the invitation, but on the condition that the best Artistes of Hamburgh
should be invited to accompany me. This was promised,
and upon my entering the brillant company I not only found <i>Romberg</i>
was present, but saw another distinguished violinist. Just
as the Quartett-playing was about to begin a fourth Violinist made
his appearance with his instrument, and we now saw with astonishment
that the master of the house had invited Violinists only.
As a good Accountant, he knew that to play a Quartett, <i>four</i>
persons were necessary, but not that a Violist and Violincellist
should be among them. To extricate him from his perplexity,
he was advised to send quickly for Herr <i>Prell</i> at the Theatre.
But as the performances were already over there, in spite of
every endeavour, neither he nor any other Violincellist could
be found, and the company would have been obliged to separate
without any music, had not I and my wife played one
of our sonatas. If the musical knowledge of this Macenas of
Art was but little, his delicacy was still less. For when I
took leave of him that evening, he went to his writing table
and taking out 40 Species, said as he held them out to me:
“I hear, you are going to give a third Concert; send me forty
more tickets; I have still, it is true, almost all the others,
but will take new ones, nevertheless.” Indignant at the meanness
of the rich Jew, I declined to take his money, and said:<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span>
“The former tickets, certainly, do not admit to the next Concert;
but yours shall. You will not therefore require any new
ones.” And so I left him standing embarrassed and ashamed
before his company, and turned my back upon him. On the
day of the Concert, nevertheless, one of the servants of the
Hebrew Cresus came for the forty tickets.</p>

<p>Before I left Hamburgh, another offer was made to me
that gave me much pleasure. The celebrated Theatrical-Manager,
Actor, and Play-writer <i>Schröder</i>, who for nearly ten
years had lived in retirement, and had then let his Theatre
to other speculators, was suddenly seized with the desire to
resume the management after the expiration of their lease.
The Play-going public of Hamburgh were rejoiced at this, for
they looked forward to see their Stage reassume the distinguished
rank to which it had formerly attained under <i>Schröder’s</i>
direction. The new management was to commence with
the year 1811, and open at first with several new Plays and
Operas. <i>Schröder</i> himself had already written a number of
Plays and Comedies, for the occasion, and had procured the
librettos of four Operas, for which the music was now to be
composed. Three of these were already in the hands of <i>Winter</i>
of Munich, of <i>Andreas Romberg</i> and <i>Clasing</i> the teacher of
music in Hamburgh; but the fourth “<i lang="de" xml:lang="de">Der Zweikampf mit der
Geliebten</i>” of <i>Schink</i> was offered to me for composition. The
negotiator in this matter, was a former acquaintance of mine,
<i>Schmidt</i>, the actor, previously on the Magdeburgh but now on
the Hamburgh stage.</p>

<p>Little satisfied as I had hitherto been with my Dramatic
labours, the desire to make another trial was by no means
diminished. I therefore accepted the offer without much preliminary
enquiry about the conditions, and without submitting
the libretto destined for me to any proof. The conditions
were nevertheless very fair. A written agreement was drawn
up in which these were stipulated and signed by both parties.
I undertook to deliver my composition in the spring of 1811,<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>
and to go to Hamburgh in the course of the summer, to direct
the three first representations of the opera.</p>

<p>With the prospect of a pleasant task before me, I now
gladly returned to the quiet of Gotha. But I was somewhat
anxious lest the Dutchess might have felt offense at our protracted
absence, and I was the more confirmed in that fear
when upon paying our visit of return, to the Dutchess, we
were not received. We saw her therefore for the first time
again at the Court-Concert. As I well knew that the surest way
to make our peace with her, was to appear in this at once,
I played one of my Sonatas with my wife, and afterwards
the Dutchess’s favorite Variations of <i>Rode</i> in G-Major. This
had the desired effect; for at the end of the Concert, the
Dutchess advanced towards us, greeted us in the most friendly
manner, and would not permit us to finish our apologies.
With our mind at rest, we could now fully enjoy the happiness
of being once more united to our children.</p>

<p>As soon as we again felt at home, I longed to commence
the composition of the Opera I had brought with me. I now
first saw, upon a nearer examination of the libretto, that I
had not drawn a very great prize. The subject though in
itself not uninteresting, had been worked out in a manner that
little suited me. I felt the necessity for some alterations, and
therefore applied first to Herr <i>Schröder</i> for permission to make
them. This was readily conceded, and with the assistance of
a young Poet in Gotha, I altered what did not please me, but
saw later on its representation, that I ought also to have
erased many other things. I was then, however, still too little
experienced in Dramatic-writing.</p>

<p>Scarcely had I begun the Composition of the first acts of
the Opera, than I was called away from it by another task.
In the spring, <i>Bischoff</i>, the Leader of the choir at Frankenhausen,
came to Gotha, and offered me the Direction of a
Musical Festival, which he purposed to give in the church
of his town, in the course of the summer. He had already
secured the assistance of the most celebrated Singers, as well<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
as of the most distinguished members of the Court-Orchestras
of the neighbouring Thuringian Capitals, and therefore had no
doubt of the most brilliant success. As the junior Director
of these Court-Orchestras, I felt not a little flattered at having
the Leadership offered to me, and accepted it with pleasure,
although I had never yet directed so large an Orchestra
and Chorus company as would be there assembled. I was
now obliged to lay aside for some time the work I had begun,
for <i>Hermstedt</i> urgently besought me to write another
new Clarinet-Concerto for him, to play at the Festival. Although
sorry to be disturbed in my studies, I allowed myself
to be persuaded, and finished it in sufficient time for <i>Hermstedt</i>
to practise it well under my direction. This first Musical
Festival at Frankenhausen, which at that time attracted
great attention in the Musical World, and gave rise both on
the Elbe, the Rhine, in North-Germany and Switzerland, to
the institution of similar Musical Festivals, found in Herr <i>Gerber</i>,
the author of the Musical-Lexicon, so eloquent a Commentator,
that I think I cannot do better than quote in part
here his notice, in the 12. Annual-Volume Nr. 47 of the Musical
Journal:</p>

<p>“On the 20. and 21. of June, a Musical-Festival was celebrated
in Frankenhausen, a Town in the Schwarzburg-Rudolstadt
Circle, four leagues from Sondershausen; at which
<i>Haydn’s</i> “<i>Creation</i>” was performed, and a Grand Concert; a
Festival as remarkable for the successful manner in which the
numerous difficulties attending the arrangement of the whole
had been overcome, as for the high degree of excellence exhibited
in the presence of thousands, who had gathered to hear
it from a distance of twenty leagues round. When it is considered
that we are here speaking of a country town in Thuringia,
in which the Musical-<i>personel</i> consisted alone of the
“Stadt-Musicus” and his assistants, with the vocalists of the
Choir, the possibility of accomplishing such an undertaking
must excite the greatest surprise....</p>

<p>“The Precentor Herr <i>Bischoff</i> of Frankenhausen, a young,<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>
active man, and an enthusiast in his love for Music, who
already in 1804, with the assistance of his neighbours and a
few members of the Ducal Orchestra of Gotha, under the
leadership of Concert-Director <i>Fischer</i> of Erfurt, and <i>Ernst</i>
of Gotha, performed “The Creation” in the principal church
of that place with about eighty Singers and Instrumentalists
to the great satisfaction of the hearers; felt thereby encouraged
to reproduce once more that great master-piece, according to
the idea of its great Composer with <i>two hundred</i> Singers and
Instrumentalists. His purpose was long hindered by the passage
to and fro of foreign troops. At length in the present
apparent calm in Germany, he undertook to carry it out.
With that view he had some time previously visited Weimar,
Rudolstadt, Gotha and Erfurt; to several towns he sent written
invitations, and as these were everywhere favourably received,
early on the 19. June, 101 Singers and 106 Instrumentalists,
for the most part of Thuringia, had assembled for the rehearsal,
and among these, twenty Artistes from Gotha with their
celebrated Director, Concert-Master <i>Spohr</i>.</p>

<p>“The Assistants were partly graduated Musicians, and
Members of Orchestra, partly Dilletanti and Virtuosi of first
rank, each with his own instrument, and most of them already
familiar with the “Creation”....</p>

<p>“Of this assemblage, the following Orchestra was formed:
Director, Concert-Master <i>Spohr</i>; Soprano-Solo, Madame <i>Scheidler</i>
from Gotha; Tenor-Solo, “Kammer-Singer” <i>Methfessel</i>
from Rudolstadt; Bass-Solo, “Kammer-Singer” <i>Strohmeyer</i> of
Weimar; Organ, Director <i>Fischer</i> and Professor <i>Scheibner</i>,
both of Erfurt; Pianiste, Director <i>Krille</i> from Stollberg; Director
of the Chorus, Precentor <i>Bischoff</i> of Frankenhausen;
Chorists, Soprani 28, Alti 20, Tenori 20, Bassi 30.”</p>

<p>Here follow the names of all the Musicians, and a description
of the arrangement of the Orchestra. The notice
then continues:</p>

<p>“This appropriate and excellent arrangement, by which
each had sufficient room, and the Director constantly in view,<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span>
contributed without doubt not a little after one rehearsal only
to the successful execution of so great a work of art, new to
many, and exceedingly difficult, as was in particular produced
on the second day:</p>

<p>“1) A grand new Overture for full Orchestra (with bassoons
also) by <i>Spohr</i>. 2) A grand Italian Scena for Bass by
<i>Righini</i>, sung by <i>Strohmeyer</i>. 3) A grand new Clarinet Concerto,
written expressly for this Festival by <i>Spohr</i>, and played
by Director <i>Hermstedt</i>. After which 4) Concert-Master <i>Fischer</i>
played upon the full Organ an artistic Introduction to the
last Chorus from <i>Haydn’s</i> “Seasons”. This was followed 5) by
a Double-Concert for two Violins (also of <i>Spohr’s</i> original-Composition)
played by himself and <i>Matthäi</i>. 6) A grand
<i>Rondo</i> from a Concerto in D-Major by <i>Bernard Romberg</i>, artistically
played by <i>Dotzauer</i>, and lastly, Beethoven’s C-Major
Symphony....</p>

<p>“Herr <i>Spohr’s</i> leading with a roll of paper, without the
least noise, and without the slightest contortion of countenance,
might be called a <i>graceful Leading</i> if that word were sufficient
to express the precision and influence impressed by his movements
upon the whole mass, strange both to him and to itself.
To this happy talent in Herr <i>Spohr</i> I ascribe in great
part the excellence and precision&mdash;the imposing power, as
well as the soft blending of this numerous Orchestra with the
voices of the Singers in the execution of “The Creation.”</p>

<p>“The full toned yet flexible voice of Madame <i>Scheidler</i>, so
well adapted to a large church, the expressive execution of
the Art-experienced Herr <i>Methfessel</i>, the magnificent bass-voice
of Herr <i>Strohmeyer</i>, indisputably the finest I ever heard,
reaching from Contra D to G <i>on the second line</i>, .... these
three Solo-Singers, in unison with so many distinguished Virtuosi
leading every Voice, where each sang or played voluntarily
and with pleasure, justify me in affirming that this execution
of “The Creation” was the most powerful, most expressive
and in a word the most successful that I had ever heard.....</p>

<p>“The Overture with which the Concert began on the<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span>
following day, belongs properly considered to the <i>Master-pieces
in modulation</i>. Almost with every new bar, one <i>Inganno</i> succeeds
the other, so that it may be looked upon as a connected
series of studies in modulation. Probably, this restlessness,
this vacillation, has reference to the character of the “Alruna”
for which drama this was written. Great, however as the
effect of this Overture may certainly be in a Theatre, yet
as Concert-Music it did not appear to make the impression
that might have been expected from its execution by so
good and numerous an orchestra. This result can be explained
in no other way than, in as much as continuously disappointed
hopes depress the spirits and make the mind uneasy, so a
music which to the end disappoints the expectations of the
ear, never satisfies. A profusion of crooked and sometimes
rough passages, leading to no object, to no repose, and to no
further enjoyment, in which the Composer merely keeps the
mind of the hearer in suspense become at length wearisome.
The music of our forefathers 200 years ago, consisted of just
such a profusion of crooked passages, without resting place&mdash;of
numberless modulations and sustained terminals. But our
worthy ancestors were as yet wanting in the flowers wherewith
to embellish and make a little resting place interesting, that
is: they were yet wanting in figures of Melody to entertain
their hearers agreably in one Tone. But how easy would
this have been to the admirable <i>Spohr</i>, who has so many of
the beautiful flowers! The so called contrast in great Musical
works is by no means to be despised; and least of all, the
more it is grounded upon human perception and feeling.</p>

<p>“Of the effect of Herr <i>Strohmeyer’s</i> execution of the grand
Scena of <i>Righini</i>, it is here unnecessary to say any thing further,
since his splendid delivery has had full justice done to
it above. <i>Righini’s</i> charming Song, and admirable instrumentation
are sufficiently known. The Scena kindled the enthusiasm
of the whole audience.</p>

<p>“<i>Spohr’s</i> Clarinet-Concerto in E-Minor, played by <i>Hermstedt</i>,
is indisputably one of the <i>most perfect Artistic Works of the<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span>
kind</i>. A grand and brilliant handling of the concerted instruments,
combined with a most original accompaniment for the
Orchestra, in which as it were each instrument even the kettle-drum,
is <i>obligato</i>, and which for that reason requires a more
than usually practised and attentive Orchestra, entitles it to
be so considered. The third, Polonaise-like theme, is particularly
remarkable, in which one knows not whether to admire
most the brilliancy of the artistic Soli’s or the admirably
elaborated Tutti’s&mdash;in the latter of which, the wind
instruments seem actually to engage each other in a Thematic
struggle. This artistic work is moreover conspicuous for
the cheerful spirit that pervades it throughout. The admirable
execution of this Concerto did great honour to the Composer,
the Player and the whole Orchestra; and set thousands of
hands among the audience in lively and continuous motion.</p>

<p>“Hereupon, Concert-Master <i>Fischer</i> surprised the Orchestra
as well as the audience not a little, by falling in with the full
Organ, in order to introduce the now ensuing chorus of the
Finale, in C-Major. This novel kind of Music, of which nothing
had been heard at the rehearsal, its artistic connecting of
the Voices, its harmonious turns and masterly modulations
made every member of the Orchestra doubly attentive. For
some minutes he may have entertained the audience in this
manner, when, he dwellt upon the dominant, and to keep the
expectation yet more alive for the entry of the Chorus, by
means of a sort of Organ-Point, formed a close at this interval.
This was no sooner observed by Herr <i>Spohr</i>, than he
lifted his roll of paper, and scarcely had the last organ-tone
ceased, when the whole Orchestra fell in with the first single
chord C of the Chorus; which C, the trumpets had then to sustain
alone to the end of the bar. This was executed with the
greatest punctuality. One of the trumpeters, only, preoccupied
with the Organ play, had forgotten to change his mouth piece
and so blew on in E-Minor. In an instant Herr <i>Spohr</i> made
a motion, and nothing more of the second bar was heard
from the Orchestra. Upon this Herr <i>Fischer</i> instantly fell in<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span>
again with the Organ, continued his Prelude, and this time
closed in form with the dominant C-Major&mdash;just as if that
occurrence had been intentionally introduced.</p>

<p>“As no pause whatever in the music took place, so that,
except by the Orchestra, it would have been difficult for any
one to have remarked this oversight, it might have been wholly
concealed, were it not to be feared, that experienced Musicians
might laugh at my here repeated assurances of nothing but
faultless and successful performances by an Orchestra collected
from twenty leagues round, after one rehearsal only, in the
same manner as our present newspaper political reports are
frequently ridiculed.</p>

<p>“After a pause of about a quarter of an hour, Herr <i>Spohr</i>
resumed his Violin, Herr <i>Matthäi</i> drew nearer to him, and
now those two admirable Artistes, by their perfect execution
of a double Concerto of Herr <i>Spohr</i> afforded us the most lively
enjoyment of alternating admiration, astonishment and pleasure.
They seemed frequently in open feud for superiority in
artistic execution, then became as it were reconciled and poured
forth together the most harmonious roulades upon the listeners.
The precision, and the rapidity with which they took
up and combined their respective tones, was worthy of admiration.
The quite original <i>Adagio</i> of this masterly work which
now followed, commenced with a Trio for two Violincellos,
impressively performed by Herren <i>Preissing</i> and <i>Müller</i>, and
for a Contra-Bass, by Herr <i>Wach</i> of Leipsic. When these
three had ended their soft melodious play, a <i>Quadro</i> in long
drawn and tied chords, as though from a Harmonica, but
somewhat deeper, was heard. It had a thrilling, and sweet
effect. Everybody looked round to the Bassi and Violi, from
which this heavenly harmony seemed to have in part proceeded,
but every arm was still, and the bows of Herren <i>Spohr</i> and
<i>Matthäi</i> moved alone. It was they alone, also, who had played
that <i>Quadro</i>&mdash;and with a purity, that upon the taking up
of the Con-sonants after releasing the ties, the ear was frequently
moved with a singularly deep felt charm. After a<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span>
second similar Violincello-trio, the Quadro of the two Concerto-voices
recommenced, and proceeded to the close. The
last Thesis accorded fully with the science and beauty of the
first.</p>

<p>“Upon this, Herr <i>Dotzauer</i> advanced to the front music-desk,
and played, owing probably to the shortness of the remaining
time, a <i>Rondo</i>, but a Rondo of masterly elaboration
and very difficult, from a Violincello-Concerto in D-Major by
<i>Bernard Romberg</i>, with an execution, roundness and force
in the sustained passages, and with a lightness, purity, expression,
and silvery tone in the melodic parts of the higher
octaves, that in his performance of this <i>Rondo</i> alone, he displayed
in the most admirable manner his great mastery of his
instrument.</p>

<p>“<i>Beethoven’s</i> Symphony in C-Major; indisputably his most
pleasing and popular one, formed the conclusion. It could not
have been executed with more grace, fire and precision. The Chorus
of wind instruments in the <i>Trio</i> of the Minuett afforded particular
enjoyment. One imagined to hear the tones of an exceedingly
pure harmonica. A general and long continued applause
evinced the thanks and satisfaction of the audience with
the choice of the masterly compositions performed, and with
the manner in which they had been executed by the assembled
artists.</p>

<p>“Though we commenced by adverting to the difficulties
which had been surmounted by the gentleman who carried out
this undertaking, both in the arrangements for the mental and
bodily recreation of his numerous guests, we feel it a duty to
add yet something in respect to the latter, a by no means easy
thing to effect in so small a town.</p>

<p>“The hundred Chorists were distributed among the different
Inns, where they found both bed and board. The
whole of the Virtuosi, Singers and Dilettanti were on the
other hand received into respectable private houses. But
in order to render the stay of the kind lovers of Music who
had met together from such distant places, as agreable to<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span>
them as possible, Herr <i>Bischoff</i> had made a sacrifice of the
flower garden immediately behind his house, and converted
it into a Dining-room. The Saloon erected for this purpose
was decorated with green branches the pleasing freshness
of whose verdure seemed a friendly welcome to the company.</p>

<p>“In this Saloon, the tables were laid out, and the repasts
served. It was a pleasure to behold so many worthy Artists
and Lovers of Art assembled here for one and the same purpose,
proceeding thence to their labour of Love, and returning
therefrom to meet here anew for cheerful enjoyment, and
to pay unanimous and hearty tribute to the great father <i>Haydn</i>,
the excellent <i>Spohr</i> and many other first rate Artists in
brimming glasses. The hilarity of the supper table was generally
heightened by lively and well sung songs. Fine voices
joined, and sang Quartetts and Canons; Herr <i>Methfessel</i> taking
his guitar would entertain the company with pleasing Ballads,
and touching Romances of his own Composition; by way of
change, he then sang a Comic Song, or two, and exhibited
his liveliness of fancy, his richness of invention, wit, and humour
of expression, as well as his intimate knowledge of tone
and harmony. Herr <i>Hachmeister</i>, the Assessor of mines from
Clausthal taking then the guitar from him in turn, charmed
the company with National Songs in the Thuringian dialect,
replete with such wit and humour as compelled the hearer
despite himself, to laugh at the cares of life.”</p>

<p>I and my wife, made many agreable acquaintances among
the artistes and friends of Art then assembled in Frankenhausen,
among others, that of Amtsrath <i>Lüder</i> of Catlenburg,
who up to the present time has remained one of my most
intimated friends. <i>Lüder</i> then resided in the neighbourhood
of Bremen and was upon a journey of business to Berlin. On
arriving at the foot of the Hartz mountains, his postillion informed
him of the approaching Musical Festival in Frankenhausen
and pictured to him in so attractive a shape the Musical
treat that was to be expected there, that <i>Lüder</i> immediately
made him diverge from the road, and take the direc<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span>tion
of Frankenhausen. Arrived there, his first care was to
enquire for me, to ask permission to be present at all the
rehearsals. This was not only very readily granted, but I
also invited my new acquaintance whose enthusiasm for Art
greatly pleased me, to join our meetings under the tent at
dinner and supper. Here in the hours intervening between
the rehearsals and the performances, amid artistic enjoyments
seasoned with lively sallies of wit and good humour, a social
intercourse sprang up so delightful, that all who shared in
it will assuredly have looked back upon it with the greatest
satisfaction. A small circle of similarly minded enthusiasts
for Art had especially gathered round me, and we soon became
so mutually attached, that after the close of the Festival
it became difficult to separate, and an excursion together to
the Kyffhäuser was determined upon. On this mountain-excursion
which was favoured by the most beautiful weather, it
was the Singer <i>Methfessel</i> from Rudolstadt, who more particularly
kept the company in the merriest mood by his inexhaustible
humour. I still remember with great pleasure
an improvised Capucin-sermon which he preached from the
chancel of a ruined cloister, in which he interwove in a half
serious, half comical manner the chief incidents of the Musical-festival.
From the summit of the Kyffhäuser, he sang
also the praise of the Emperor Barbarossa, and urged him to
a speedy resurrection for the final enfranchisement of Germany.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p>
<p><span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span></p>
<p>Arrived again at the foot of the mountain, the new friends
were reluctantly obliged to part, and each returned to his
home highly gratified.</p>

<p>I immediately resumed the composition of my Opera, and
finished it in the course of the winter of 1810-1811. Besides
this, in my catalogue appears the following Works at
this period: A Violin-concerto afterwards published by <i>Peters</i>,
a Sonata for Harp and Violin (Op. 114, by <i>Schuberth</i>)
and an Italian aria, <i>alla Polacca</i>, with Violin Obligato, which
was never engraved. I wrote the latter at the request of
Prince Frederick von Gotha, brother of the Duke, who gifted
with a pleasing tenor voice, frequently sang in the Court-concerts,
and much wished to have an Air with Violin accompaniment
of my composition. It was frequently sung,
particularly when visitors were at court.</p>

<p>The Prince was an amiable well meaning man, who interested
himself in Music much more than his brother, and who,
with the Dutchess, kept alive the interest for the Court-concerts.
Unfortunately he was subject to an incurable complaint,
epilepsy, with which he was seized every fourteen days, (in
later years, still more frequently) which kept him down from
12 to 15 hours at a time. He was then deprived of the use
of all his limbs, and the organs of speech and the muscles
of his face were the only parts that remained unaffected.
During these dreadful attacks he would lie in bed as motionless
as a corpse; but was always pleased when any one visited
him, and entertained him with conversation. From the continual
recurrence of these attacks he had become so accustomed
to his condition, that he could be quite cheerful during their
duration. His physicians considered that a milder climate<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>
would be most likely to cure him, and for that reason sent
him to Italy. I met him in Rome during my tour in Italy
in 1816; and mention will therefore be frequently made of him
at that part of my narrative.</p>

<p>In the spring of 1811, the Precentor <i>Bischoff</i> again paid
me a visit, and invited me to conduct a second grand Musical
Festival which he intended giving in Frankenhausen. He
also begged me to play a Violin-Concerto on the second day
of the Concert, and to write a grand Symphony for the opening.
Although I had not yet attempted that kind of Musical composition,
I acceded with pleasure to his request.</p>

<p>In this manner the opportunity presented itself for another
interesting task, and I immediately set about it with spirit.
Although hitherto it had been usual with me to lose after a
time all taste for my first essays in a new style of Composition,
this Symphony was an exception to the rule, for
it has pleased me even in after years. As I had previously
practised it very carefully with my Orchestra, which was composed
of the <i>élite</i> of the Frankenhausen Orchestra, although
we could have but one rehearsal of it, it was nevertheless
executed in an admirable manner at the Festival, and met,
particularly from those who took part in it, with an enthusiastic
reception. I felt highly gratified at this, more even
than at the applause I gained as Solo-player. In Leipsic
also, where the Symphony was executed in the Drapers’-House-Concert,
it met with great approbation, as is shewn in a notice
of the Musical Journal, which says: “<i>Spohr’s</i> new and
yet unpublished Symphony excited the interest and admiration
of all real lovers of music. Both in invention and elaboration,
we consider it not only to surpass all that we know of
the Orchestral-Music of this Master, but confess also, that
for many years we have scarcely heard a new work of this
kind, which possesses so much novelty and originality, without
singularity and affection; so much richness and science, without
artifice and bombast. We may therefore confidently predict,
that when published, it will become a favorite piece with<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span>
every great and skilled Orchestra, and with all serious and
cultivated Auditories; but it requires both.”</p>

<p>Besides this Symphony, I had also written for the Musical
Festival at <i>Hermstedt’s</i> earnest solicitation, Variations for
the Clarinet, with Orchestral accompaniment, upon themes
from the “<i lang="de" xml:lang="de">Opferfest</i>” which he performed with his usual skill.
This Composition, (published by <i>Schlesinger</i> in Berlin as Op. 80)
which carries out those themes with a more artistic Fantasia-like
freedom, than as Variations, were greatly admired by
Musicians and connoisseurs.</p>

<p>On the afternoon of the second day, the Musical Festival
was followed by a family fête in the house of the projector. A
few weeks before, a son had been born to him, who was now
christened. He had invited the whole of the assistants to be
godfathers, who now in holiday attire ranged themselves round
the altar at the church. I held the infant son over the
baptismal font, and gave him my name “Louis”. When the
clergyman put the question to me and the other godfathers,
whether we would take care that the child should receive a
Christian education, a solemn “Yes” from full three hundred
voices echoed through the church. A Chorus executed by the
singers, with Organ accompaniment, terminated the holy ceremony.</p>

<p>At this second Festival my gratification was still more
enhanced by the presence of my parents among the auditory,
and that they took a lively part in the social gaieties under
the tent. The projector was no less satisfied with his speculation,
and thus this Festival terminated like that of the previous
year, to the satisfaction of all.</p>

<p>Shortly after my return, I received intelligence from Hamburgh
that my Opera, which I had sent in in the spring,
had been at length distributed and that its representation
would take place in the first days of November. I therefore
applied for a month’s leave of absence for myself and wife, and
set out with her, in the middle of October, via Hanover, where
I intended giving a concert. As this was the first Opera of<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span>
mine that was to be represented, I was in a state of great
anxiety. The shock I felt may therefore be readily imagined,
upon receiving a letter in Hanover from the manager <i>Schröder</i>,
informing me that the Opera would not be produced, because
the <i>Prima Donna</i> Madame <i>Becker</i> refused to take the
part assigned to her, and that according to the theatrical laws
she was perfectly justified in doing so.</p>

<p>The matter was in this wise: Previous to beginning my
work, I had certainly taken pains to inquire of Herr <i>Schwenke</i>
respecting the range of voice and the capabilities of the Hamburgh
singers, and in accordance therewith, I had constructed
the chief parts of the opera. But as I was without all experience
in these things, I had neglected to ascertain the personal
appearance of the singers, so that, for Madame <i>Becker</i>,
a small, delicate figure, I had written the part of Donna Isabella,
who seeks for her faithless lover at the Court of Princess
Matilda disguised in man’s clothes, and at last challenges
him to mortal combat armed cap-à-pied as a knight. So long
as Madame <i>Becker</i>, knew no more about the Opera than her
part, she was highly satisfied and began to practice with great
zeal. But as soon as she had read the libretto, she declared,
that she could not undertake the part, as she would make
herself perfectly ridiculous. Exceedingly annoyed at my mistake
I set off for Hamburgh, to remedy it wherever possible,
and to induce the representation of the opera. I found old
<i>Schröder</i> in very low spirits, and exceedingly dissatisfied with
his theatrical untertaking. But he had every reason to be so.
Several of the performers had failed to make their appearance,
others came too late, and some had not answered the expectations
entertained of them; his new Plays and Comedies had
not been very successful, and empty houses had been the result.
Of the four Operas which he had Music written for, two
were already laid aside, because they had displeased. The
one composed by <i>Winter</i>: “<i lang="de" xml:lang="de">Die Pantoffeln</i>” had lived through
some few thinly attended representations; that of <i>Clasing</i>:
“<i lang="de" xml:lang="de">Welcher ist der Rechte?</i>” had been withdrawn from the <i>Repertoire</i><span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span>
immediately after the first night, for in spite of the
strenuous efforts of <i>Clasing’s</i> numerous friends it was a complete
failure.</p>

<p>With such disappointments, it was not to be wondered
that the old grumbler should be mistrustful of my Opera also,
and the more so since the most favorite singer of his theatre
would not lend her aid. But when he offered me payment of
the sum agreed for it, and at the same time laid it aside without
having given it a trial, I was much hurt and protested
against it in the most positive manner. At length after much
entreaty, I obtained <i>Schröder’s</i> consent that I should make
a trial of it with another singer, who hitherto had played only
in secondary characters, and practise her in the rôle refused
by Madame <i>Becker</i>. In this singer, a Madame <i>Lichtenheld</i>, I
found great willingness and natural capacity, and when I had
simplified the most difficult bravura passages of the part to
her powers of execution, I succeeded well with her. Thus at
length the rehearsals could be commenced, and when <i>Schröder</i>
had heard one, and had become convinced that Madame
<i>Lichtenheld</i> would fill the part satisfactorily, the first representation
was announced for the 15. November. My former
musical acquaintances one and all, including <i>Romberg</i> and
<i>Prell</i>, offered their services to me in the two representations
in which I was to lead the orchestra. <i>Hermstedt</i>, also, who
had come to Hamburgh to give a Concert with my support,
joined them, and undertook the First Clarinet part, for which
there were some telling Soli’s and a concerted accompaniment
or a Soprano-air. With the aid of these distinguished artists
the Orchestra was considerably strengthened, and as the Singers
and the Chorus were likewise well practised, I was already
greatly pleased with the precision with which my music
was performed in the rehearsals, and therefore entertained the
most lively hopes that the Opera would please. Nevertheless
on the evening of the representation, it was not without fresh
anxiety that I took my place at my desk, for it had come to
my ears that, <i>Clasing’s</i> friends would evince an inimical feeling<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span>
towards me in revenge for the failure of his opera. But when
the music had begun, I thought of that alone, and forgot
every thing else around me. The applause with which the
Overture was received, shewed me, nevertheless, that the unfriendly
party would not make any demonstration; and so it
proved. Almost every piece was applauded, and the approbation
increased yet more towards the end of the opera.
Upon the fall of the curtain a long sustained storm of applause
was given to the composer.</p>

<p>I ought now to have been very happy, but was by no
means so. Already at the first rehearsal some things in my
music had displeased me. At every fresh rehearsal these were
increased by something new, and before the actual representation,
the half of my Opera had become distasteful to me.
I now thought I well knew how I could have made it better,
and was greatly annoyed that I had not discovered it before.
Yes, indeed, had my work appeared to me in that light on
my arrival at Hamburgh, I should have made no opposition
to <i>Schröder’s</i> intention to lay it aside unperformed. But my
musical friends were of a different opinion; they were exceedingly
pleased with this work, and wished me every further
success. <i>Schwenke</i> wrote a full and very laudatory criticism
of the Opera, wherein he adroitly combated the well founded
opinion of its opponents, that it contained many reminiscences
of the Operas of <i>Mozart</i>, and while admitting that the form of
the musical pieces as well as the whole design recalled <i>Mozart</i>,
he assigned that, as a recommendatory feature and proof of
its excellence. By this, made watchful of myself, I became sensible
of the necessity to break myself of it, and think that I
already fully effected it in “Faust” my next Dramatic work.</p>

<p>With my permission, <i>Schwenke</i> had some time before
made a Piano-forte arrangement from the Opera, which was
now published by <i>Böhm</i> in Hamburgh, and soon found an
extensive circulation.</p>

<p>Of the Concert which I then gave in Hamburgh with my
wife and <i>Hermstedt</i>, I recollect but little more than that the<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>
latter created a great sensation by his highly cultivated skill.
But I have a clearer recollection of another Concert in Altona,
at which we and several of our Hamburgh friends assisted,
and in which all manner of little misfortunes befell us, which
afterwards afforded matter for much merriment.</p>

<p>This Concert was given by a rich Musical-amateur of
Altona, who invited the assistants from Hamburgh to a luxurious
dinner. After the company had been at table for two
hours, and addressed themselves diligently to the champaign,
they became so merry and forgetful, that nobody gave a
thought to the Concert that was to follow. The terror therefore
was general, when a Messenger suddenly appeared, and
announced that the numerous Audience which had assembled
was become impatient and demanded the opening of the
concert. All now hurried to the Concert saloon; although in
reality no one was any longer in a fit state to make a public
appearance. It was especially remarkable that, those who
were usually the most timid had now become the most courageous.
The Altona dilettanti-Orchestra, who were to serve as
nucleus and support to the Hamburgh Artists, were already
in their places, and the Concert immediately began with an
Overture by <i>Romberg</i> who conducted it himself. He, who was
unjustly accused of taking the <i>tempi</i> of his Compositions too
slow, hurried the <i>Allegro</i> of his Overture this time so much,
that the poor Dilettanti could not keep up with him. Little
therefore was wanting for the whole thing to break down
from the very overture. My wife and I were then to follow
with a Sonata for harp and violin, which as usual we were
about to play without notes. Just as we had seated ourselves,
and I was about to begin, my wife, who at all other times
was self-possession itself, whispered anxiously to me: “For
Heaven’s sake, <i>Louis</i>, I cannot remember which Sonata we
are to play, nor how it begins!” I hummed softly in her
ear the commencement of it, and restored to her the necessary
calmness and self-possession. Our Play now proceeded without
mishap to the end, and was received with great applause.<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span>
It was now Madame <i>Becker’s</i> turn to sing an Air, and <i>Romberg</i>
had just led her forward to the raised platform of the
Orchestra, when to the great astonishment of the public, she
all at once ran off, and disappeared in the room adjoining.
<i>Dorette</i>, allarmed lest she should have been taken suddenly
ill, hastened after her. But, both shortly reappeared, and I
now ascertained from my wife, that Madame <i>Becker</i> had found
her breath too short from the effects of the dinner, and was
therefore obliged to have her clothes loosened before she
could sing.</p>

<p><i>Hermstedt</i>, now followed with a difficult composition of
mine. He, who always when appearing in public, went to
work with the most nervous precision in every thing, emboldened
now to rashness by the fumes of the champaign, had
screwed on a new and untried plate to the mouthpiece of his
Clarinet, and even spoke vauntingly of it to me as I mounted
the platform of the orchestra. I immediately anticipated no
good from it. The Solo of my composition began with a
long sustained note, which <i>Hermstedt</i> pitched almost inaudibly,
and by degrees encreased to an enormous power, with which
he always produced a great sensation. This time he began
also in the same way, and the public listened to the increasing
volume of tone with wrapt expectancy. But just as he was
about to encrease it to the highest power, the plate twisted,
and gave out a mis-tone, resembling the shrill cry of a goose.
The public laughed, and the now suddenly sobered Virtuoso
turned deadly pale with horror. He nevertheless soon recovered
himself, and executed the remainder with his usual
brilliancy, so that there was no want of enthusiastic applause
at the end.</p>

<p>But with poor <i>Schwenke</i> it fared worse than all. The
waist-buckle of his pantaloons had given way during the dinner,
without his being aware of it. When therefore he had
mounted into the orchestra to take the Viol-part in a Pot-Pourri
with Quartett-accompaniment which I played at the
close of the Concert, shortly after he had begun to play, he<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span>
felt his pantaloons begin to slip with every movement he
made in bow-ing. Much too conscientious a Musician, to omit
a note of his part, he patiently waited for the pauses, to pull
up his nethergarment again. His predicament did not long
escape the notice of the public, and occasioned considerable
merriment. But towards the close of the Pot-Pourri, when a
1/16 movement shook him so roughly, that the downward tendency
of his pantaloons made serious progress, and threatened
to exceed the limits of propriety, the public could no longer
restrain itself, and broke out into a general titter. By this
untoward interruption of the execution of my Solo, I was thus
dragged also, into the general calamity of the day.</p>

<p>On my return to Gotha, I found a letter from <i>Bischoff</i>,
in which he informed me that he had been commanded by
the Governor of Erfurt to make arrangements for a grand
Musical Festival there, in the ensuing summer, in celebration
of the birthday of Napoleon, August 15. He had already
agreed with him as to the terms, and now asked me to untertake
its direction, and to write a new Oratorio for the first
day. I had long desired to try for once, something in the
Oratorio-style, also, and readily consented to the proposal. A
young poet in Erfurt had already offered me the text of an
Oratorio, in which I had found several grand passages for
composition. It was called: “The last Judgement.”</p>

<p>I sent for the libretto, and set to work at once. But I
soon felt that for the Oratorio-style I was yet too deficient
in Counter-point and in Fugeing; I therefore suspended my
work, in order to make the preliminary studies requisite for
the subject. From one of my pupils I borrowed <i>Marpurg’s</i>
“Art of Fuge writing” and was soon deeply and continuously
engaged in the study of that work. After I had written half
a dozen Fugues according to its instructions, the last of which
seemed to me very successful; I resumed the composition of
my Oratorio, and completed it without allowing any thing
else to intervene. According to a memorandum I made, it
was begun in January 1812, and finished in June. There<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span>
would not therefore have been sufficient time to write it out
and practise it before the performance, had I not sent the
two first parts of the work to <i>Bischoff</i>, immediately after their
completion. By that means, not only could the Choruses be
carefully practised in it, but I had also sufficient time to study
the Orchestral-parts with my own orchestra, which was again
to form the nucleus of the great Erfurt orchestra. In this
manner, although the work is a very difficult one, I was enabled
after one general rehearsal only, to effect a tolerably
successful performance of it. One of the Solo-singers, alone,
who sang the part of Satan, did not give me satisfaction.
This part which was written with a powerful instrumentation,
I gave by the advice of <i>Bischoff</i> to a village schoolmaster in
the neighbourhood of Gotha, who was celebrated throughout
the whole district for his colossal bass-voice. In power of
voice he had indeed quite sufficient to outroar a whole Orchestra,
but in science, and in Music, he could by no means
execute the part in a satisfactory manner. I taught and practised
him in the part myself, and took great pains to assist
him a little, but without much success. For when the day of
public trial came, he had totally forgotten every instruction,
and admonition, and gave such loose to his barbarian voice,
that he first of all frightened the auditory, and then set them
in a roar of laughter.</p>

<p>From overstraining his voice, he moreover almost always
intonated too high, and by that spoiled several of the most
effective parts of the oratorio. I suffered intensely from this,
and my pleasure in my composition was greatly embittered.
Nevertheless it gave general satisfaction, and was most favourably
spoken of in a detailed notice of the Musical Festival
in one of the Thuringian newspapers. Another criticism which
appeared in a South-German (if I am not mistaken a Francfort
Journal) found on the other hand much to cavil with in
the work, and was altogether written in a bitter and malevolent
tone. For many years I suspected this malicious criticism
was written by Counsellor <i>André</i> of Offenbach, as he<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span>
was present at the Festival with two of his pupils, <i>Arnold</i> and
<i>Aloys Schmidt</i>. What induced me to suspect him of it, although
<i>André</i> had expressed himself to me personally in praise
of the work, I now no longer remember; and in later years
when I questioned him on the subject, he assured me that he
was not the author. I, myself, not only considered the work
the best I had written up to that time, but I thought I
had never heard any thing finer. Even to this day I like so
much some of the choruses and Fuges, as well as the part of
Satan, that I could almost pronounce them to be the most
grand of all I ever wrote. Not so, however, with the other
themes particularly with the Soli-parts of Jesus and Mary.
These are wholly written in the Cantata style of that day
and overladen with bravoura and ornamental passages. Shortly
afterwards, also, I felt the impropriety of this style, and in
later years frequently resolved to re-write those Soli parts.
But when about to begin, it seemed to me as though I could
no longer enter into the spirit of the subject, and so it remained
undone. To publish the work as it was I could not
make up my mind. Thus in later years it has lain by with
out any use being made of it.</p>

<p>As the above mentioned Festival in honour of Napoleon’s
birth-day was the last that took place in Erfurt and in Germany
just before the Russian Campaign, it was considered to
have been ominous, that the principal Musical piece then performed
should have been “the last Judgement”.</p>

<hr class="tb" />

<p>In the Autumn of 1812 I again applied for a leave of
absence for myself and wife, which after some reluctance on
the part of the Dutchess was granted. We this time directed
our journey to Vienna as the least disturbed by the war, and
the passage of troops. Our first stay was at Leipsic, where
we assisted at a Concert given by <i>Hermstedt</i>, and where I
afterwards performed my new oratorio. Of this the Musical
Journal speaks in the following manner:</p>

<p><span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span></p>

<p>“Herr <i>Hermstedt’s</i> Concert as regards the Compositions
executed, was one of the most attractive that could be heard.
With the exception of <i>Mozart’s</i> Overture, and the Scena by
<i>Righini</i>, all the pieces were of the composition of Concert-Master
<i>Spohr</i>, and with the exception of the Clarinet-Concerto,
all newly written. This Concerto, the first in C-Minor,
and, as a Composition, the most brilliant of all Concerti for
that instrument, was again listened to with great satisfaction.
A grand Sonata for Violin and Harp, played by Herr and
Madame <i>Spohr</i>, the leading theme of which must be pronounced
masterly in conception and elaboration, and the second,
consisting of a delightful Pot-Pourri of happily combined
and most pleasingly handled melodies from the “<i lang="de" xml:lang="de">Zauberflöte</i>”,&mdash;this
as well as each of the other pieces were received with
the warmest approbation. We heard besides another Violin-Concerto<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a>
played by Herr <i>Spohr</i> and a Pot-Pourri for the
Clarinet with Orchestral accompaniment. In the former, the
first <i>Allegro</i>, as regards composition and execution pleased us
least. Here and there, it seemed to us both tricky and overladen
with ornament, and considering its contents, much too
long; neither was the execution of the Virtuoso every where
sufficiently distinct and clear. But the <i>Adagio</i>, as regards
composition and execution is one of the finest we ever heard
on this instrument, we may even say the very finest that was
ever produced by any Virtuoso.”</p>

<p>Of the Oratorio, also, it speaks upon the whole, favourably.
It contains not only “many details that are original
and attractive, some even that are really charming, but which,
also, too closely crowd upon and obliterate each other. Every
hearer whether he agrees or not with <i>Spohr</i> in his idea of
an Oratorio, that is, whether he may be disposed or not to
tolerate its combination of almost every kind of treatment and
style, or rather, to see them replace each other in turn&mdash;yet
every hearer must be impressed with a lively interest in<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span>
this work, and experience a real pleasure not unmingled with
astonishment at several of its principal parts.”</p>

<p>According to a notice in the Musical Journal of the 8. November,
I do not appear to have made any stay at Dresden,
upon this journey. But in Prague I gave a Concert on the
12. November, and eight days after, my Oratorio at the Theatre.
A very favourable notice of the former appears in the Musical
Journal, which adverts especially to the “enchanting unity”
of execution, from which the most perfect harmonic marriage
of the two admirable artistes was to be recognised.</p>

<p>Of the performance of the Oratorio I alone remember
that Fräulein <i>Müller</i> afterwards Madame <i>Grünbaum</i>, sang exquisitely
in it, and that the work was right well received by
the public.</p>

<p>I now hastened towards the chief object of my journey.
Vienna was at that time indisputably the Capital of the Musical
world. The two greatest Composers and Reformers of
Musical taste, <i>Haydn</i> and <i>Mozart</i> had lived there, and there
produced their Master-pieces. The generation still lived, which
had seen them arise, and formed their taste in Art from
them. The worthy successor of those Art-heroes, <i>Beethoven</i>,
still resided there, and was now in the zenith of his fame,
and in the full strength of his creative power. In Vienna
therefore the highest standard for Art creations was set up,
and to please there&mdash;was to prove one’s self a Master.</p>

<p>I felt my heart beat as we drove over the Danube-bridge,
and thought of my approaching début. My anxiety was yet
more increased by the reflexion that I should have to compete
with the greatest Violinist of the day; for in Prague I
had learnt that <i>Rode</i> had just returned from Russia, and was
expected in Vienna. I still vividly recalled to mind the overpowering
impression which <i>Rode’s</i> play had made upon me
ten years before in Brunswick, and how I had striven for
years to acquire his method and execution. I was now therefore
anxious in the highest degree to hear him again, in order
thereby to measure my own progress. My first question<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span>
therefore on alighting from the carriage was whether <i>Rode</i>
had arrived, and had announced a concert. This was answered
in the negative, but with the assurance that he had long
been expected.</p>

<p>It was now therefore a matter of importance to me to
be heard before <i>Rode</i>, and I hastened as much as possible
the announcement of my concert. I succeeded also in appearing
first; but <i>Rode</i> had arrived meanwhile, and was present
at the concert. To my great surprise I felt less intimidated
than inspired by that circumstance, and played as well
as I could have desired. The Musical Journal spoke of my
appearance before “a crowded house” in the following manner:</p>

<p>“On the 17. December we had the pleasure to hear and
admire Herr <i>Louis Spohr</i> and his wife at a concert. We
subscribe gladly to the favourable opinions expressed of this
worthy Artiste-pair and can only add that here also every
one was charmed by their masterly play. Herr <i>Spohr</i> played
a Violin-Concerto with a Spanish <i>Rondo</i> and at the end a
Pot-Pourri, both of his composition; with his wife, he executed
one of his published Sonatas for harp and violin. The composition
both of the Concerto and this Sonata are excellent,
and contrasted not a little with the watery, patchwork productions
with which so many practising Musicians without talent
or genius for composition, make their appearance here.”</p>

<p>By the advice of some kind friends I relinquished my intention
of giving my Oratorio at my own expense, as I had
projected doing in a second Concert; since the great expenditure
which a large Orchestra and a numerous Chorus would
have superadded to that of an usual Concert, forbade the hope
to realise any profit from the undertaking. Yet as I was very
desirous to have this work heard in Vienna, for I still considered
it one of the grandest of its kind, I offered to perform
it for the benefit of “the Widow’s and Orphan’s Society” on
the condition only, that for its production, the society would
provide a well appointed orchestra supported by the most distinguished
Singers and Instrumentalists in Vienna. This con<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span>dition
was accepted, and fully carried out by the society,
which provided a <i>personel</i> of three hundred assistants from
among the best artistes in the city. The work was carefully
studied in two grand rehearsals, and on its production, was
performed better than I had yet heard it. I became anew
enraptured with my creation, and with me several of the assistant
Musicians, among whom more especially Herr <i>Clement</i>
the Director of the Orchestra of the “Theatre an der Wien”.</p>

<p>He, had so thoroughly imbibed the spirit and substance
of the work, that the day after its performance he was enabled
to play to me on the Piano several entire parts, note
for note, with all the harmonies and orchestral figures, without
ever having seen the score. But <i>Clement</i> possessed a musical
memory such perhaps as no other artiste ever possessed.
It was at that time related of him in Vienna, that after he
had heard several times “the Creation” of <i>Haydn</i>, he had
learned it so thoroughly, that with the help of the text book
he was able to write a full Pianoforte arrangement of it. He
shewed this to old <i>Haydn</i>, who was not a little alarmed at
it, thinking at first that his score had either been stolen or
surreptitiously copied. Upon a nearer inspection he found the
Pianoforte arrangement so correct, that after <i>Clement</i> had
looked through the original score, he adopted it for publication.</p>

<p>Before my Oratorio was performed, I had a quarrel with
the Censorship, which nearly subverted the whole untertaking.
They would not suffer the names of <i>Mary</i> and <i>Jesus</i> to be
used in the list of the Dramatis-Personae of the Text-Book,
nor above the words which they had to sing. But after long
negotiation, upon the omission of these, the text was allowed
to be printed. I could readily accede to this omission, since
from the context it was easy to understand who the persons
were.</p>

<p>Greatly as the work pleased the Musicians, and increased
their opinion of my talent for composition, yet its reception
by the Public was not nearly so brilliant as that which my<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span>
play, and my Concerted compositions had met with. It is true
there was no want this time also of marked applause, but it
was not so general as to attract a numerous audience to the
second performance which took place three days afterwards.
This second representation in Vienna was the last the work
ever had; for in later years I saw too well its weak points
and deficiencies ever to persuade myself to give it again in
public. Of the first representation in Vienna on the 21. January
the Musical Journal spoke tolerably well.</p>

<p><i>Salieri</i> the Leader of the Imperial Orchestra had undertaken
the direction of the whole; Herr <i>Umlauf</i> presided at
the Piano, and I led the violins. The principal parts were
sung by Demoiselle <i>Klieber</i>, Madame <i>Anenheim</i>, Demoiselle
<i>Flamm</i>, Messrs. <i>Anders</i>, <i>Wild</i>, and <i>Pfeiffer</i>. “It is difficult”
says the notice “here in Vienna to bring out an Oratorio, so
as either to awaken attention to it, or to procure for the
work a permanent name&mdash;here where such grand, successful
masterpieces of the kind first made their appearance, which
are familiar to every body and which have procured for their
creators a lasting fame in the musical world. Herr <i>Eibler</i>
already attempted to set the “Four last Things” ... to music.
But his work was only twice publickly performed, because
he failed in a thoroughly even and original style, and his composition
would not bear comparison with the works of his
great predecessors of this kind. The same may be said also
of Herr <i>Spohr’s</i> “Last Judgement” although the composer of
that work is infinitely superior in severe passages to the writer
of the “Four last things.” All the chorusses and fugues in
the severe style, with which one can find fault in some secondary
parts only, have a real artistic merit; are worked out
with great industry, and were received also with loud and general
enthusiasm. The Airs, Duetts and single Song passages,
depart however too much from the real Oratorio style, are
too frequently repeated in the text, and approach more or
less to the Italian Operatic style. Some too striking reminiscences
of the “Creation” and particularly of the “<span lang="de" xml:lang="de">Zauberflöte</span>”<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span>
lessen the merit of the work in respect of originality.
The Chorus of Devils at the end of the first part would be
more admissably in its place if introduced in a ballet. Herr
<i>August Arnold</i> the author of the text, has also, certainly not
produced a work such as might satisfy the composer for musical
treatment.... The Theatre was scarcely half full.
On the 24., this Oratorio was repeated before scarcely two
hundred auditors. But a work of this kind should not have
been brought out in such a pleasure loving City in Carnival
<span class="lock">time!”&mdash;</span></p>

<p>A fortnight after my first appearance, <i>Rode’s</i> Concert
came in turn. Relying on his European reputation he had
chosen the most spacious Concert-room in Vienna, the great
“Redouten-Saal” and he found it completely filled. With almost
feverish excitement I awaited the commencement of
<i>Rode’s</i> play, which ten years before had served as my highest
model. But, already, after the first Solo, it seemed to me
that <i>Rode</i> had lost ground in that time. I now found his
play cold, and full of mannerism. I missed his former boldness
in conquering great difficulties, and felt particularly dissatisfied
with his execution of the Cantabile. The composition
as well of the new Concerto, appeared to me far behind
that of the seventh in A-Minor. In his execution of the Variations
in E-Major, which I had heard him play ten years before,
convinced me fully, that he had greatly lost in technical precision,
for he had not only simplified for himself many of
the most difficult passages, but he produced also those modified
passages with timidity and a degree of uncertainty.
Neither did the public seem satisfied; at least he failed to
rouse them to any enthusiasm. The Reviewer in the Musical
Journal says, also, that <i>Rode</i> had “not <i>quite</i>” satisfied the
expectation of the public. “His bow-stroke” continues the Reviewer,
“is long, grand and forcible, his tone full and strong&mdash;indeed,
almost too strong, cutting; he has a correct, pure
intonation and is always sure in his rebounds up to the very
highest notes; his double notes although occurring but seldom,<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span>
are good, and in <i>Allegro</i> he conquers great difficulties with
ease: on the other hand he is wanting in that which electrifies
and carries away all hearts&mdash;fire, and that winning
grace which is not otherwise to be defined, that witchery of
charm that ravishes the ear and inspires the soul. In <i>Adagio</i>,
the sharpness of his tones was still more perceptible than in
<i>Allegro</i>; the result therefore was cold. Neither did the composition
awaken much interest; it was thought far fetched and
mannered. It is probable the vast size of the great “Redouten-Saal”
may have induced Herr <i>Rode</i> to bring out his tones
so sharply, and thus they lost much of their sweetness.”</p>

<p>Eight days after <i>Rode’s</i> Concert I gave my second, in
the small “Redouten Saal.” The Musical Journal speaks of
it as follows: “<i>Spohr</i> shewed himself to be a great Master of
violin-play. He produced a new composition in A-Major (published
as the tenth), which was solemnly and slowly preceded
by an introduction in A-Minor. The <i>Adagio</i> was in D-Major.
A most charming <i>Rondo</i> concluded it. In the pleasing, and
the tender, <i>Spohr</i> is indisputably the nightingale, of all living,
at least, to us known, Violinplayers. It is scarcely possible
to execute an <i>Adagio</i> with more tenderness and yet so
clearly, combined with the purest good taste; added to this,
he overcomes the most difficult passages in quick-time measure,
and effects the greatest possible stretches with wonderful
ease, to which certainly the large size of his hand may
be of some advantage to him. This evening he again received
a general and unanimous applause, and was repeatedly called
forward, an honour&mdash;which so far as we remember,&mdash;was
conferred only upon Herr <i>Polledro</i>. With his wife, Herr <i>Spohr</i>
played an <i>Allegro</i> which she performed upon the harp, with
great execution, taste and expression. We think, of all the
Virtuosi whom we have heard upon that instrument none possesses
so much school, and such intensity of feeling in expression,
as Madame <i>Spohr</i>; though Demoiselle <i>Longhi</i> may have
more power, and Demoiselle <i>Simonin-Pollet</i> more equality in
their play.”</p>

<p><span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span></p>

<p>Speaking of <i>Rode’s</i> second Concert, the Musical Review
says: that “with a very crowded saloon he met with much
more applause than before; but in the Cantabile this time, also,
he did not sufficiently satisfy the expectations of the public.”</p>

<p>On the 28. January I played with <i>Seidler</i> of Berlin in
his Concert, and as a notice of it says “bore away the palm
although Herr <i>Seidler’s</i> play was worthy of praise.”</p>

<p>I could thus be very satisfied with the reception I had
met with in Vienna as an Artiste; for the public newspapers
also awarded the palm to me. At private Parties where as
the rule, I not only met the above named Violinist, but also
the most distinguished of the native Violinists Herr <i>Mayseder</i>,
and had to compete with all these, my performances
met also with special acknowledgment and attention. On
these occasions there was at first always a dispute who should
begin, for each desired to be the last, in order to eclipse his
predecessor. But, I, who always prefered playing a well combined
Quartett to a Solo piece, never refused to make the
beginning, and invariable succeeded in gaining the attention
and sympathy of the company by my own peculiar style of
reading and executing the classical quartetts. Then when
the others had each paraded his hobby-horse, and I observed
that the company had more liking for that sort of thing than
for classical music, I brought out one of my difficult and
brilliant Pot-Pourri’s, and invariably succeeded in eclipsing the
success of my predecessors.</p>

<p>In the frequent opportunities of hearing <i>Rode</i> I became
more and more convinced that he was no longer the perfect
Violinist of earlier days. By the constant repetition of the
same compositions, a mannerism had crept by degrees into his
execution, that now bordered on caricature. I had the rudeness,
to remark this to him, and asked him if he no longer
remembered the way in which he played his compositions ten
years ago. Yes! I carried my impertinence so far, as to lay
the variations in G-Major before him, and said, that I would
play them exactly as I had heard him play them so frequently<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span>
ten years before. After I had finished playing, the company
broke out into a rapturous applause, and <i>Rode</i>, for decency’s
sake was obliged to add a “bravo”; but one could plainly
see that he felt offended by my indelicacy. And with good
reason. I was soon ashamed of it, and advert to the circumstance
now, only, to show how high an opinion I then had of
myself as a Violinist.</p>

<p>Satisfied in the highest degree with Vienna, I now thought
of proceeding farther, when quite unexpectedly I received from
Count <i>Palffy</i> the then Proprietor of the Theatre “an der Wien”
the offer of an engagement there for three years, as Leader
and Director of the Orchestra. As I could not make up my
mind to give up my and my wife’s permanent life engagements, I
at first decidedly declined it. But when Herr <i>Treitschke</i>, who
was the agent in the matter, offered me more than three
times the salary which I and my wife together had received
in Gotha; when he informed me that the Theatre “an der
Wien” would soon become the first in Germany, that the
Count had succeeded in engaging for it the best singers of the
day, and that he now contemplated to entrust to me the formation
of the Orchestra from among the first artists of Vienna,
and further represented to me that in such an excellent Theatre
I should have the first opportunity to cultivate my abilities
and distinguish myself as a Dramatic Composer: I could
no longer withstand the temptation; requested a short delay
in order to consult with my wife, and promised to give a definite
answer in a few days.</p>

<p>Of the large salary that was offered to me, and which
much exceeded those of the two Leaders of the Imperial Orchestra
<i>Salieri</i> and <i>Weigl</i>, I might hope to economise a third
or perhaps the half. I might furthermore, from the reputation
I had acquired in Vienna as an Artiste, safely reckon
upon earning something considerable by Concerts, Compositions
and Tuition. Besides, I was secured as regarded the future,
even in case the proffered appointment should terminate at
the expiration of the three years, and could then carry out<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span>
a favorite plan conceived from my earliest youth, of a journey
to Italy, in company with my wife and children.</p>

<p>More than all these, however, I was disposed by my re-awakened
desire to write for the stage, to accept the Count’s
proposal. So, after <i>Dorette</i> had given her consent, although with
sorrow at the now necessary separation from her mother and
family, the written Contract was drawn up and signed under
the direction of a Notary, a friend of ours. I bound myself
therein as Director of the Orchestra to play in all grand
Operas, to undertake the Violin Soli’s in Operas and Ballets,
and as Conductor, to lead from the score when the other
leader should be prevented doing so. From small Operas,
Ballets, and the music in Plays, I was exempted. I now,
conjointly with Count Palffy and my new colleague, conductor
<i>von Seifried</i> proceeded to remodel the constitution of the orchestra.
The Count was not niggardly in regard to the salaries;
so I soon succeeded in procuring the services of the
most talented young artistes, and to establish an <i>ensemble</i>
that made my Orchestra not only the best in Vienna, but
raised it to one of the first in all Germany.</p>

<p>Among the new appointed members was my brother <i>Ferdinand</i>,
and one of the most gifted of my other pupils, <i>Moritz
Hauptmann</i> of Dresden. He had just arrived in Vienna
and desired to establish himself there. But my brother did
not arrive till the spring.</p>

<p>I had stipulated at the same time for a month’s leave of
absence in the spring, to arrange my affairs in Gotha and to
fetch my children. But before that, it was necessary for me
to make arrangements for another domicile, so that on my
return I could commence my own housekeeping. At this time
a circumstance took place that not only greatly influenced this
business, but, also, my artistic labours in Vienna. Scarcely
had it become known in the City that I was to remain there,
when one morning a stranger of gentlemanly exterior called
on me, who introduced himself as Herr <i>von Tost</i>, a proprietor
of manufactories and a passionate lover of music. In excuse<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span>
for the intrusiveness of his visit he pleaded his desire to make
a proposition to me. After he had seated himself, and I full
of expectation had taken a chair opposite to him, he first expressed
his admiration of my talent as a Composer, and then
the wish that I would assign over to him for a proportionate
pecuniary consideration all that I might compose or had already
written in Vienna, for the term of three years, to be
his sole property during that time; to give him the original
scores, and to keep myself, even, no copy of them. After
the lapse of three years he would return the manuscripts to
me, and I should then be at liberty either to publish or to
sell them. After I had pondered a moment over this strange
and enigmatical proposition, I first of all asked him whether
the compositions were not to be played during those three
years? Hereupon, Herr <i>von Tost</i> replied: oh! “yes, as often
as possible, but each time on my lending them for that purpose,
and only in my presence.” He would not, he added prescribe
the kind of compositions they should be; but he more
particularly wished they should be such as would permit of being
produced in Private Circles, therefore, Quartetts and Quintetts
for stringed instruments and Sextetts, Octetts and Nonettes
for stringed and wind instruments. I was to consider upon
his proposal and fix the sum for each kind of composition.
Upon this he presented me with his card and took leave of me.</p>

<p>My wife and I vainly endeavoured to discover the object
Herr <i>von Tost</i> could have in making such a proposal; and I
therefore resolved to ask him the question plump and plain.
Before doing this I made enquiries about him, and ascertained
that he was a wealthy man, the proprietor of large cloth manufactories
near Znaim, was passionately fond of music, and
never missed being present at every public concert. This
sounded well, and I resolved to accede to the proposal. As
compensation for the three years cession of my manuscripts,
I fixed the amount for a Quartett at thirty Ducats, for a
Quintett five and thirty, and so on progressively higher for
the other kinds. When I now wished to know what Herr<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span>
<i>von Tost</i> intended doing with the works during the three years;
he at first would not satisfy me, and said, that as soon as
he had bound himself by writing not to publish my compositions,
it could not in the least concern me: but when he
perceived, that I had still some misgivings, he added: “I have
two objects in view. First, I desire to be invited to the music
Parties in which you will execute your compositions, and
for that I must have them in my keeping; secondly, possessing
such treasures of art, I hope upon my business journeys to
make an extensive acquaintance among the lovers of music,
which may then serve me also in my manufacturing interests!”</p>

<p>Although unable to understand thoroughly Herr <i>von Tost’s</i>
speculation, I was obliged mentally to confess, that at any rate
he had an exalted idea of the worth of my compositions. This
was very flattering to me, and suppressed all further hesitation.
As Herr <i>von Tost</i> had now also, nothing to object to
in the price demanded, nor to the requisition for payment
upon delivery of the manuscripts, the business was soon concluded
by a written agreement in form.</p>

<p>I had brought with me to Vienna one manuscript, a Solo-Quartett
for Violin, which I had finished on the journey.
I was just then also engaged upon a second. I determined to
finish that before leaving for Gotha, and then deliver both to
Herr <i>von Tost</i>.</p>

<p>Meanwhile I had been so fortunate as to find convenient
apartments in the immediate neighbourhood of the Theatre
“an der Wien” on the first floor of the house of a cabinet
maker. As they had been somewhat disfigured by their last
occupants I had them newly painted and decorated, and was
just on the point of furnishing them. I therefore delivered my
two Quartetts to Herr <i>von Tost</i>, and demanded their price of
sixty ducats, remarking at the same time that I required the
money for the furnishing of my new domicile. “I will provide
you with that, complete in every respect” was his reply,
“and much cheaper also than if you were to buy them yourself;
for I have business transactions with all those with whom<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span>
you will have to deal, and therefore can obtain them on lower
terms than you. It will give me moreover an opportunity to
collect some outstanding debts. Appoint therefore a day when
I shall call for you and your wife in order that we may
choose the things together.”</p>

<p>And so the thing was done. We first drove to the new
apartments, where Herr <i>von Tost</i> with great tact and business
knowledge sketched an estimate of all we should require.
We then went from one shop and warehouse to the other, and
my wife and I had continually to guard against his choosing
too much, and frequently the most costly and beautiful articles.
We could not however prevent him from ordering for the best
room, a suite of mahagony furniture with silk coverings and
curtains to match; and for the kitchen, a mass of cooking
utensils, crockery and a table service more befitting a capitalist
than an unpretending artiste. It was in vain that <i>Dorette</i>
represented we should give no parties, and therefore did
not require so large a table service. But he was not to be persuaded,
and when I expressed the fear that the whole arrangements
would be too expensive for my circumstances, he replied:
“Make yourself easy, it will not cost you too much; neither
shall I ask for any cash payment. By degrees you will soon
square all accounts with your manuscripts.”</p>

<p>Nothing more was to be said against this and thus we
found ourselves in possession of apartments fitted up in a
style so handsome and yet tasteful, as for certain no other
artist-family in the City could shew.</p>

<p>I now got every thing ready for my journey. My wife
was invited to reside with a lady of her acquaintance, the
sister of the Advocate <i>Zizius</i>, a great lover of music, in whose
house we had frequently played, so that during my absence
I could leave her without any uneasiness.</p>

<p>I had been informed, that a Leipsic merchant about to
return home in his own carriage with extra-post-horses was
desirous of meeting with a fellow-traveller; I hastened therefore
to offer my company, and soon agreed with him upon<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span>
the terms. I now no longer recollect his name, but, that he was
a well informed and agreable companion, from whom I parted
in the most friendly manner. We journeyed without stopping
to Prague, but remained there a whole day to rest ourselves.
I spent that day very pleasantly at the house of my friend
<i>Kleinwächter</i>. On leaving Prague we were obliged to leave
the high road to Dresden, as the armies of the belligerent
powers were drawn up there opposite to each other, and the
bridge over the Elbe had been made impassable, the French
having blown up several arches. We were therefore obliged
to find a way over the Erzgebirge, where we also met with
detachments of troops, by which however, we were neither
stopped nor turned back. We arrived therefore without further
adventure at Chemnitz. But here something befell me
that filled me with such terror, that I fainted away, a circumstance
which with my strong frame of body, never occured
to me before or since.</p>

<p>We arrived at Chemnitz at noon, just as a numerous
company at the hotel were about to sit down to dinner. We
joined them, and I took a seat between my fellow-traveller
and the hostess. While the latter was helping the soup, I
like the rest of the guests proceeded to cut a slice from a
large brown loaf that lay before me. I applied the knife to
the loaf, but it would make no incision, from having (as afterwards
appeared) come in contact with a small stone baked
into the crust. This induced me to think the knife was blunt,
and to increase the force of the pressure. Upon this it suddenly
slipped off and glancing on to the ball of my left fore
finger cut off a considerable piece of the flesh, which fell upon
the plate before me. A stream of blood followed. The sight
of this, or rather the thought, that now there would be an
end to my violin playing, and that I should no longer be able
to support myself and family, filled me with such horror that
I fell insensible from my chair. When after the lapse of about
ten minutes I recovered my senses, I saw the whole company
in commotion and occupied with me. My first look fell upon<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span>
my finger, which I found wrapped round with a large piece
of English plaister that the kind hostess had brought. It adhered
closely in the hollow of the wound, and to my comfort
I could now see that the whole ball of the finger had not
been cut off, as I had at first imagined. Nevertheless almost
the half of it, together with a large piece of the nail were
gone. As I scarcely experienced any pain, I left the strapping
undisturbed, and first applied to a surgeon on arriving at
Leipsic, who also let the plaister remain, and only advised
me to be careful of all ungentle contact with my finger.</p>

<p>Thus somewhat consoled I arrived home in Gotha. I
found the Court very much annoyed about my contemplated
removal to Vienna; the Dutchess was so angry that I had
much difficulty to soothe her, and the more so, as I was now
unable to play once more as she had so much wished, at a
parting Court-Concert. My mother-in-law was also greatly
grieved. I hastened therefore as much as possible to get away
from all these unpleasant circumstances. A few weeks before,
I had commissioned my old friend <i>Bärwolf</i> to dispose of the
furniture and things which I did not purpose taking with me.
In this he had been successful. I had therefore the reserved
articles packed up, consisting chiefly of beds, looking glasses,
music, clothes, linen etc., and dispatched beforehand as freight
to Ratisbonne for water carriage. Eight days afterwards I
followed with my brother <i>Ferdinand</i>, my two children and a
young girl, an orphan, whom my mother-in-law had taken
charge of, and brought up, and now gave to me as nursemaid
for the children.</p>

<p>The parting with my relations and dear Gotha, was a
very sorrowful one; but favoured with the most delightful
weather, we soon cheered up again, and I was highly amused
with the artless remarks of the children upon the numerous objects
now seen by them for the first time. So we arrived
very tired it is true, but very happy, in Ratisbonne. There
we stopped some days, during which I made every preparation
for the voyage down the Danube to Vienna. I hired at a mo<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span>derate
price a boat to myself, and had my packages which
had already arrived as freight, put on board. The beds were
unpacked, and spread out under the little wooden house on
board the boat, for our repose at night. The trunks and
boxes served as seats. As we purposed continuing our voyage
day and night without stopping anywhere, provisions for four
or five days were laid in. The boat’s company consisted besides
me and mine, of the skipper, his wife who undertook
the cooking, the boatman, and three trades-apprentices to
whom I gave a free passage and food, for which they had
agreed to lend a diligent hand at the oars.</p>

<p>We were in the month of May, the moon was full, and
the deep blue sky was outspread over the charming country
round. Spring had just decked all nature in her first dress
of tender green, and the fruit trees were still laden with their
beautiful blossom. The bushy banks of the majestic stream
were the resort of numerous nightingales, which in bright
calm nights particularly, poured forth an unceasing melody. It
was indeed a delightful voyage, and I have striven continually,
during my whole long life, to make it again under similar
favourable circumstances; but alas! in vain.</p>

<p>While we were passing the celebrated <i>Rapids</i> and the
<i>Whirlpool</i>, which at that time could not be effected wholly
free from danger, our skipper who till then had been very
jovial became all at once serious, and impressively cautioned
the rowers to obey his orders with the greatest punctuality.
The moment the downward rushing stream seized upon our
boat, he turned pale, his wife threw herself upon her knees
and howled more than spoke a prayer to the Holy Virgin.
Hereupon I cautioned my brother who like me was a skillful
swimmer, should any accident occur, to stand by me in saving
the children. But we descended safely the shooting rapids
and steered clear of the whirlpool, which is only dangerous
for very small boats.</p>

<p>Upon the rock, which stands in the middle of the stream
at the end of the rapids, and which by its throwing back the<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span>
waves with violence occasions the whirlpool, dwellt then an
old hermit, who subsisted upon the charitable gifts of the
passing travellers. He put off and rowed over to us in his
little skiff, to the great delight of the children, who had never
before seen a hermit, and when alongside of us he received
the customary donation.</p>

<p>On the fourth day of our voyage we arrived towards
evening at Vienna, and from afar could see <i>Dorette</i> in company
with her hostess, awaiting our arrival at the landing
place. That was a happy meeting! The luggage was taken
to our new domicile the same evening, whither we moved the
following day.</p>

<p>By the time I had arrived in Vienna, my wound was almost
healed. To my surprise, and to that of the surgeon to
whom I related it, under the English sticking plaister which
still enveloped my finger, a new flesh had grown in the place
of that which had been cut away, and had by degrees assumed
the previous form and size of the ball of the finger. The
piece cut out of the nail had also grown again, though but
imperfectly joined to the rest of the nail, so that there yet
remained a gap, which is even still visible, and shews
plainly the extent of the excision. With the help of a leather
finger stall I could use my finger again, and though I could
not yet play a Solo, yet I could perform my duties in the
orchestra.</p>

<p>I now led a very active and a very happy life in the
enjoyment of the society of my family. The early dawn found
me at the piano, or at the writing table, and every other
moment of the day which my orchestral duties or the tuition
of my pupils permitted was devoted to composition. Yes, my
head was at that time so continually at work, that on my
way to my pupils and when taking a walk I was constantly
composing, and by that means acquired a readiness in working
out mentally, not only long periods, but whole pieces of music
so completely, that without any further labour they could
be at once written off. As soon as this was done, they were<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span>
as though effaced from my mind, and then I had room again
for new combinations. <i>Dorette</i> frequently chid me in our
walks for this perpetual thinking, and was delighted when
the prattle of the children diverted me from it. When this
had once been done, I gladly gave myself up to external impressions;
but I was not to be permitted to relapse into my
thoughtful mood again, and <i>Dorette</i> with great skill knew how
to prevent it.</p>

<p>In the first summer of our residence in Vienna, we already
made ourselves well acquainted with the beautiful environs
of the City, and almost every fine evening, when I was
not engaged at the Theatre, we spent in the open air. Then,
accompanied by the nursemaid carrying our simple evening-repast
in a small basket, we used to seek out some spot
from whence we could have a fine view of the country, and
see the sun go down. On Sunday, also, we used to hire a fly
at the “Linie”, and make farther excursions to Leopoldsberg, or
to the Brühl or to Laxenburg and Baden.</p>

<p>But the favorite walk of the children was always to
Schönbrunn to see the menagery, or to the “Dörfl” in the
Prater, where they ever beheld with new transport the puppet
and dog shows, and other diverting wonders. I and my wife,
half children too in disposition, shared intensely in all the
pleasure of our little pets. It was a lovely, joyous time! so
free from care!</p>

<p>After my return from Gotha, my first work was the composition
of “Faust.” Before my journey thither, I had had
another subject in view, which <i>Theodor Körner</i> was to have
worked out for me as an Opera. I had made the young
poet’s acquaintance soon after my first arrival in Vienna; he
was then already as much admired for his amiable manners as
for the success of his theatrical pieces. I met him at almost
every party where I played, and as <i>Körner</i> was very fond of
music we soon took to each other. When it was decided that
I should remain in Vienna, I asked <i>Körner</i> to write an Opera
for me and proposed for subject the legend of the “<span lang="de" xml:lang="de">Rübezahl</span>”.<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span>
<i>Körner</i>, who had been present at both performances of the
“Last Judgement”, and who had a good opinion of my talent
for composition acquiesced without hesitation, and went to
work with zest upon the materials proposed. But, suddenly
it was reported that <i>Körner</i> was about to join <i>Lützow’s</i> light
horse, and fight for the freedom of Germany. I hastened to
him and endeavoured like many other of my friends to dissuade
him from that intention; but without success. We soon
saw him depart. It became afterwards known, that it was
not alone his enthusiasm for the war of German independance,
but an unfortunate and unrequited love for the handsome actress
<i>Adamberger</i> that drove him from Vienna, and to an early
death.</p>

<p>I thus saw my hope of an Opera-libretto from the pen
of the youthful and gifted poet, destroyed, and was now obliged
to look elsewhere for another. It was therefore very
opportune that Herr <i>Bernhard</i> had offered me his version of
“Faust” for composition, and we were soon agreed upon the
terms. Some alterations that I had wished to have made,
were completed by the author during my journey to Gotha,
so that I could begin upon it immediately after my return.
From the list of my Compositions, I find that I wrote that
Opera in less than four months, from the end of May to the
middle of September. I still remember with what enthusiasm
and perseverance I worked upon it. As soon as I had completed
some of the parts I hastened with them to <i>Meyerbeer</i>,
who then resided in Vienna, and begged him to play them
to me from the score, a thing in which he greatly excelled.
I then undertook the Vocal parts and executed them in their
different characters and voices with great enthusiasm. When
my voice was not sufficiently flexible for the purpose, I helped
myself by whistling, in which I was well practised. <i>Meyerbeer</i>
took great interest in this work, which appears to have kept
its ground up to the present time, as he during his direction
of the Opera at Berlin put “Faust” again upon the stage, and
had it studied with the greatest care.</p>

<p><span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span></p>

<p><i>Pixis</i> the younger, also, who then resided with his parents
in Vienna, as well as <i>Hummel</i> and <i>Seyfried</i>, shewed a great
predeliction for this Opera, so that I offered it for representation
at the Theatre “an der Wien” with the fairest hopes
of a brilliant success. Count <i>Palffy</i>, with whom I was then
still on good terms, accepted it immediately, and promised to
distribute the characters as soon as possible and to bring it
out. While engaged on the work, it is true, I had the personnel
of my Theatre in my eye; and wrote the Faust for
<i>Forti</i>, the Mephistopheles for <i>Weinmüller</i>, Hugo for <i>Wild</i>,
Franz for <i>Gottdank</i>, Cunigunda for Madame <i>Campi</i>, and Rosa
for Demoiselle <i>Teiner</i>; but nevertheless, (apart from the circumstance
that I at that time especially did not yet understand
how to keep myself within the bounds of the natural compass of
the voice) all manner of things had escaped my pen that did
not suit the above named singers, as, for instance: the long
ornamental passages in the air of Hugo, for <i>Wild</i>, who at
that time had but a limited power of execution. This at a
later period was urged by the Count, when I had a disagreement
with him, as an excuse for withdrawing his consent, and
actually the opera was never produced while I was in Vienna.
Some years afterwards, it was brought out with great success,
and in more recent times was put upon the stage again with
increased approbation. I, who had always felt an interest in
my compositions so long only as I was engaged on them, and
so to say, full of them; bore with great equanimity of mind
the banishment of my score to the shelves of the library of
the Theatre, and immediately set to work on new subjects.
Even the pianoforte-arrangement of the opera that <i>Pixis</i> had
taken great pleasure in preparing, I did not publish till many
years afterwards at <i>Peter’s</i> in Leipsic.</p>

<p>After having finished Faust, I thought it my duty to proceed
to the fulfillment of my agreement with Herr <i>von Tost</i>.
I therefore enquired of him, what kind of composition he
would now prefer. My Art-Mæcenas, reflected a while, and
then said: a Nonet, concerted for the four stringed instru<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span>ments,
Violin, Viol, Violincello, and Double-Bass; and the
five principal wind-Instruments, Flute, Oboë, Clarinet, Horn
and Bassoon, written in such a manner that the character
of each of those instruments should be properly brought out,
might be both an interesting and grateful theme; and as he did
not in the least doubt that I should successfully accomplish it,
he would suggest that to me as the next subject to choose.
I felt attracted by the difficulty of the task, consented to it
with pleasure, and commenced the work at once. This was
the origin of the well known Nonet, published by <i>Steiner</i> in
Vienna as op. 31, and which up to the present time is the
only work of its kind. I completed it in a short time and
delivered the score to Herr <i>von Tost</i>. He had it written out,
and then invited the first artists in Vienna to his house, in
order to study it under my direction. It was then performed
at one of the first musical parties in the beginning of the
winter, and met with such unanimous applause, that its repetition
was frequently called for during the season. Herr <i>von
Tost</i> would then appear each time with a music-portfolio under
his arm, lay the different instrumental parts upon the
music-stands himself, and when the performance was ended,
lock them up again. He felt as happy at the success of the
work as if he himself had been the composer. I played, also,
very frequently at musical parties, the two Quartetts of which
he possessed the manuscripts, and thus his desire to be invited
to numerous musical parties was fully accomplished.
Indeed, wherever I played, people soon became so accustomed
to see Herr <i>von Tost</i>, also, with his portefolio of music, that
he used to be invited even when I did not play any of his
manuscripts.</p>

<p>Before the end of the year 1813, I wrote another <i>Rondo</i>
for harp and violin for my wife and self, and a Quartett for
stringed instruments for Herr <i>von Tost</i>. It is the one in G-Major,
Op. 33 which from an oversight the publisher has
marked as Nr. 2. It was nevertheless, written six months before
the one in E-Major.</p>

<p><span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span></p>

<p>This Quartett was the occasion of my becoming entangled
in a literary feud, which was the first and also the last that
I ever engaged in about my compositions. It had met with
a particularly favourable reception among the Artists and
lovers of art in Vienna, and I considered it, also, and with
reason, as the best I had written up to that time. It was
therefore the more mortifying to me that the reviewer in a
Viennese Art-journal of the day could find nothing good
whatever in it. I was more particularly hurt by the malicious
manner in which he spoke of the theoretical handling of the
first theme, of which I was proud; and which had excited the
admiration of connoisseurs. Even now, after so long a period
I recollect the words, which were nearly as follow: “This eternal
rechewing of the theme in every voice and key, is to me
just as if one had given an order to a stupid servant, that
he cannot understand, and which one is obliged to repeat to
him over and over again in every possible shape of expression.
The composer appears to have considered his auditors in the
same light as the stupid servant.”</p>

<p>I soon ascertained that the anonymous reviewer was
Herr <i>von Mosel</i>, the composer of a lyric tragedy called “Salem”,
of which I certainly had said very openly: “I never
heard any thing so wearisome in all my life.” This opinion
had unluckily reached the ears of the writer, and had excited
his gall to this degree. Herr <i>von Tost</i> who was more proud
of my compositions, particularly those he had in his portefolio
than the composer himself, would not rest until I had
written a replication to the criticism. What I said in reply,
particularly in defence of the treatment of my theme, I now
no longer remember, but I recollect, I was prodigal in side-thrusts
at “Salem”. This was pouring oil on the fire, and
so a disputation ensued, which would have been continued
much longer, had not the censorship put a stop to it by forbidding
the Editor of the journal to insert any thing more on
the subject. As such quarrels were exceedingly unpleasant to<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span>
me, I was very glad to be able to return to my harmless
occupation of composing.</p>

<p>In the autumn of 1813, <i>Dorette</i> presented me with a son.
Our joy at this increase to our family was unfortunately of
short duration; for the boy soon became sickly and died, before
he was three months old. His poor mother sought and
found relief in her harp; she practised with me the new
<i>Rondo</i> for my benefit-concert that was to take place in December.
According to the musical journal, this concert took
place in the small “Redouten-Saal”, and my brother <i>Ferdinand</i>
made his début in a Violin Duet with me.</p>

<p>In the meantime, the great battle of Leipsic had been
fought. The allied armies had crossed the Rhine, and it was
hoped they would soon enter Paris. In Vienna great preparations
were made to celebrate that entry, and the return of
the Emperor and his victorious army. All the Theatres, had
had incidental commemorative pieces written and composed,
and the newly instituted <i>Society of the friends of music of the
Austrian Empire</i> under the patronage of the Archduke <i>Rudolph</i>
made preparations for a monster performance of <i>Handel’s</i>
“Samson” in the Imperial Riding-school; for which Herr
<i>von Mosel</i> increased the instrumentation. Other Societies undertook
similar performances. This gave Herr <i>von Tost</i> the
idea of making arrangements for a grand musical performance
on the return of the Emperor, and he asked me if I would
write a Cantata for the occasion, the subject of which should
be the liberation of Germany. I willingly consented, but with
the observation, that this subject in itself offered but few favourable
passages to the composer, and that in order to obtain
such, the text should be written by a <i>good</i> poet.</p>

<p>“Oh! there shall be no want of that” was the reply. “I
will immediately go to Frau <i>von Pichler</i>, and have no doubt,
that she will untertake to furnish you with the text.” And
so she did. I consulted with the authoress upon the form
and contents, and she then handed me a text-book, which in<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span>
rich variety of domestic and warlike scenes presented a succession
of favourable materials for composition.</p>

<p>I immediately set to work upon it, and finished this
Cantata, which takes two hours to perform, in less than three
months, from January to the middle of March 1814, in the
midst of all my other numerous occupations.</p>

<p>Meanwhile Herr <i>von Tost</i>, had engaged the four best singers
in Vienna for the soli-parts, viz Mesdames <i>Buchwieser</i> and
<i>Milder</i>, and Messrs. <i>Wild</i> and <i>Weinmüller</i>, and for the choruses
he purposed to combine the whole of the church-choirs
and the chorus-singers of the theatre. The vocal parts were
written and distributed, and I had already gone several times
to Madame <i>Milder</i>, to assist her in practising her part; when,
one morning Herr <i>von Tost</i> rushed into my room and exclaimed
in despair: “I have just now had the great Redouten-Saal
refused to me for our performance, under the idle
pretence that it cannot be spared on account of the preparation
for the Court-festivals! It is from sheer jealousy alone
of the Musical Society, who will not allow any other grand
performance in the Riding-school but their own. What is to
be done? Since the destruction of the Apollo Saloon, there
is no locale in Vienna except the “Great Redouten-Saal” fit
for such a musical performance.”</p>

<p>At the moment, the thought occured to me of the Circus
of Herr <i>de Bach</i> in the Prater. We immediately drove out
there, to see whether the Riding-ring in the centre of the
building would afford sufficient room to hold our orchestra
and the personnel of the theatre. I thought it would, and promised
myself an immense effect from the disposing of the body
of assistants in the centre of the building. But unfortunately,
this locale also, for some reason which I no longer recollect,
was not to be had, and so the whole undertaking failed, to
the great grief of Herr <i>von Tost</i>.</p>

<p>This Cantata shared the same fate as “Faust.” It was
first produced long after I had left Vienna. I heard it for<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span>
the first time in 1815 at the musical Festival at Frankenhausen,
on the anniversary of the battle of Leipsic.</p>

<p>As with me, so it fared with <i>Beethoven</i> in a similar Festive
composition; neither, also, was his performed at that period.
It was called “<span lang="de" xml:lang="de">Der glorreiche Augenblick</span>”<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> and was
published later with altered text by <i>Haslinger</i> in Vienna.</p>

<p>While mentioning <i>Beethoven</i>, it occurs to me, that I have
not yet adverted to my friendly relations with that great artist,
and I therefore hasten to supply the deficiency.</p>

<p>Upon my arrival in Vienna I immediately paid a visit
to <i>Beethoven</i>; I did not find him at home, and therefore left
my card. I now hoped to meet him at some of the musical
parties, to which he was frequently invited, but was soon informed
that, <i>Beethoven</i> since his deafness had so much increased
that he could no longer hear music connectedly, had
withdrawn himself from all musical parties, and had become
very shy of all society. I made trial therefore of another
visit; but again without success. At length I met him quite
unexpectedly at the eating-house where I was in the habit of
going with my wife every day at the dinner hour. I had already
now given concerts, and twice performed my oratorio.
The Vienna papers had noticed them favourably. <i>Beethoven</i>
had therefore heard of me when I introduced myself to him,
and he received me with an unusual friendliness of manner.
We sat down at the same table, and <i>Beethoven</i> became very
chatty, which much surprised the company, as he was generally
taciturn, and sat gazing listlessly before him. But it was
an unpleasant task to make him hear me, and I was obliged
to speak so loud as to be heard in the third room off.
<i>Beethoven</i> now came frequently to these dining rooms, and
visited me also at my house. We thus soon became well acquainted:
<i>Beethoven</i> was a little blunt, not to say uncouth;
but a truthful eye beamed from under his bushy eyebrows.
After my return from Gotha I met him now and then at the<span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span>
theatre “an der Wien”, close behind the orchestra, where
Count <i>Palffy</i> had given him a free seat. After the opera
he generally accompanied me to my house, and passed the
rest of the evening with me. He could then be very friendly
with <i>Dorette</i> and the children. He spoke of music but very
seldom. When he did, his opinions were very sternly expressed,
and so decided as would admit of no contradiction
whatever. In the works of others, he took not the least
interest; I therefore had not the courage to shew him mine.
His favorite topic of conversation at that time was a sharp
criticism of the management of both theatres by <i>Prince
Lobkowitz</i> and Count <i>Palffy</i>. He frequently abused the latter
in so loud a tone of voice, while we were yet even within
the walls of his theatre, that not only the public leaving it,
but the Count himself could hear it in his office. This used
to embarrass me greatly, and I then always endeavoured to
turn the conversation upon some other subject.</p>

<p><i>Beethoven’s</i> rough and even repulsive manners at that
time, arose partly from his deafness, which he had not learned
to bear with resignation, and partly from the dilapidated
condition of his pecuniary circumstances. He was a bad
housekeeper, and had besides the misfortune to be plundered
by those about him. He was thus frequently in want of common
necessaries. In the early part of our acquaintance, I once
asked him, after he had absented himself for several days
from the dining rooms: “You were not ill, I hope?”&mdash;“My
boot was, and as I have only one pair, I had house-arrest”,
was his reply.</p>

<p>But some time afterwards he was extricated from this
depressing position by the exertions of his friends. The proceeding
was as follows:</p>

<p><i>Beethoven’s</i> “Fidelio”, which in 1804 (or 1805) under
very unfavourable circumstances, (during the occupation of
Vienna by the French), had met with very little success, was
now brought forward again by the director of the Kärnthnerthor-Theatre
and performed for his benefit. <i>Beethoven</i><span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span>
had allowed himself to be persuaded to write a new overture
for it (in E), a song for the jailor, and the grand air for
Fidelio (with horns-obligati) as also to make some alterations.
In this new form the Opera had now great success, and kept
its place during a long succession of crowded performances.
On the first night, the composer was called forward several
times, and now became again the object of general attention.
His friends availed themselves of this favorable opportunity
to make arrangements for a concert in his behalf in the
great “Redouten Saal” at which the most recent compositions
of <i>Beethoven</i> were to be performed. All who could fiddle,
blow, or sing were invited to assist, and not one of the most
celebrated artists of Vienna failed to appear. I and my
orchestra had of course also joined, and for the first time
I saw <i>Beethoven</i>, direct. Although I had heard much of his
leading, yet it surprised me in a high degree. <i>Beethoven</i> had
accustomed himself to give the signs of expression to his
orchestra by all manner of extraordinary motions of his body.
So often as a <i>Sforzando</i> occured, he tore his arms which
he had previously crossed upon his breast, with great vehemence
asunder. At a <i>piano</i>, he bent himself down, and the lower,
the softer he wished to have it. Then when a <i>crescendo</i>
came, he raised himself again by degrees, and upon the commencement
of the <i>forte</i>, sprang bolt upright. To increase
the forte yet more, he would sometimes, also, join in with a
shout to the orchestra, without being aware of it.</p>

<p>Upon my expressing my astonishment to <i>Seyfried</i>, at
this extraordinary method of directing, he related to me a
tragi-comical circumstance that had occurred at <i>Beethoven’s</i>
last concert at the Theatre “an der Wien.”</p>

<p><i>Beethoven</i> was playing a new Pianoforte-Concerto of his,
but forgot at the first <i>tutti</i>, that he was a Soloplayer, and
springing up, began to direct in his usual way. At the first
<i>sforzando</i> he threw out his arms so wide asunder, that he
knocked both the lights off the piano upon the ground. The
audience laughed, and <i>Beethoven</i> was so incensed at this dis<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span>turbance,
that he made the orchestra cease playing, and begin
anew. <i>Seyfried</i>, fearing, that a repetition of the accident
would occur at the same passage, bade two boys of the chorus
place themselves on either side of <i>Beethoven</i>, and hold the
lights in their hands. One of the boys innocently approached
nearer, and was reading also in the notes of the piano-part.
When therefore the fatal <i>sforzando</i> came, he received from
<i>Beethoven’s</i> out thrown right hand so smart a blow on the mouth,
that the poor boy let fall the light from terror. The other
boy, more cautious, had followed with anxious eyes every
motion of <i>Beethoven</i>, and by stooping suddenly at the eventful
moment he avoided the slap on the mouth. If the public
were unable to restrain their laughter before, they could now
much less, and broke out into a regular bacchanalian roar.
<i>Beethoven</i> got into such a rage, that at the first chords of
the solo, half a dozen strings broke. Every endeavour of
the real lovers of music to restore calm and attention were
for the moment fruitless. The first <i>allegro</i> of the Concerto
was therefore lost to the public. From that fatal evening
<i>Beethoven</i> would not give another concert.</p>

<p>But the one got up by his friends, was attended with
the most brilliant success. The new compositions of <i>Beethoven</i>
pleased extremely, particularly the symphony in A-Major (the
seventh); the wonderful second theme was <i>encored</i>; and made
upon me also, a deep and lasting impression. The execution
was a complete masterpiece, inspite of the uncertain and
frequently laughable direction of <i>Beethoven</i>.</p>

<p>It was easy to see that, the poor deaf <i>Maestro</i> of the
Piano, could no longer hear his own music. This was particularly
remarkable in a passage in the second part of the first
<i>allegro</i> of the symphony. At that part there are two pauses
in quick succession, the second of which, is <i>pianissimo</i>. This,
<i>Beethoven</i> had probably overlooked, for he again began to
give the time before the orchestra had executed this second
pause. Without knowing it therefore, he was already from ten
to twelve bars in advance of the orchestra when it began the<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span>
<i>pianissimo</i>. <i>Beethoven</i>, to signify this in his own way, had
crept completely under the desk. Upon the now ensuing
<i>crescendo</i>, he again made his appearance, raised himself continually
more and more, and then sprang up high from the
ground, when according to his calculation the moment for the
<i>forte</i> should begin. As this did not take place, he looked
around him in affright, stared with astonishment at the
orchestra, that it should still be playing pianissimo, and
only recovered himself, when at length the long expected
<i>forte</i> began, and was audible to himself.</p>

<p>Fortunately this scene did not take place at the public
performance, otherwise the audience would certainly have
laughed again.</p>

<p>As the saloon was crowded to overflowing and the applause
enthusiastic, the friends of <i>Beethoven</i> made arrangements for
a repetition of the concert, which brought in an almost
equally large amount. For some time therefore <i>Beethoven</i>
was extricated from his pecuniary difficulties; but, arising
from the same causes, these reoccurred to him more than
once before his death.</p>

<p>Up to this period, there was no visible falling off in
<i>Beethoven’s</i> creative powers. But as from this time, owing
to his constantly increasing deafness, he could no longer hear
any music, that of a necessity must have had a prejudicial
influence upon his fancy. His constant endeavour to be
original and to open new paths, could no longer as formerly,
be preserved from error by the guidance of the ear. Was
it then to be wondered at that his works became more and
more eccentric, unconnected, and incomprehensible? It is
true there are people, who imagine they can understand them,
and in their pleasure at that, rank them far above his earlier
masterpieces. But I am not of the number, and freely confess
that. I have never been able to relish the last works of
<i>Beethoven</i>. Yes! I must even reckon the much admired
Ninth Symphony among them, the three first themes of
which, inspite of some solitary flashes of genius, are to me<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span>
worse than all of the eight previous Symphonies, the fourth
theme of which is in my opinion so monstrous and tasteless,
and in its grasp of <i>Schiller’s</i> Ode so trivial, that I cannot
even now understand how a genius like <i>Beethoven’s</i> could
have written it. I find in it another proof of what I already
remarked in Vienna, that <i>Beethoven</i> was wanting in æsthetical
feeling and in a sense of the beautiful.</p>

<p>As at the time I made <i>Beethoven’s</i> acquaintance, he had
already discontinued playing both in public, and at private
parties; I had therefore but one opportunity to hear him,
when I casually came to the rehearsal of a new Trio (D-Major
&frac34; time) at <i>Beethoven’s</i> house. It was by no means an enjoyment;
for in the first place the pianoforte was woefully out
of tune, which however little troubled <i>Beethoven</i>, since he
could hear nothing of it, and, secondly, of the former so admired
excellence of the virtuoso, scarcely any thing was left,
in consequence of his total deafness. In the <i>forte</i>, the poor
deaf man hammered in such a way upon the keys, that entire
groups of notes were inaudible, so that one lost all intelligence
of the subject unless the eye followed the score at the same
time. I felt moved with the deepest sorrow at so hard a
destiny. It is a sad misfortune for any one to be deaf; how
then should a musician endure it without despair? <i>Beethoven’s</i>
almost continual melancholy was no longer a riddle to
me now.</p>

<p>The next thing I wrote after finishing the Cantata, was
a Violin-quartett (the tenth, op. 30 published by <i>Mechetti</i>
in Vienna.) Being very brilliant for the first violin, it was
soon my hobby-horse, and I played it times innumerable
at private parties. Then followed the Octett, in which by
Herr <i>von Tost’s</i> wish, who then contemplated a journey to
England, I took up a theme from <i>Handel</i>, varied, and carried
it out thematically, as he was of opinion it would on
that account excite great interest in that country. I also
played this composition very frequently, in which besides myself
the clarinetist <i>Friedlowsky</i> and the hornist <i>Herbst</i>, and<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span>
another whose name I now forget, found especial opportunity
to distinguish themselves.</p>

<p>In the autumn of 1814, the crowned heads of Europe
and their Ministers assembled in Vienna, and that famed
Congress began, from which the German nations expected to
see the fulfilment of all the promises made to them for their
self devotion. A swarm of idlers and curious poured from
all parts into Vienna, to be present at the splendid festivities,
with which the Emperor was to entertain his guests. Before
the Emperor’s return to Vienna several had already taken
place, which from their magnificence yet more increased the
expectation of what was to follow. At one of these I had
also assisted. It was a grand serenade in the Court-Yard
of the Burg Palace, and was given either to the Emperor
or to Prince <i>Schwarzenberg</i>, I now no longer recollect which.
In the centre of that not very large square, surrounded by
lofty buildings a raised platform was erected for the numerous
personnel of the orchestra and choruses. Upon a balcony opposite
the singers, the Court and State officials were assembled.
The remaining space was filled by a numerous public,
to whom free admission had been allowed.</p>

<p>When I saw the locality, and the assembled crowd which
had increased to thousands, I felt alarmed, for I had promised
to perform a violin-concerto, and now feared, that
my tones would be unheard, and lost in the wide surrounding
space. But to withdraw now, was no longer possible, so I
resigned myself to my fate. But every thing went off better
than I had expected. Already during the overture I remarked
that the high buildings threw back the sounds right well, and
I then came forward with renewed courage. The very first
tones of my solo allayed all my anxiety that the damp night
air would affect my strings, for my violin sounded clear and
powerful as usual. As the public also, during my play, maintained
the most perfect silence, even the finest shades of my
instrumentation were every where distinctly heard. The effect,
therefore, was a very favorable one, and was acknowledged<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span>
by loud and long applause. I have never played before a
more numerous nor a more sympathetic public.</p>

<p>Among the many strangers attracted by the Congress
were several artists, who thought the opportunity a most
favourable one to give concerts in Vienna. In this they very
much deceived themselves. For as all the native artists gave
concerts, these became so numerous and close upon each
other, that it was impossible for all to be well attended!
One that I and my wife gave on the 11. December was an
exception to this, for it attracted a numerous and brilliant
audience. I gave the overture to “Faust,” and it was received
with great approbation. The reviewer of the Musical-journal
says “it increased our desire to see this opera, which has
now been ready a twelvemonth, brought out at last.” Several
lovers of art among the ambassadors and foreign diplomatists
who had heard me play for the first time at my concert, paid
me a visit, and expressed the wish to hear me in a quartett.
This was the cause of my giving several music-parties during
the Congress, and in which I played to those lovers of art
the new compositions I had written for Herr <i>von Tost</i>. I
still recollect with great satisfaction the general delight with
which those productions were received. Certainly, I was supported
also, upon those occasions by the first artists in Vienna,
so that as regards execution nothing more could be desired.
I generally began with a Quartett, then followed with a
quintett, and concluded with my octett, or nonett.</p>

<p>Others also besides me, gave music parties to the visitors
to the Congress, among these my friend <i>Zizius</i> particularly
distinguished himself. All the foreign artists had been introduced
at his house, and at his music parties therefore,
there arose frequently a spirit of rivalry between the native
and foreign virtuosi. I there for the first time heard <i>Hummel</i>
play his beautiful Septett, as well as several other of his compositions
of that period. But I was mostly charmed by his
improvisations in which no other Pianoforte-Virtuoso has
ever yet approached him. I especially remember with great<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span>
pleasure one evening when he improvised in so splendid a manner
as I never since heard him whether in public or in private.
The company were about to break up, when some ladies,
who thought it too early, entreated <i>Hummel</i> to play a few
more walzes for them. Obliging and galant as he was to
the ladies, he seated himself at the piano, and played the
wished for walzes, to which the young folks in the adjoining
room began to dance. I, and some other artists, attracted
by his play, grouped ourselves round the instrument with our
hats already in our hands, and listened attentively. <i>Hummel</i>
no sooner observed this, than he converted his play into a
free phantasia of improvisation, but which constantly preserved
the walz-rhythm, so that the dancers were not disturbed.
He then took from me and others who had executed
their own compositions during the evening a few easily combined
themes and figures, which he interwove into his walzes
and varied them at every recurrence with a constantly increasing
richness and piquancy of expression. Indeed, at
length, he even made them serve as fuge-themes, and let
loose all his science in counterpoint without disturbing the
walzers in their pleasures. Then he returned to the galant
style, and in conclusion passed into a bravoura, such as from
him even has seldom been heard. In this finale, the themes
taken up were still constantly heard, so that the whole rounded
off and terminated in real artistic style. The hearers were
enraptured, and praised the young ladies’ love of dancing,
that had conduced to so rich a feast of artistic excellence.</p>

<p>Among the foreign artists who came to Vienna before
and during the Congress, were also, three of my former
acquaintances, <i>Carl Maria von Weber</i>, <i>Hermstedt</i> and <i>Feska</i>.
<i>Weber</i> played with great success and then left for Prague,
whither he was summoned to direct the opera. <i>Hermstedt</i>
came at a time, when the concerts were so numerous, that
he could not give one of his own. He played, however, with
immense applause at a concert of the flutist <i>Dressier</i>, in
which he accompanied the air with clarinet obligato in “Titus”,<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span>
accompanied and played a pot-pourri of mine which I wrote for
him for the occasion, after a new composition for harp and violin,
that had particularly pleased <i>Hermstedt</i>. Both compositions were
afterwards published; that for the clarinet with quartett-accompaniment
as op. 81 at <i>Schlesinger’s</i> in Berlin, and that for
harp and violin as op. 118 by <i>Schuberth</i> in Hamburgh.</p>

<p><i>Feska</i>, who since I had known him in Magdeburgh, had
become member of the Westphalian orchestra in Cassel, and
now after its dissolution had been made Concert master at
Carlsruhe, had made great progress both as violinist and
composer. His quartetts and quintetts, which he executed in
a pure, accomplished, and tasteful manner, took greatly in
Vienna, and found a ready sale among the publishers there.
One of them began in one of its themes with the notes,
which form the composer’s name:</p>

<div class="figcenter" style="width: 151px;">
<img src="images/zill_c193a.png" width="151" height="78" alt="" />
</div>

<p>This the auditors thought very pretty, and joked the
other composers present, <i>Hummel</i>, <i>Pixis</i>, and me, on account
of our unmusical names. This suggested the idea to me of
making something musical out of my name, with the assistance
of the abbreviation formerly used of the <i>piano</i> into <i>po</i>, and
of a quarter rest, which when written looks like an r. It
was in this form:</p>

<div class="figcenter" style="width: 261px;">
<img src="images/zill_c193b.png" width="261" height="78" alt="" />
</div>

<p>and I immediately took it as a theme for a new violin-quartett,
which is the first of the three quartetts published in
Vienna by <i>Mechetti</i> as op. 29 and dedicated to <i>Andreas
Romberg</i>. When I first played it at my friend’s <i>Zizius</i>, it
met with great applause, and the originality of the theme,
with its descending, diminished <i>Quarte</i>, was especially praised.<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span>
I now called together those who had previously quizzed me
for my unmusical name and <i>shewed</i> them, (for naturally
they had not <i>heard</i> it) the famous thema formed out of my
name. They laughed heartily at my artistic trick, and now
quizzed the more both <i>Hummel</i> and <i>Pixis</i>, who with all their
skill could make nothing musical out of their names.</p>

<hr class="tb" />

<p>Meanwhile many things had changed in my position at
the theatre and in respect to its proprietor. I had openly
broken with Count <i>Palffy</i>. It was brought about by the
following circumstance: One evening, when I entered the
orchestra I saw Herr <i>Buchwieser</i>, the father of the prima
donna, and third orchestra director, had taken <i>Seyfried’s</i> seat.
I observed to him that I alone was charged with the direction
of the orchestra, when <i>Seyfried</i> was prevented coming,
and I therefore requested him to leave it. This he refused
to do, with the remark, that the Count himself had ordered
him to direct the opera, and at the express wish of his
daughter, who preferred singing under his direction. As all
my expostulations were unavailing, and I considered it
beneath my dignity to play the first violin under so obscure
a director, I quitted the orchestra, and returned home. The
next morning I sent in a written remonstrance to the Count
respecting this invasion of right that had been secured to
me in my engagement, and requested, that I might be exposed
to no further repetition of it.</p>

<p>The Count, incited by the <i>Prima Donna</i>, who was very
incensed because I would not lead under the direction of her
father, answered me with rudeness instead of with the
apologies I had reason to expect, and which I replied to
in yet stronger terms. From that moment, the Count and
his creatures studied to annoy me in every possible manner
that my position exposed me to. Added to this, since <i>Palffy</i>
had been so fortunate as to become lessee of the two Court
Theatres, he put his own theatre greatly in the back-ground.<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span>
He took away from it the best singers, and the best part of
the chorus, to incorporate them with the personnel of the
Kärnthnerthor-Theatre; so that “an der Wien”, from that
time, <i>Spectacle-pieces</i>, and low class popular operas alone,
were given. As I was not bound to assist at these, I had
scarcely any thing more to do at the theatre. I could
therefore clearly see, that I should be discharged after the
termination of my engagement.</p>

<p>As now, after Napoleon was vanquished and banished
to Elba, a general European peace seemed in perspective,
and that I greatly desired to set out as soon as possible
on my long projected artistic tour through all Europe; I
made a proposition to the Count to cancel our agreement
on the expiration of the second year, and demanded as
compensation the half of my salary for the third year,
paid down in <i>one</i> sum. He readily consented to it, and
so we parted in peace. I now hastened to make every preparation
in order to be enabled to commence my journey
in the spring. I contemplated first, to travel through Germany
and Switzerland to Italy, whither I had long ardently
desired to go. As I purposed taking my children with me,
foreseeing that their mother would not be able to separate
from them for so long a time without pining to death;
I was first of all obliged to provide myself with a larger travelling
carriage to hold us all, with the instruments. The
difficulty was to build one for this purpose, sufficiently light
of draught for three posthorses. I conferred upon this therefore
with Herr <i>Langhaus</i>, the clever machinist at the theatre
“an der Wien”, and afterwards director of public buildings
in Berlin, who made a drawing of the design suggested in
our conference, according to which the carriage should be
built. It had a solid roof, upon which were packed the leather
covered harp-case, and a trunk for linen. The violin-case was
stowed in a boot under the coachman’s seat, so that the whole
space in the interior of the vehicle remained for the travellers.</p>

<p>In my relations with Herr <i>von Tost</i>, also, a serious<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span>
alteration had taken place. After the settlement of our
earlier account, which was effected by the delivery of the
Cantata “<span lang="de" xml:lang="de">Das befreite Deutschland</span>” I had delivered again,
four manuscripts, the octett, two quartetts and a second
quintett, without receiving the agreed price. At first I had
argued no ill of this delay in settlement. But when it became
suddenly reported in the city, that the wealthy Herr
<i>von Tost</i> had sustained severe losses, and was on the point
of bankruptcy; that he no longer called upon me, and even
failed to appear at a musical-party where I played one of
his manuscripts, but sent the portfolio instead of coming;
the matter looked dubious. I therefore took back to him the
portfolio myself, in order if possible, to come to a clear
understanding with him at the same time. I found the otherwise
so jovial man very much depressed in spirits. He confessed
to me his position without reserve. It was, he said, extremely
painful to him, to be unable to fulfil his engagements
with me; but as his plans for the future were unsettled if not
quite destroyed, he would forthwith return all my manuscripts
to me before the expiration of the stipulated time, so
that I might sell them as soon as possible to a publisher.
For the loss I might thereby sustain, he was willing to indemnify
me with a bill for one hundred ducats, which as
soon as his affairs had assumed a more favourable aspect,
he would honourably meet. Upon this he fetched the whole
of the manuscripts and handed them to me. I, who considered
that Herr <i>von Tost</i> had amply compensated me for
the short time he had them in his possession, by the costly
furniture he had bought for me, and reckoned at so low an
estimate, was quite satisfied with the return of my manuscripts
and refused all further indemnification. However, as I
perceived that Herr <i>von Tost</i> felt hurt by this arrangement,
I took the bill, well knowing that from my contemplated
departure from Vienna its early liquidation was not to be
thought of.</p>

<p>I now sold the whole of the returned manuscripts to<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span>
two Vienna publishers, and from their having acquired a
great celebrity by their frequent performance, I received a
considerable sum for them.</p>

<p>At the commencement of the year 1815, I wrote another
Quartett, in C-major (No. 2 of the op. 29) and a new violin
Concerto (the seventh, op. 38) as also Variations, which remained
unpublished, for use upon the coming journey; the two
last of these compositions I played at my farewell-Concert
on the 19. February 1815. Respecting this last concert I
gave in Vienna, the Musical journal spoke very favourably.
Of the newest violin concerto (E-minor, C-major, E-major)
it says: “Very difficult for the solo player as well as for
those who accompany. A splendid, perfect composition; a
fine flowing cantabile; striking modulations, replete with bold
canonic imitations, an ever new, charming and happily calculated
instrumentation. The melting <i>adagio</i> is especially captivating.”
In conclusion it says: “As to the merits of this
masterly artist, both here and throughout Germany there is
but <i>one</i> opinion. We yet remember with lively satisfaction
the triumph, which he achieved two years ago over his rival,
the great <i>Rode</i>. He is now about to leave us upon a grand
artistic tour. He first proceeds to Prague, where his new
opera “Faust” is now being studied.... May he, who by
his talent and his open, manly character has left an honourable
memorial of his worth in our hearts, meet always, and
every where with success!”</p>

<p>I at that time really had the intention of going first to
Prague, to be present at the production of my opera, which
was being studied under <i>Carl Maria von Weber</i>. But I
afterwards abandoned that plan. I had in fact received a
letter from my former Intendant Baron <i>von Reibnitz</i> at
Breslau, wherein in the name of a family of his acquaintance
that of Prince <i>von Caroluth</i>, he asked me if I would feel
disposed to pass the summer months with them at their seat,
<i>Caroluth</i>, in Silesia? The Princess was very desirous, that
her two daughters, one of whom played the harp, the other<span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span>
the pianoforte, should receive instruction in music from my
wife. They would endeavour to make the stay of myself
and family at their charming castle as agreable as possible.
He, the Baron had been invited also, and would be extremely
pleased if I would accept the invitation, so that he
might again pass some time with me.</p>

<p>As the spring and summer were any way but little
favourable seasons of the year to give concerts, and that
<i>Dorette</i> and the children anticipated much pleasure from the
stay at Carolath, I readily assented. I therefore hastened
the preparations for our journey, in order to avail ourselves
of the opportunity to give a few concerts at Breslau and in
its neighbourhood, before the fine season had set in. The
next thing was to effect the sale of our furniture and household
chattels, which was very speedily done, for immediately
upon the announcement of the sale, a host of purchasers presented
themselves. As our furniture was very elegant, and
withal nearly new, the purchasers bid warmly against each
other, and we therefore realised a sum far beyond our expectation.
This as well as my Vienna savings, which were
still in paper currency, I now took to a banker’s and changed for
gold. Scarcely had I done this when all Vienna was alarmed
by the intelligence that Napoleon had escaped from Elba,
landed in France, and been hailed with the greatest joy. The
rate of exchange fell suddenly so low, that if I had delayed
the conversion of my paper into specie but <i>one</i> day more,
I should have suffered a loss of more than fifty ducats.</p>

<p>When first contemplating my grand tour through Europe,
the idea struck me, also, of commencing an album, in which
I purposed making a collection of the compositions of all
the artists whose acquaintance I might make. I began immediately
with the Viennese, and received from all the resident
composers of my acquaintance, short, autographic works
written for the most part expressly for my album. The most
valuable contribution to me, is that of <i>Beethoven</i>. It is a Canon
for three voices to the words from <i>Schiller’s</i> “<span lang="de" xml:lang="de">Jungfrau von<span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span>
Orleans</span>”: “<span lang="de" xml:lang="de">Kurz ist der Schmerz, und ewig währt die Freude</span>.”
It is worthy of remark, in the first place, that <i>Beethoven</i>
whose handwriting, notes as well as text, were usually almost
illegible, must have written this page with particular patience;
for it is unblotted from beginning to end, which is the more
remarkable, since he even drew the lines without the aid of
a ruler; secondly, that after the falling in of the third voice
a bar is wanting, which I was obliged to complete. The
pages concluded with the wish:</p>

<p>May you dear <i>Spohr</i> where ever you find real art, and
real artists, think with pleasure of me, Your friend.</p>

<p class="sig">
<i>Ludwig van Beethoven.</i>
</p>

<p>Vienna March 3. 1815.</p>

<p>Upon all my subsequent travels I received contributions
to this album, and possess therefore a highly interesting collection
of short compositions from German, Italian, French,
English and Dutch artists.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p>

<hr class="tb" />

<p>On the eve of taking leave of Vienna, I yet think I must
recall some further incidents of my stay there, which hitherto
I have had no opportunity of relating. First, in respect of
my orchestral duties. These were sometimes very onerous
for me; the same piece being frequently represented twenty
or thirty nights in succession. This happened not only with
two of <i>Mozart’s</i> operas “Don Juan” and the “<span lang="de" xml:lang="de">Zauberflöte</span>”,
which during my engagement were brought out with a new
distribution of characters and with a very brilliant <i>mise en
scene</i>; but, also, with a ballet, which during the Congress
was repeated an innumerable number of times, and in which
I had to play violin soli’s. What its name was, I no longer
recollect, but that the celebrated dancers <i>Duport</i>, and mesdames
<i>Bigottini</i> and <i>Petit Aimée</i>, whom Count <i>Palffy</i> had
sent for from Paris, danced in it. It is true, I did not play<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span>
those soli’s unwillingly, upon their own account, for the
audience always listened with the greatest attention, and were
profuse in their applause of me; but it annoyed me that I
was obliged to measure my <i>tempi</i>, by the steps of the dancers
and that I could not lengthen at pleasure my closes and
cadences, as the dancers were unable to sustain themselves
so long in their groupings. This gave rise therefore to many
bickerings with the ballet master, until at length I learned
compliance. I endeavoured to sweeten the monotony of my
duties in some degree by always enriching and ornamenting
my soli performances. This I did especially with the troubadour
in “John of Paris” for whom a <i>pas de trois</i> was introduced
in that ballet. As in the opera of that name, there
were three strophes, the first of which had to be executed by
the horn, the second by the violincello, and the third by the
violin, I at first ornamented my strophe in a very vocal
style. But as I remarked, that the <i>Prima Donna</i>, demoiselle
<i>Buchwieser</i> at the next representation had borne them well
in mind, sang them, and obtained great applause for them,
this so annoyed me, as I could not bear the singer, that I
thenceforth ornamented them in a style she could not imitate
with her voice.</p>

<p>Besides the two above mentioned operas of <i>Mozart</i>, I
experienced a third ordeal in a new popular-opera, with
music by <i>Hummel</i>, which by a singular chance such as will
assuredly never occur again, went through a long succession
of nightly representations. It was called “Princess Eselshaut”
and as far as the author’s text, was so wretched a piece of
patchwork, that in spite of the pretty music of which five or
six of the Numbers were received with great applause, it was
at the conclusion unanimously hissed. This according to
Vienna custom at once consigned it to the tomb. <i>Hummel</i>
who conducted, had, already, quite resignedly expressed himself
to me, who in honour of him led as first violin. “Another
pure labour in vain!” But on the following evening when
another piece was to have been announced, it could not be<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span>
given, owing to the illness of several of the performers in
the opera and play, and the manager was therefore obliged
to repeat the condemned opera though at the risk of exciting
an uproar in the theatre. On that evening nevertheless,
just on account of the anticipated tumult, the theatre was
crammed to excess, and the piece was hissed at the end of
each act, and again at the conclusion. But the musical pieces
met with more applause than on the first night, and at the
fall of the curtain when the hissing had ceased, the composer
was even called for, and greeted with vehement applause.
As the indisposition of the invalids still continued, a third
trial of it was obliged to be made, which went off nearly
like the former one. Yet was the opposition against the
piece much less, and the music obtained more friends than
ever. Thus it could be continued with confidence, and on
the succeeding nights it again found new friends in sufficient
number. At length it became the fashion to go and hiss the
piece, and praise the music. <i>Hummel</i> took speedy advantage
of this, and published a piano-forte arrangement of the most
favorite Numbers, which had a rapid sale. So it was no “labour
in vain” after all, as he had feared on the first evening!</p>

<p><i>Pixis</i>, was not so fortunate with his opera, the “<span lang="de" xml:lang="de">Zauberspruch</span>”.
That was swamped by the badness of the libretto,
nor could the music keep it above water, although it had,
also, many successful “numbers.” It was the occasion for the
display of a bit of real Viennese wit. A friend of the composer,
not having been able to see the first representation of
it, enquired of another who had been present “Well what
do you think of the opera of <i>Pixis</i>?”&mdash;“Nix is!” was
the reply.</p>

<p>I may here relate another of my Vienna recollections,
since it is one of those which make a deep impression and
therefore do not so easily fade from the memory. It was an
unusually great inundation, such as occurs once only in
every century, occasioned by the overflowing of the little
river “<span lang="de" xml:lang="de">die Wien</span>” on the banks of which my house was<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span>
situated. On that occasion it was so great from the simultaneous
overflowing of the Danube, which would not allow
the waters of the “<span lang="de" xml:lang="de">Wien</span>” an outlet. I had not observed
the commencement of the inundation, being engaged at a
rehearsal at the theatre. After it was over, I found the street
leading to my house already flooded, and I saw that I must
use all haste to be enabled even to wade through it.</p>

<p>Nevertheless I first fetched my violin-case out of the
orchestra, as I foresaw that, also, would be laid under water.
By this time the flood had risen so high that in some places
the water reached above my knees. I found my family in
the greatest consternation and the other inmates of the house
still more so. My landlord, the cabinet-maker, with his
family, were already hurrying up past my floor to the top
of the house, and endeavouring to secure a dry stowage for
their effects, in the loft. He had need to hasten; for the
water rose so fast, that in a few hours it almost reached to
the first floor. The terrified inhabitants of the suburb had
now a scene before them such as they had never before beheld.
The rushing waters swept by, bearing along with them
articles of every description commingled in the strangest
confusion. Implements of husbandry, carts laden with hay or
wood, the wreck of stalls and stabling, dead cattle, and even
a cradle containing a screaming infant, which, however, was
happily rescued by a boat. The owners of the houses, furnished
with long poles, were exerting themselves to keep off the
objects as they floated by, so that they might not damage the
walls of the houses, others on the other hand provided with
boat hooks, endeavoured to lay hold of the furniture and
other household chattels in order to save them, and pull them
up into the windows for security. Some hours afterwards,
when such like articles had ceased to float past, boats made
their appearance laden with provisions, which were readily
bought up by the inhabitants of the flooded streets. Other
boats towards evening brought the employés and men of
business from the city to their dwellings, and anxiously ex<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span>pecting
families. As the rain also poured down in torrents,
the inundation still continued at the same height, and even
at night fall there was no perceptible decrease of the waters.
So long as it remained light, the scene afforded great diversity
of interest, but when night came it was fearful to behold.
The roar of the waters, and the howling of the storm
forbade all thought of repose; nor was it advisable to retire
to rest, as no one knew what might yet occur. I therefore
laid my children near me on my sofa with their clothes on,
and as <i>Dorette</i> had soon fallen asleep beside them, I sat
down to my work, a new song-composition, in order to resist
sleep more effectually. In this I succeeded. But my zeal at
composition led me several times to the piano, which the
family of my landlord who passed half the night in the floor
above me upon their knees in prayer, took in very great
dudgeon; for on the following morning the nurse-maid informed
me, that the wife had bitterly exclaimed: “That Lutheran
heretic will bring yet greater misfortune upon us with his
unchristian singing and playing.” But the night passed without
further misfortune, and by day-break the water had greatly
decreased. Nevertheless, it was evening before it had sufficiently
subsided to admit of again traversing the streets on
foot. But the “Theatre an der Wien” remained closed for
eight days, for it required that time before all traces of the
inundation could be removed.</p>

<hr class="tb" />

<p>After a sorrowful parting from dear Vienna, where we
had passed so many happy days, I set out with my family
upon our great journey on the 18. March, 1815. My brother
<i>Ferdinand</i> whose engagement at the “Theatre an der Wien”
was to last for another year, remained alone behind. After
its expiration, he obtained an appointment in the Royal
Orchestra of Berlin.</p>

<p>Our first resting place was at Brünn, where we gave a
concert. How it succeeded, I no longer remember, but I<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span>
well recollect, that I was very dissatisfied with the orchestral-accompaniment.
In respect to that, of course my excellent
orchestra in Vienna had accustomed me to a very different
style of performance.</p>

<p>From Brünn we went to Breslau, where in April we
also gave two concerts; but they were not well attended.
The unsettled state of the public mind arising from the recommencement
of hostilities and from the great sacrifices
entailed upon each individual by the contributions required
of them, was in truth then so general, that a more unfavourable
time to give concerts could not well have presented
itself. But in so musical a city as Breslau, even in that
period of warlike commotion, there was no dearth of zealous
musical amateurs, to whom music was a necessary of life.
I was therefore frequently invited to private circles, in which
I had an opportunity to perform my Vienna compositions of
Herr <i>von Tost’s</i> portfolio. They met with a brilliant reception,
particularly the two Quintetts, which I was frequently
obliged to repeat. At the earnest wish of my friend <i>Schnabel</i>,
director of the Cathedral-orchestra, I wrote an Offertorium for
a Solo-soprano voice and chorus, with violin obligato and
orchestra, which, as is shewn by the catalogue of my compositions
was performed in the Cathedral on 16. April, and
where I took the violin-part. As I left behind me there the
original score, and have never seen it since that time, I am
unable to say whether the composition has any merit. Probably
it is still to be found in the library of the cathedral.</p>

<hr class="tb" />

<p>On a fine evening in the spring, I arrived with my family
at Carolath. As we had to pass over a small river near the
castle, in a ferry-boat, our arrival was perceived before hand.
We therefore found upon driving into the Castle-court, the
whole of the Prince’s family assembled at the foot of the
steps, and were welcomed by them in the most friendly
manner. The prince himself led us to the apartments assigned<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span>
to us. After we had changed our dress we were summoned
to the supper-table. The Prince, a somewhat ceremonious but
friendly and well meaning man from fifty eight to sixty years of
age received us at the entrance of the dining-room, and introduced
us to the other guests. They consisted of the Princess
his second wife, her sister, a lady passionately fond of poetry
and music, his two daughters by his first marriage, amiable
maidens of fifteen and seventeen years of age, and their tutor,
Herr <i>Kartscher</i>, a young man of polished manners. The conversation
at table was with the exception of the somewhat antiquated
formality of the Prince, both free from restraint
and lively, and convinced me that I was in a high bred
circle having a sympathy for all that was beautiful. <i>Dorette</i>
was also very pleased with the conversation of her neighbours
the Prince and his sister-in-law, and the children in whom
the young ladies had interested themselves in the most friendly
manner, were also extremely happy. Our whole family looked
forward therefore to a pleasant residence at the castle.</p>

<p>On the following day, the regulations were forthwith
adopted for the subjects and hours of study, which with few
exceptions remained unchanged during the whole time of our
stay. In the forenoon, while <i>Dorette</i> gave instruction to the
Princesses, the eldest on the harp, the youngest on the piano,
I also gave the first music lessons to my children. Afterwards
they were permitted to participate in the lessons given
to the Princesses by their tutor, and he was so good as to
adapt his instruction as much as possible to the capacities
of the children. Meanwhile, my wife and I occupied ourselves
with our own musical-studies, or I composed. As the members
of the Prince’s family were very fond of singing, this was inducement
sufficient to me to write two small books of songs, the
text of which was furnished by the sister of the Princess from
her large collection of poetical pieces. Among these were
also some poems of Herr <i>Kartscher</i>. Both volumes were published
by <i>Peters</i> of Leipsic as op. 37, and 41. When the studies
of the forenoon were terminated, a careful toilette was made<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span>
by all, to appear at the dinner-table, as it was always the
custom with the Prince’s family to dine <i lang="fr" xml:lang="fr">en parure</i>, or full
dress. The remainder of the day was devoted to social intercourse
and amusements. When the weather was fine, coffee
was served in the castle garden, and towards evening an excursion-drive
was made into the neighbouring environs. A
farm belonging to the Prince was a frequent object of our
visit, and either there or in the woods around it we frequently
partook of a rustic supper. At other times when the weather
was overcast, or that visitors came from neighbouring parts,
we had music in the evening. As soon, however, as Herr
<i>von Reibnitz</i> arrived as guest at the Castle, an attempt at
Quartett music was made. The old valet of the Prince who
in his younger days had played the violincello, was then
summoned to produce his instrument, the schoolmaster of the
village his viol, and Herr <i>von Reibnitz</i> took the second violin.
Unfortunately I had no other Quartetts with me, than my
own, which were certainly never written for <i>such</i> performers.
The first attempt therefore was very discouraging. But as
the others evinced much zeal, I was not wanting in patience
and endurance; and by dint of several rehearsals I succeeded
so far as to enable me to let the company hear two of my
quartetts. They were not so well accustomed to enjoyments
in art as not to receive their performance with great approbation.
A polonaise also, which I then wrote (op. 40, published
by <i>Peters</i>) pleased greatly, and soon became a frequently
requested and favorite piece with the company, perhaps, merely,
because they had seen it composed. After I and my
family had passed the first two months of our residence in
Carolath in this sufficiently pleasant though somewhat uniform
manner, the Prince announced one day at dinner with some
solemnity, that he would be obliged to leave his dear guests
for one day, as it was his custom every year on the 24. June
to proceed to Glogau, to be present at the Freemason’s festival
of St. John. This induced me upon rising from table to make
myself known to him as a brother Mason, which so agreably<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span>
surprised the Prince that he immediately invited me to accompany
him on the journey. I have forgotten to relate that
I had already become a freemason in Gotha, had there received
after the expiration of a year the second degree of the
order, and a year later on a journey to Berlin, the third, of
master-mason. But as in Austria, freemasonry was prohibited,
and that for two years and a half I had frequented no lodge,
I longed to assist once more at a meeting of the brothers.
The Prince’s invitation to accompany him to Glogau came
therefore very opportunely. Grand preparations were forthwith
made. The great travelling carriage emblazoned with
the Prince’s armorial bearings was drawn out of the coach-house,
and cleansed from dust; a Jäger, and another servant
had squeezed himself into the state livery, and the
Prince himself made his appearance for the first time in
state-uniform, with his star upon his breast. We set out
early on the morning of the 24. Arrived at the lodge, the
Prince was received and welcomed by a deputation, and his
guest, also, after having testified his prerogative, was greeted
as a brother in the most friendly manner. After the meeting
of the work-lodge, a splendid dinner-lodge followed, in
which I joined the musical brethren, directed their singing,
and myself, sang with my powerful bass voice some mason’s
songs and the “<span lang="de" xml:lang="de">Heiligen Hallen</span>” from the “<span lang="de" xml:lang="de">Zauberflöte</span>.” Among
the musical brothers I found several acquaintances of my
earlier travels through Silesia, who eagerly sought to honour
me with their attentions.</p>

<p>The chairman, also, welcomed the “renowned craftsman”
to the circle of brothers, and thanked the Prince for having
introduced him. The Prince seemed greatly pleased to find
the honours paid to his guest, redound to his own, for on
his return to Carolath he redoubled his already great attentions
towards me and my family, so that we were even
frequently embarrassed by them.</p>

<p>After a further highly agreable stay of from six to eight
weeks, we resumed our journey through Dresden and Leipzic<span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span>
to Gotha. Returned thither after an absence of nearly three
years from her home, <i>Dorette</i> felt so happy, that I could not
think of leaving it for some time. I therefore settled down
quietly for a few months, and only made a few short excursions
in the neighbourhood. The first was to my parents
at Gandersheim, where my father had in the meanwhile been
transferred as District-Physician, and from thence to Hanover,
where I gave a concert. The second was to Frankenhausen,
where <i>Bischoff</i> got up another musical festival.</p>

<p>Here begins one of my diaries which I continued without
any break off up to my return from Italy. The title is
“Passing Remarks, during a Musical-tour” and the work
begins:</p>

<p>
<i>Frankenhausen</i>, Oct. 19. 1815.
</p>

<p>...... “In Hanover we made the interesting acquaintance
of the <i>Violinist</i>, and the highly uninteresting one of the <i>Man,
Kiesewetter</i>. As violinist he is distinguished for a powerful
very pure, and even feeling style of play, without however
as it seems to me, a true feeling for the beauties of art; as a
man, he is the most inflated wind-bag, that I ever met! He
conducted in our concert on the 11. October, but without
certainty and foresight.</p>

<p>“After a pause of three years, the musicians of Thuringia
have again assembled here, for the purpose of celebrating
after the speedily terminated war, the now complete emancipation
of Germany, upon the anniversary of the Leipsic
“Battle of the Nations”, in a manner worthy of the musical
science. This day, the first of the musical festival, the performance
of my Cantata “<span lang="de" xml:lang="de">Das befreite Deutschland</span>” and the
“Te Deum” of Gottfried <i>Weber</i>, took place. As it would not
beseem me as composer to express an opinion of my own
work, we will here alone speak of its performance. The solo-parts
were throughout not well distributed, for which reason
the arias and <i>ensemble</i> parts produced the least effects. But
the chorus and the orchestra were excellent, and therefore
the overture and collective choruses produced a great sensa<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span>tion.
The double chorus of the flying French and that of the
pursuing Russians followed by the Prayer of thanks of the
German peoples, and the concluding chorus with the fuge,
pleased the most. I again experienced that in a spacious
locality, and with a numerous orchestra and chorus, the most
simple subjects when written in a worthy and noble style
produce the greatest effects; that on the other hand, a richness
of figures in the instrumentation, and a rapidly changing
sequence of harmony are, there, by no means in their proper
place. The <i>Te Deum</i> of <i>Gottfried Weber</i> which had been
greatly extolled in favourable reviews of it in the public
journals, did not quite fulfil my expectations. It betrays too
much that, it was not the production of a moment of inspiration,
but rather of cold speculation. The very commencement
is a straining after effect, and as introduction to a <i>Te Deum</i>,
certainly very unsuited. To what purpose the long roll of
the kettle-drums that sounds like a passing peal of thunder?
And then, above all, the ensuing flourish of four trumpets and
sackbuts, like that with which cavalry draws up on parade?”</p>

<p>
October, 20.
</p>

<p>“On the second day, a miscellaneous Concert took place
in the following order: A Symphony of <i>Mozart</i> (C-Major)
executed with spirit and precision, its effect was ravishing!
To-day I became convinced that in a spacious <i>locale</i>, and
with a powerfully appointed orchestra, the four themes of
the concluding fuge, at the part where they combine to form
the finale, can be right well understood by a practised ear.
If, hitherto, this part appeared to me more scientific than
effective, I was this day convinced of my error. 2<sup>dly</sup> a
violin-Concerto (E-Minor) my own. To-day, I again became
convinced, that, the masses are far more taken with the skilful
and brilliant execution of the virtuoso, than by the merit
of the composition. All were delighted with my play, and
but few adverted as well to the composition. 3<sup>dly</sup> an Italian
air with chorus, by <i>Paer</i>, sung by Herr <i>Strohmeyer</i>. This<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span>
aria from an Oratorio called “<i lang="fr" xml:lang="fr">La Religione</i>” is written in so
unecclesiastical a style, that with a change of the text it might
be converted into a right good <i>Opera buffa</i>. During the
time that the impersonation of Religion (who certainly might
with much more propriety, sing soprano, instead of bass)
executes the most common place operatic melodies, shakes
and throat-tearing bounds, the chorus screams now and then
<i>unisono</i>, and <i>fortissime</i>, <i>Santa! Santa!</i> between; just as a
robber-band would call out to travellers the “Stand! your
money or your life!” As this aria gave Herr <i>Strohmeyer</i>
an opportunity to display his fine and powerful voice as well
as his skill in its management, it was received with great
applause. 4<sup>thly</sup> an <i>Adagio</i> and Potpourri of mine for the
clarinet, played by Herr <i>Hermstedt</i>, likewise very favorably
received. Yet I found, and several other musicians were of
the same opinion, that, though <i>Hermstedt</i> constantly made
more progress in the technics of his instrument, he did
not devellope his taste in the same degree. His execution
has somewhat of a mannerism that borders on caricature.
5<sup>thly</sup> a patriotic song on the melody of “God save the king”
with orchestral and organ accompaniment by <i>Methfessel</i>. The
public to whom the words had been distributed, joined in.”</p>

<p>Poor <i>Bischoff</i> did not find his account in this third
Frankenhausen musical festival. The reason of the deficit in
the receipts was doubtless the quartering of Russian troops
in the neighbourhood, which kept both the town and country
residents from attending the festival. As <i>Bischoff</i> was not
in a position to cover this deficit from his own means, the
musicians who had assisted, agreed, upon my proposition, to
defray their own expenses of the journey both ways, and to
collect the necessary sum by a concert to be given on their
return home. To that effect I also gave one at Gotha on
the 28. October, in which <i>Andreas Romberg</i> who since two
years had been director of concerts there, supported me in
the most friendly manner.</p>

<p><span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span></p>

<p>
<i>Gotha</i>, October, 29.
</p>

<p>My intercourse with <i>Andreas Romberg</i>, the educated and
reflective artiste, afforded me again many hours of rich enjoyment.
But I again found that he performs his compositions
in an indiscribably cold and dry manner, as though he himself
did not feel the beauties they contain! He played several
of his Quartetts, which I had long admired, because I had
frequently heard them played by others, and have myself
played them; but the soul which they so plainly bespeak,
and which every violinist by whom I have heard them played
till now has rightly seized, seems to have remained unknown
to him, for in his execution of them, no trace of it was to
be discovered! It struck me as remarkable, also, that his
predeliction leaned more especially to those which seemed to
me the weakest. But I was yet more astonished that he often
takes his tempi, according to my feeling, false, and thereby
frequently spoils their effect; for I almost invariably found
the Allegro’s too slow, and the Adagio’s too fast.</p>

<p>
<i>Meiningen</i>, October, 31.
</p>

<p>We gave a concert here to-day, at which the Dutchess
and the whole Court were present. Herr <i>Wassermann</i>, one
of the cleverest of my former pupils, played my Concertante
with me.</p>

<p>
<i>Wurzburg</i>, Nov., 10.
</p>

<p>I made here the acquaintance of two known artistes,
that of Herr <i>Fröhlich</i>, and of <i>Witt</i>. The former, Professor at
the University, lectures on æsthetics and is in many respects
a highly talented artist, as well as a zealous contributor
to the Musical journal. As a critic he appears tolerably
conscientious, but I remarked, that he also, like many other
reviewers, writes opinions upon works without having the score
before him. He that knows how difficult it is even with the
aid of the score, to acquire a knowledge of a work from
merely reading it, must be greatly astonished that these gentlemen
will commit such an oversight, and merely place the
separate voices side by side, and alternately cast their eyes<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span>
on each. In a work of many voices, the perusal of the score
is not alone sufficient, to enable a correct judgement to be
pronounced; it is necessary also to have heard it, and well
performed too!.....</p>

<p><i>Witt</i> is Concert-master of the formerly grand-ducal
Court-orchestra, which as well as the <i>personnel</i> of the singers
of the Castle-church, after the acquisition of the grand-duchy
by Bavaria are still continued in pay as formerly, and have
remained up till now at their full complement. It is kept
in good play-practice, and accompanied me to my full satisfaction
in the concert we gave on the 7. November. I experienced
much pleasure also from the performance of one
of <i>Haydn’s</i> masses in the Castle-church, which was excellently
executed under <i>Witt’s</i> direction. Herr <i>Witt</i> let me hear on
the piano, his oratorio, “<span lang="de" xml:lang="de">Die vier Menschenalter</span>” (“The four
ages of man”). As he played badly, and if possible sung
still worse, it would be premature in me, from what I heard
and read after him of the score, to give an opinion of the
effect the work would produce when performed. Yet it
seemed to me somewhat common-place, and here and there,
almost trivial. Nevertheless, the fuges and some other “Numbers”
written in the severe style showed great skill in counterpoint.</p>

<p>
<i>Nürnberg</i>, Nov., 16.
</p>

<p>Music appears very little cultivated in the ancient Imperial
city, for the orchestra here is remarkably bad. At our concert
yesterday, there was it is true both a numerous audience
and no want of applause of our performance, but every thing
accompanied by the orchestra was totally spoiled by it.</p>

<p>To render my diary complete, I must here add that,
in Nürnberg, young <i>Molique</i>, then about fourteen years of
age introduced himself to me, and requested me to give him
instruction in music during my stay in Nürnberg; this I
readily assented to, for the lad already then gave evidence of
very uncommon talent for his years. As <i>Molique</i>, since that
time, by an assiduous study of my violin-compositions formed<span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span>
himself more and more upon my model in style of play, and
therefore called himself <i>Spohr’s</i> pupil. I have mentioned this
circumstance in a supplementary manner.</p>

<p>
<i>Munich</i>, Dec., 12. 1815.
</p>

<p>Our stay here afforded us much artistic enjoyment. Already
on the day after our arrival we were present at an interesting
concert, the first of the twelve winter-concerts given
every year by the royal orchestra upon their own account.
These concerts are very numerously attended, and merit it
in a high degree. The orchestra consists of the simple harmony,
twelve first, twelve second-violins, eight viols, ten
violincelli and six double-basses. The violins and basses are
excellent, and the wind instruments, also, up to the horns.
At every concert, a <i>whole</i> Symphony is performed; (which is
the more praiseworthy, from its becoming unfortunately daily
more rare, and that the public for that reason are losing
more and more the taste for that noble kind of instrumental-music);
then an overture, two vocal, and two concert pieces.
As the Court-orchestra of Munich still maintains its ancient
repute as one of the first in the world, my expectation was
greatly on the stretch; yet was it far exceeded by the execution
of <i>Beethoven’s</i> Symphony in C-Minor, with which this
first concert was opened. It is scarcely possible, that it could
have been performed with more spirit, more power, and at
the same time with greater delicacy, as also, throughout, with
a closer observance of all the shades of forte and piano! It
produced therefore a greater effect, also, than I had beleived
it capable of, although I had already frequently heard it,
and even under the direction of the composer himself in Vienna.
Nevertheless, I found no reason to retract my former opinion
respecting it. Though with many individual beauties, yet it
does not constitute a classical whole. For instance, the introductory
theme of the very first passage is wanting in that
dignity which according to my feeling the commencement of
a Symphony should of a necessity possess. Setting this aside,
the short and easily comprehended theme, certainly permits<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span>
of being carried out very thematically, and is combined
also by the composer with the other principal ideas of the first
subject in an ingenious and effective manner. The <i>Adagio</i> in
<i>as</i> is in part very fine, yet the same passages and modulations
repeat themselves much too frequently, and although
always with richer ornamentation, become in the end wearisome.
The <i>Scherzo</i>, is highly original, and of real romantic
colouring, but the <i>Trio</i> with the noisy running bass is to my
taste much too rough. The concluding passage with its unmeaning
noise, is the least satisfactory; nevertheless the return
to the <i>Scherzo</i> at this part is so happy an idea, that the
composer may be envied for it. Its effect is most captivating!
But what a pity that this impression is so soon obliterated
by the returning noise!</p>

<p>In this first concert we heard also Herr <i>Rovelli</i>, a young
and but recently engaged violinist, in a Concerto in C-Minor
by <i>Lafond</i> which is excellent, and was executed to the satisfaction
of all. This young artist, a pupil of <i>Kreutzer</i>, combines
with the chief excellencies of the Parisian school that which
is usually wanting with pupils, viz, feeling and peculiar taste.
The chief points of excellence in that school consist in a
careful study and development of the Technics of the instrument,
in which, however, the real cultivation of art is very frequently
neglected. This, nevertheless, is not the case with Herr <i>Rovelli</i>;
for he reads well from the sheet, and knows how to accompany,
as I afterwards had an opportunity of proving when
playing my quartetts.</p>

<p>Madame <i>Bamberger</i> from Würzburg, of whose fine second-tenor
voice and good school, I had there already heard spoken
of in such praise, sang in the concert, but appeared nervous,
which was probably the reason why she took breath so frequently,
and rendered the tones so imperfectly.</p>

<p>In the second subscription-concert, we heard Herr <i>Flad</i>,
who performed an hautboy-concerto in a very brilliant manner.
He has a very fine tone, and a very tasteful execution. Herr
<i>Legrand</i>, on the other hand, who played <i>Romberg’s</i> violincello-concerto<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span>
in E-Minor, seems to me to be already going down
hill, for his play is wanting both in power of endurance, and
in sure, and pure intonation. An overture from the Romeo
and Juliet by <i>Steibelt</i>, does not reach beyond common-place.</p>

<p>In the third subscription-concert, my Symphony in E-Major
was exceedingly well performed under the spirited yet circumspect
direction of Herr Concertmaster <i>Maralt</i>, and made more
effect here than in Frankenhausen, where I had heard it for
the first time four years ago. Herr <i>Franzl</i> director of music,
played his old violin-concerto in C-Major with Turkish-music.
Its composition is in the namby-pamby taste of <i>Pleyel’s</i> time,
and will never suit the taste of the present day. His play
is just as antiquated, and retains of its former excellence
nothing but its vigour, but which now carries him frequently
away into an indistinctness and want of purity in intonation.
Although this was the case to-day, also, yet he was applauded
like mad. This might have impressed a stranger with an
unfavourable opinion of the taste of the people of Munich,
had it not been evident, how well a small party of his personal
friends knew to carry away the public by an uproarious
clapping of hands, and a vigorous shouting of bravo. Though
it certainly may be conceded to an artist who excelled in
former times, that he should still meet with applause in later
years, yet this may readily mislead him to overstep the period
when he should cease to appear in public.</p>

<p>In the fourth subscription-concert, I played with Herr
<i>Rovelli</i>, my Concertante, in satisfaction of the expectation that
every foreign artist who desires to be supported in his own
concerts by the royal orchestra, is in duty bound to play in
one of the subscription-concerts. I never heard my Concertante
to better advantage. Herr <i>Rovelli</i> had practised his
part with the greatest attention and played in a masterly
manner. The accompaniment was equally good. The <i>Adagio</i>
with the three violincelli-obligati had a particularly fine effect.</p>

<p><i>Vogler’s</i> celebrated overture to “Castor and Pollux” did
not come up with my expectations. It begins in a spirited<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span>
and powerful manner it is true, but becomes lame towards
the end, and the commencement itself derives its effect only
from the noise of the brass instruments.</p>

<p>On the third of December, we played before the Queen
in her private apartments, where besides herself and the
King, a few only of the élite of the Court were present.
Both Sovereigns appeared to take great interest in our play,
for they loaded us with civilities. Besides ourselves, Madame
<i>Dulcken</i>, a distinguished artiste played also, with her daughter
and pupil, a <i>Rondeau</i> by <i>Steibelt</i> for two piano-forti.</p>

<p>On the sixth, our public concert took place in the Redouten-saloon,
which the Queen also honoured with her presence,
a mark of distinction, that for many years had been
shewn to no foreign artists. I derived a great satisfaction
from hearing my compositions again performed with so much
brilliancy.</p>

<p>In the Museum, I found the Musical-journal, and therein
a notice of the last musical-festival at Frankenhausen, which
also contains an opinion upon my Cantata: “The emancipation
of Germany.” The writer adduced so many shallow and
false objections to that work, that I was greatly inclined to
reply to it, had I not come to the resolution since my paper-war
with <i>Mosel</i>, never again to write an anti-criticism.</p>

<p>
<i>Würzburg</i>, Dec., 26.
</p>

<p>On our journey thither from Munich, we have given in
ten days, in four different towns, four flying concerts, that
we had previously made arrangements for, which were numerously
attended, and returned a rich harvest; viz, on the 16.
in Nuremberg, on the 18. in Erlangen, on the 22. in Bamberg,
and yesterday, the first day after Christmasday, here. It
was nevertheless an arduous exertion, particularly for <i>Dorette</i>;
the continual packing up and unpacking, rehearsing and
concert-giving! We will now give ourselves a little rest.&mdash;The
day before yesterday, I let Herr Professor <i>Fröhlich</i> hear
my two Vienna Quartetts, dedicated to <i>Romberg</i>, chiefly with
the view that he might notice them in the musical-journal.<span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span>
They went off well, and therefore did not fail to make a
favourable impression upon the hearers.</p>

<p>
<i>Frankfurt on the Mayne</i>, January, 14. 1816.
</p>

<p>Our stay here was but very poor in art-enjoyments. During
the whole time, not a single concert besides our own, not one
musical party! While eight years ago, on our first coming
here we scarcely could find time to satisfy all the invitations
to musical-soireés, now, not one of the Frankfurt musical
amateurs (if indeed there are any left) takes it into his head
to make a single demand upon our talents.</p>

<p>Even the theatre offered nothing very attractive, and only
one, (for us new) opera, viz, “Carlo Fioras” by <i>Fränzl</i>, was
performed.&mdash;Madame <i>Graff</i> in this opera, and as the countess,
in the “Marriage of Figaro” proved herself a singer of
an excellent school, gifted with feeling and taste. The remaining
<i>personnel</i> of vocalists is of no importance, but the orchestra
excellent, and worthy of its ancient repute.</p>

<p>On the twelfth, we gave a concert at the Red-House.
Madame <i>Graff</i> sang brilliantly the grand scena from “Faust.”
The orchestra accompanied with predeliction, and the greatest
precision.</p>

<p>We passed a day rich in music at the house of <i>André</i>,
in Offenbach. I found him mounted upon a new hobby, which
he rode with yet greater self satisfaction than his former ones.
It was called “declamation!” He is firmly convinced, and affirms
it also with honest openheartedness, that with the exception
of himself, no composer, from <i>Mozart</i> to <i>Bornhard</i> has understood
how to declaim a song properly, and to set it to music
as it ought to be. He has therefore taken compassion of that
neglected art-orphan, and written a number of pattern-songs!
He had heard of my new songs and urged me to sing them.
But already at the second, he found a reason to return to his
own. Fräulein <i>von Goldner</i> his pupil, sang them, and really
in a most charming manner. It is not to be denied, that she
declaims correctly, and has given a reading to several of them
both new and interesting in its kind. When executed besides<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span>
in so masterly a manner as they are by Fräulein <i>von Goldner</i>,
the effect is certainly very great. I readily admitted this,
but did not conceal from him at the same time what I
thought objectionable therein: which is principally, that he
has frequently sacrificed both form, rhythm, and melody to
the right declamation. In order to avoid the fault of many
song-composers, who restrict themselves too stringently to
the rhythm of the poem, he has fallen into the opposite extreme.
In order to give every syllable its proper duration
and accent, he frequently changes the time in many of these
songs, and thereby destroys the rhythm as well as the melody.
Thus, the hearer cannot follow, and feels dissatisfied. I had
further to object, that, the piano accompaniment to most of
these songs is too much obligato, and distracts the attention
from the song. Some sound like independant piano-fantasia’s,
to which the song has been adapted. The selfsatisfaction
with which <i>André</i> gave us these songs to hear, was quite unbearable.
For instance, he took an old song of <i>Schulze</i>:
“<span lang="de" xml:lang="de">O selig, wer liebt</span>” sang it burlesqued to make it appear
ridiculous, and then requested Fraulein <i>von Goldner</i> to execute
his own on the same text. “Aha!” said every one of the
company, “You shew us the shadow first, that the light may
have the greater effect afterwards!” This ill treatment of an
old meritorious composer annoyed me so much, that I could
not refrain from saying:</p>

<p>“Dear <i>André</i>, you seem to forget, that it does not redound
to the credit of your song, that it should require a piece of
buffoonery to introduce it; that this song of <i>Schulze</i> was composed
upwards of five and twenty years ago, when the notions
of song-composition were very different from what they now
are; that the melody, which appears antiquated to us, was
new at that time, and that you in the end have made no
happy selection for your purpose, since this song with all
its simplicity of form and melody is nevertheless correctly
declaimed, and in the repetition of the: “<span lang="de" xml:lang="de">O selig, wer liebt</span>”
at the end of every strophe, has some depth of feeling in it,<span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span>
whereas it is very problematical whether our songs will impart
so much pleasure after a lapse of five and twenty years, as
this song is still capable of doing when it is <i>well</i> sung.”</p>

<p><i>André</i> seemed somewhat ashamed, and from that moment
evinced much more discretion. I was now desirous to gratify
his wish to hear some of my Vienna Quartetts and Quintetts;
but the accompaniment was so bad, that I soon relinquished
it, and gave no more than the first.</p>

<p>After dinner, Herr <i>Aloys Schmitt</i> gave us a Fantasia
upon the piano “A sea voyage with a storm”. Although this
trivial style of thing first introduced by <i>Wölffl</i>, was not bad,
yet from so clever a virtuoso on the piano I should have
expected to hear something more refined and solid.</p>

<p>In the evening, <i>André</i> took us to Herr <i>Ewald</i>, a great
lover of music, at whose house the Offenbach Singing-academy
had assembled to let him hear three compositions which they
had practised with great care. It was called “<span lang="de" xml:lang="de">Die drei Worte</span>”
(The three Words) of <i>Schiller</i>, set to music by <i>Aloys Schmitt</i>,
a patriotic chorus by <i>André</i>, and “<span lang="de" xml:lang="de">Die Bürgschaft</span>” (The pledge)
by <i>Schiller</i>, also composed by <i>Aloys Schmitt</i>, all with piano-forte
accompaniment. The chorus numbered about forty eight
voices, and the performance succeeded well. The only regret
was, that the locality was not more spacious. The music to
the “<span lang="de" xml:lang="de">Drei Worte</span>” pleased me very much. It evinced a great
talent for that kind of lyrical composition. The poem is also
right well adapted to it. The second; “<span lang="de" xml:lang="de">Die Bürgschaft</span>” is
less so. In this, the composer distributes the persons represented
as speaking, among the several solo-voices; but it sounds
very strange to hear these sing what the poet relates. The
chorus has its share in the text distributed in the same arbitrary
manner. It is nevertheless not to be denied, that several
of their <i>entreés</i> have an extraordinary effect, as for instance,
where it says: “<span lang="de" xml:lang="de">Und unendlicher Regen giesset herab</span>”. “And
neverceasing rain pours down”, and later, where the exhausted
wanderer hears the murmering of a spring of water. The
whole poem throughout is conceived and rendered with much<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span>
fancy, yet the music suffers from a want of form through
the frequent change of the tempi and measure. The repetition
of <i>single</i> words which of themselves express no meaning
is very much to be reprehended, and sometimes sounds truly
comical. The four handed piano-forte-accompaniment is so
rich in ornamentation, passages and modulations, that with
very little modification it would not require to be rewritten
for the orchestra. <i>André’s</i> chorus was not distinguished by
any thing remarkable. At the conclusion, Herr <i>Hasemann</i>
of the Frankfurt orchestra, who as violincellist accompanied
me in my Quartett in the morning much better than any of
the others, astonished us with his skill on the bass-sackbut!
He played variations on the well known song: “<span lang="de" xml:lang="de">Mich fliehen
alle Freuden</span>” (All pleasures depart from me). But it makes
an unpleasant impression upon a hearer of taste, when an
instrument is constrained to produce what is neither natural
to, nor consistant with its character.</p>

<p>
<i>Darmstadt</i>, 9. Febr.
</p>

<p>Constrained to nearly a month’s stay by the illness of
my good <i>Dorette</i>, I have had ample time to inform myself
on the state of music here. Little satisfactory can be said
of it. The Grand-Duke is certainly very fond of music, and
spends considerable sums of money upon it; but this love of
it is one sided, egotistical, and is limited solely to Theatrical
music. He takes a pleasure for instance in enacting the
Director of music, and Manager, in the Opera-rehearsals; he
therefore not only directs the orchestra from a desk in the
theatre, but directs also every thing upon the stage. As he
considers himself incapable of error in both capacities, nor
will allow either the director of the orchestra, or the stage
manager to gainsay his regulations in the least, as a matter
of course many mistakes occur. For, although of all Grand-Dukes
he may be the best director of an opera, that does
not make him <i>a good one</i>! He clearly proves this in his selection
of the works which he allows to be performed in his
theatre. As he has so liberally endowed the theatre that the<span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span>
management has no need to study the taste of the public for
the sake of the receipts, they might therefore procure a Repertoire
of really good and meritorious works, if he would
only allow them the choice. But this he reserves to himself,
and therefore not only much of what is given is of mediocrity
merely, but many excellent works are wholly excluded, such
as the operas of <i>Cherubini</i>, because the Grand-Duke cannot
bear them. He may by chance let “<span lang="de" xml:lang="de">Den Wasserträger</span>,” (the
Watercarrier) pass, but only the first act of it. Neither do
the operas of <i>Mozart</i> seem to please him any better; for when
a few days ago the turn came again for “Don Juan”, after
nothing else had been given for thirty consecutive nights but
<i>Poissl’s</i> “Athalia”, and that the orchestra relieved from the
distressing wearisomeness with which that opera had overcome
them, executed the first finale with great spirit, the
Grand-Duke turning to the director of the orchestra, said:
“After <i>Poissl’s</i> opera there’s no relishing “Don Juan!”</p>

<p>Considering the large salaries paid by the Grand-Duke,
the <i>personnel</i> of solo-singers might be a much better one, with
a few exceptions, than it really is; but it is maintained, that
he only wishes for middling talents, so that they may yield
more willingly to his regulations. The chorus (thirty females
and thirty men) is very excellent. The orchestra is also very
numerous, and comprises several very good artists among its
members; but there is also a good deal of ordinary talent
among them. The Grand-Duke may claim some credit for
their <i>ensemble</i>, and particularly in the <i>pianissimo</i>; but as
regards pure intonation, and clearness of expression, there
is yet much to be desired. No orchestra in the world is so
harrassed as this is; for the whole of the members without
exception, must attend every blessed evening in the theatre,
from 6 to 9 or 10 o’clock. Every Sunday, there is opera;
on two other days in each week a play; and on the four
remaining days the Grand-Duke has his opera-rehearsals.
These never fail unless he is prevented by illness. Then no
operas are given. A short time ago he was obliged to keep<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span>
his room for several weeks with a bad leg; during this time
no rehearsal dare be held, nor any opera performed. He
seemed to beleive, or wished others to beleive that without
him, nothing could be studied.</p>

<p>It is a singular sight, to see the old gentleman already
grown quite crooked, seated at the desk in uniform with his
star on his breast, giving the time; ordering the chorus and
the “statists” to recollect this thing or the other, or calling
out <i>piano</i> or <i>forte</i> to the orchestra. If he but understood
all this, there would be no better director of an opera; for
he has not only great zeal and perseverance, but from his
station also, as Grand-Duke, the necessary authority. But
his knowledge of scores extends no farther than at most to
enable him to read after the violin-voice, and as he once
played the violin when a young man, he continually harrasses
the poor violinists with his reminiscenses, without making
things any better! On the other hand, the singers may sing
as false or with as little taste as they choose, or the wind-instruments
may be one beat before or behind,&mdash;and he
does not observe it!</p>

<p>It is just the same with his arrangements on the stage;
but there the manager can yet come in unobserved to the
rescue, while the director of the orchestra is not permitted
the slightest reproval of any error that may occur. That the
operas, therefore, despite the numerous rehearsals should come
off badly, and invariably worse the more rehearsals that have
been held, is sufficiently accounted for above, so that in the
end both singers and orchestra become incapable of more attention
from sheer exhaustion and disgust. This was the
case with the opera “Athalie” of <i>Poissl</i>, which during our
stay was rehearsed every evening when no performance took
place, and in which on its representation at last, after thirty
stage-rehearsals, faults still occured, both on the stage and in
the orchestra. Of the music of this opera but little can be
said in praise. It is too common-place, and the same kind
of thing too frequently heard before. Several of the musical<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span>
pieces are imitations of the most admired pieces of <i>Mozart</i>
and <i>Cherubini</i>, yet without producing any other effect than
recalling them to mind: so for instance, the procession of
Priests, with its single strokes of the kettle-drum, is exactly
like that in the “<span lang="de" xml:lang="de">Zauberflöte</span>” (the Magic Flute) during the
“fire and water ordeal.” In the same manner also, the concluding
Allegro of the first act, which contains striking reminiscences
from the finale of “Don Juan,” and so forth. The
first act is besides extremely tedious, from the circumstance
that so many slow tempi and prayers succeed each other so
closely, so that in point of fact, the opera has neither life nor
action.</p>

<p>The Grand-Duke, who considers the music of this opera
very fine, perhaps merely, because it was written by a Baron,
had the vexation to find that the public considered it very
wearisome, which was even loudly expressed close to the box
of the Grand-duke. This so much enraged him, that he
said in a loud voice: “All those who do not comprehend this
splendid opera should have the doors of the theatre closed
against them!” If what people say here, is true, that he
compels the servants of his Court and officers, to frequent the
theatre, by deducting without any ceremony the amount of
the subscription for the <i>entrée</i> to the theatre from their salaries,
he might readily carry out his threat by releasing them
from this soccage!</p>

<p>As the Grand-Duke refused to us the assistance of the
orchestra for a public concert, because as he expressed in
his reply to my request, he could not spare it from the
theatre on any evening, we were on the point of leaving without
having played in Darmstadt, when the directors of the
Cassino proposed to us to appear in their <i>locale</i>, for which
they offered us a sum of twenty carolins.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> This offer we
accepted. I played with <i>Dorette</i> a sonata, and two concert-pieces
with pianoforte accompaniment; and <i>Dorette</i> concluded<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span>
with the Fantasia in C-Minor. We met with a very sympathising
audience. The violinists of the orchestra, who much
desired to hear me, and Herr <i>Backhofen</i> the former instructor
of my wife who would have been greatly interested in her
present artistic skill, were however, not permitted to be of
the auditory; for the Grand-Duke had said on the previous
evening in the theatre: “Let me find nobody absent himself
to-morrow evening!”</p>

<p>
<i>Heidelberg</i>, February, 11.
</p>

<p>Notwithstanding the extreme cold that set in last night,
we this afternoon climbed the castle-hill, to behold once
more the magnificent ruins of the castle. I was pleased to
find that since the last eight years it has not been allowed
to fall into further decay, and that much more care is taken
to preserve the ruins in their present condition. The view
over the town towards Mannheim, and into the valley of the
Neckar, is even in winter, beautiful in the extreme!</p>

<p>
<i>Carlsruhe</i>, February, 26.
</p>

<p>Our stay here was made very agreable, from our meeting
with old acquaintances. It afforded us also some art-enjoyments.
It is true we did not hear any good orchestral-music;
for the orchestra here, although latterly several distinguished
artists have been engaged, is still very middling. A few good
members cannot cloak the weak points of the rest. On the other
hand, we heard two good female singers, Demoiselle <i>Bahrenfels</i>
and Madame <i>Gervais</i>. On the 21., when we played in
the private apartments of the Grand-Dutchess, the former
sang an aria; and a few days before, the soprano-soli in <i>Romberg’s</i>
“<span lang="de" xml:lang="de">Glocke</span>” (the “Bell”) which was right well performed by
a society of dilettanti in the museum. Demoiselle <i>Bahrenfels</i>
has a fine voice, good taste and great ease of execution, but
overloads her singing too much with ornamentation. Madame
<i>Gervais</i>, who is also a distinguished actress, I heard in <i>Weigl’s</i>
pretty opera: “Adrian van Ostade” in which she sang a Cavatina
in a very brilliant manner. We then heard her sing in
our concert on the 24. the grand scena from “Faust” with<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span>
universal applause. She has also a fine voice, is of a good
school, has feeling, and great execution, but embellishes also
too much at the wrong place, and now and then sings out
of tune....</p>

<p>I frequently played my Quartetts and Quintetts; twice
at Herr <i>von Eichthal’s</i> and once at Messrs. <i>Freidorf’s</i> and
<i>Brandt’s</i>. I was excellently accompanied in them by Messrs.
<i>Fesca</i>, <i>Viala</i>, <i>Bönlein</i>, and <i>von Dusch</i>. <i>Fesca</i> played also a
new Quintett of his composition, which had many new and
beautiful points in it. In the last passage there was nevertheless
something far-fetched.</p>

<p>
<i>Strasburg</i>, March, 6.
</p>

<p>I must first speak of that which strikes the eye of the
traveller even before he has crossed the Rhine,&mdash;I mean
the Cathedral! Far beyond Kehl we saw its colossal and
yet graceful form towering high into the air. It has been so
often and so well described (and poetically also in Baggesen’s
travels) that I shall not attempt it. But I must say, that
nothing I had ever seen before, awakened in me so much
the sentiment of the sublime, and the holy, as that wonderful
structure! What stateliness of form, what elegance, what
richness of decoration, and what imposing grandeur are here
united! All that the Iconaclausts damaged during the time
of the revolution has again been restored, and the new
statues that have been placed in the room of those which
were destroyed have more artistic merit than such of the
old ones as were then spared. The building is very carefully
kept in repair throughout, and 20,000 francs annually
are set apart for the external repairs alone. Such care is
nevertheless doubly necessary with this structure, on account
of its delicacy of ornamentation, as the slightest damage would
readily entail a greater and more dangerous one; for the
gigantic tower has no foundation wall running round its base
but is built upon piles, between which deep in the ground
below flows a navigable canal. Half way up, where the
structure separates into two halves, one of which unfortuna<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span>tely,
is finished only, every part throughout is so, aërial,
so elegant, and permits the eye to see through it so completely,
that here, where when one pillar is the support of the
other, the least damage, if not immediately re-established,
might readily entail the falling in of the whole tower.</p>

<p>After we had sufficiently satisfied our feeling of admiration
of the bold, gigantic structure; the telegraph which extends its
arms upon the roof of the Cathedral attracted our attention.
At that moment the telegraph was being worked, and we
were greatly amused with the ease and rapidity of its movements.
As we were desirous to understand the mechanism,
we ascended to it, but only reached it just as it had ceased,
and we alone saw the Despatch about to be transmitted, in
the curious characters still standing wet upon the paper. I
was desirous to know whether these characters of which there
might be about twenty four at the utmost, represented the
letters of the alphabet, or separate words, or whole sentences,
and I put a few questions to the telegraphist upon the subject.
He, however, gave me but little information, either
because he durst not, or did not know himself, which is the
most probable, as the director alone is allowed to possess
the key to the characters. According to him, each sign or
character expresses a word. But this is very improbable, as
it would be impossible to communicate with sufficient clearness
with four and twenty words, even supposing the intervening
missing words might be for the most part guessed at.
On the other hand, that the meaning of one or more of the
signs must have been known to him, was evident from the
circumstance, that in order to shew us the mechanism, he
gave the <i lang="fr" xml:lang="fr">signe d’attention</i>, by which was asked, whether in
the course of the day another Despatch was to be expected,
and if each telegraphist was to remain at his post. This
sign was immediately taken up by the next telegraph, as we
could see through the telescope affixed to the wall, and then
also by the next one, although it could be seen less distinctly.
After a lapse of 7 or 8 minutes the reply came back from<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span>
Paris: “Every body must remain at his post.” This sign was
immediately taken up also by our telegraph, and then all were
again at rest. The mechanism is very simple. Three large
wheels in the telegrapher’s room, over which run cords of
twisted copperwire set the three limbs of the telegraph in motion.
Smaller wheels, affixed to the larger ones set in motion
a smaller telegraph in the interior of the room, by which the
mechanist sees whether the signs have been correctly made
above, on the roof. A third moderately sized telegraph outside
of the room, directed towards the residence of the director,
serves to impart to him the signs coming from Paris. The
whole contrivance is very ingenious and does credit to man’s
creative mind. The telegraphists have a very onerous duty.
From the first dawn of day-light to night fall, they must be
at their posts. The slightest negligence is immediately punished
with dismissal from the service.</p>

<p>In Strasburg I made the acquaintance of three distinguished
<i>artistes</i> and of several passionate lovers of music.
The former were: Herr <i>Spindler</i>, director of the Cathedral
Orchestra, the successor of <i>Pleyel</i>, who previously held that
appointment, Herr <i>Berg</i>, <i>pianiste</i> and composer, and Herr
<i>Kuttner</i> also a pianiste and a singer. Of <i>Spindler’s</i> Ecclesiastical-compositions
a Requiem is very much praised; of his
dramatic works an Opera: “The Orphan Asylum.” Spindler
sent the score and the libretto of this opera, which was also
his property to the directors of the Vienna Court-theatre. It
was not accepted and returned under the pretence, that the
song-parts would not suit the operatic-personnel there. But
a copy was thievishly taken of the libretto, and <i>Weigl</i> then
composed music for it also. As shortly before, his “<span lang="de" xml:lang="de">Schweizerfamilie</span>”
had been very successful, this new work soon became
popular at all the theatres in Germany, while <i>Spindler’s</i> composition
up to the present time has only been heard in Strasburg.
For this dishonest transaction he nevertheless obtained
some slight satisfaction, for when <i>Weigl’s</i> composition was given
here last year by a German operatic-company, it pleased<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span>
infinitely less than his. <i>Spindler</i> is a well educated and extremely
modest artiste. Among the ardent lovers of music the
Advocate <i>Lobstein</i> ranks first. He is Director of a well assorted
Amateur-Concert-society; the numerous Orchestra of
which consists for the most part of dilettanti, and they do
not give badly such compositions, as are not too difficult and
which they have sufficiently rehearsed. As in France since the
Revolution a law is still enforced, which requires that every
person who gives a Concert, if he publicly announces it by
bills, and takes money, shall pay over one fifth of the receipts
to the Directors of the Theatre of the town; Herr <i>Lobstein</i>
made the proposal to me to give a Concert in the same place
and on the same day as the Amateur-Concert-Society, by which
means I avoided the impost. The Concert was announced privately
only, but was nevertheless so well attended that above
one hundred persons were unable to find further room in the
by no means small saloon. This as well as the enthusiastic
reception that our play met with, induced me to give a second
and a public Concert after having come to an understanding
with the manager of the theatre to pay over a fixed
impost of eighty francs; but it was not so numerously attended
as the first, probably owing to the price of admission
being raised to three francs. The Orchestra was the same in
both, half composed of dilettanti and half of skilled musicians;
the string-instruments tolerably good, the wind-instruments
for the most part bad. As the latter have a good deal to
do in my compositions, they therefore got sadly mishandled.
My Quartetts and Quintetts which I frequently played at private
parties, were on the other hand very well accompanied.
Upon these occasions Messrs. <i>Baxmann</i> (first Violincellist of
the theatrical Orchestra) and <i>Nani</i> (Violinist) especially distinguished
themselves. Although the Strasburghers are much behind
the inhabitants of the larger towns of Germany in the
cultivation of music, and know little or nothing of our newest
music and its spirit, they yet appear to relish well my compositions.
My stay here therefore served to make my compo<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span>sitions
in demand, few of which only were known here, and
they were now frequently written for to the music sellers.</p>

<p>While we were in Strasburg Messrs. <i>Berg</i> and <i>Kuttner</i>
gave together a public Concert, in which both shewed themselves
good pianistes, and Herr <i>Berg</i> a talented composer.
He gave an Overture, a Pianoforte Concerto and variations
for two Piano’s. The allegro of the overture pleased me especially,
on account of its natural flow and the manner in
which the theme is carried out. But Herr <i>Berg</i> is not free
from the complaint common to all modern composers, who
are always striving after effects, and in so doing miss the
carrying out of their ideas.</p>

<p>We went a few times to the theatre, and with the exception
of the Prima Donna Madame <i>Dufay</i>, found the Opera very
bad, but the Comedy and Vaudeville excellent. I became
again convinced, how greatly the French excel the Germans
in the two last kinds of entertainment. The company here,
which is generally considered but very middling, perform nevertheless
their Comedies with roundness, and life like truth,
such as is seldom seen on the stage of the best theatres in
Germany.</p>

<p>
<i>Münster, near Colmar</i>, March, 26.
</p>

<p>For the last fortnight nearly we are here in a small manufacturing
town in the Vosges mountains, on a visit to a
wealthy manufacturer <i>Jacques Hartmann</i>. Our host, who is an
ardent lover of music, was informed by Herr Kapellmeister
<i>Brandt</i> of Carlsruhe, that we should pass through Colmar on
our journey. He had ascertained from Strasburg the day
on which we should pass through; he therefore way laid us
and with friendly force compelled us to follow him to his
house at Münster. Arrived there at nightfall, we were welcomed
by his family in the most hearty manner, and conducted
immediately through the garden to a brilliantly lighted Concert-Room,
which was decorated all round with the names of
our great Composers, among which probably from to-day mine
also has found a humble place. The Orchestra of Herr <i>Hartmann</i><span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span>
was already in their places and received us upon our
entry with a by no means ill executed Overture. The Orchestra
consists of Herr <i>Hartmann’s</i> family, and in part of
some of the employés, musicians and workmen employed in
his Cotton-manufactury. As he as much as possible engages
those only who are musical, he has succeeded in getting together
an almost completely appointed Orchestra, which executes
in a very decent manner compositions that are not too
difficult and which it has diligently practised.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> Herr <i>Hartmann</i>
himself is a virtuoso on the bassoon and has a fine
tone and much skill. His sister and his daughter play the
pianoforte. The latter a child, eight years of age is the star
of this Dilettanti orchestra. She already plays very difficult
compositions with wonderful facility and precision. But more
than this, her fine musical ear surprised me, with which (though
at a distance from the Piano) she distinguishes the intervals
of the most complicated discordant accords that can be struck
for her, and will name consecutively the tones of which they
consist. Of this child for a certainty if properly guided will
one day be made a distinguished artiste.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> After the family<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span>
had exhibited their capabilities, we let them hear one of our
Duetts and found a very grateful and enthusiastic auditory.</p>

<p>Herr <i>Hartmann</i> does not readily permit a Musician of
note to pass through Alsace without calling on him and therefore
has already seen many of them under his roof; among
others, <i>Rudolpho</i>, <i>Kreutzer</i>, <i>Durand</i>, <i>Turner</i>, <i>Bärmann</i> and
the brothers <i>Schunke</i>. And for a certainty all must have
been as satisfied with their stay in his house as we were; for
a more agreable host, and one more desirous to please than
Herr <i>Hartmann</i> could not readily be found. Of the two first
mentioned artistes he related the following, which is sufficiently
characteristic. <i>Kreutzer</i> gave a Concert at the theatre in
Strasburg, which was very fully attended. After the first
part, he went and took the receipts, and lost them at Roulette
in the refreshment room to the last <i>sous</i>. He was now
called for the second part of the Concert, and was obliged to
earn wherewith to supply what he had already lost. <i>Durand</i>
did still worse! Herr <i>Hartmann</i> had got up a Concert for
him at Mühlhausen and accompanied him thither. <i>Durand</i>
immediately forgot himself in a beerhouse, and it was a difficult
matter to get him away from it to hold the rehearsal.
At this he missed his bow, which he had forgotten at Colmar.
He declared that he must fetch it, otherwise he would not
be able to play in the evening. Herr <i>Hartmann</i> gave him his
carriage and urged him to return as soon as possible. The
hour of the Concert was fast approaching, but <i>Durand</i> had
not yet come back. The public had assembled, the Musicians
were tuning up,&mdash;but the Concert-giver was still wanting!
After waiting for half an hour, as the auditory had become
very restless, Herr <i>Hartmann</i> had the Overture played. But
as <i>Durand</i> had not yet made his appearance, he was obliged
to come forward and explain the absence of the Concert-giver.
Exceedingly displeased at this, the public left the Concert-room.
Late in the evening the coachman returned without
the vainly expected musician, and informed his master that
he had sought for him for several hours in all the Coffee-houses<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span>
and taverns at Colmar but in vain, and that at length
he had found him in a beerhouse where in company with other
jovial guests he had totally forgotten the concert.</p>

<p>Three days ago, we gave a Concert in Colmar which was
very fully attended, and which Herr <i>Hartmann</i> had previously
solicited his there resident musical friends to make arrangements
for. As the Orchestra which was almost wholly composed
of dilettanti was very bad; I was compelled to renounce
playing any of my own compositions and chose some of easier
accompaniment by <i>Rode</i> and <i>Kreutzer</i>. After the Sonata
which I played with my wife, a crown of laurel was thrown
to us from a box to which was attached the following poem:</p>

<div lang="fr" xml:lang="fr" class="poem"><div class="stanza">
<span class="i0">Couple savant dans l’art heureux<br /></span>
<span class="i0">Qui fit placer au rang des Dieux<br /></span>
<span class="i0">L’antique Chantre de la Grèce.<br /></span>
<span class="i0">D’un instrument melodieux,<br /></span>
<span class="i0">Et de la harpe enchanteresse<br /></span>
<span class="i0">Quand les accords delicieux.<br /></span>
<span class="i0">Nous causent une double ivresse,<br /></span>
<span class="i0">Faut-il, que les tristes apprêts<br /></span>
<span class="i0">D’un depart qui nous désespère,<br /></span>
<span class="i0">Mêlent d’inutiles regrets<br /></span>
<span class="i0">Aux charmes que votre Art opère!<br /></span>
<span class="i0">Ah! près de nous il faut rester!<br /></span>
<span class="i0">Quelle raison pour s’en défendre?<br /></span>
<span class="i0">A nos voeux, si <i>Spohr</i> veut se rendre,<br /></span>
<span class="i0">Il pourra, j’ose l’attester,<br /></span>
<span class="i0">Se lasser de nous enchanter,<br /></span>
<span class="i0">Jamais nous lasser de l’entendre.<br /></span>
</div>
<span class="sig"><i>Par E. C. (outerèt), habitant de Colmar.</i><br /></span>
</div>

<p>In the second part of the Concert Herr <i>Hartmann</i> played
also some variations for the bassoon by <i>Brandt</i>. He seemed
very nervous, but played nevertheless right well. The receipts
were very considerable for so small a town. The day after
the Concert we dined at General <i>Frimont’s</i>, Commander of
the Austrian troops in Alsace. We found our host an extremely
amiable and jovial man. By his love of justice, his strict
discipline and agreable manners, he has acquired in a high<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span>
degree the esteem of the inhabitants of Colmar.&mdash;In the
evening we returned here.</p>

<p>Yesterday I received information from the Director of
music <i>Tollmann</i>, in Basel, to whom Herr <i>Hartmann</i> had previously
announced our arrival, that he had made arrangements
for a Concert for us on next Sunday the 31. We must therefore
take leave of our kind host and his family. But we have
been obliged to promise to come once again if possible during
the summer.</p>

<p>Herr <i>Hartmann</i> conducted us several times over the Cotton
factory. It is very extensive and produces goods which
in respect of taste in the designs greatly excel the English.
It gives employment to upwards of one thousand persons,
and among these to artists of great talent as Draughtsmen
and Engravers on copper. Cotton prints of all kinds are
made, common ones by hand-press, the finer sorts by Roll-press,
with furniture prints as well as carpets ornamented with
large and small designs. The latter are chiefly made for the
East Indian and China markets. On the copper-plates for
these kinds, artists often work for several years together. The
designs are for the most part copies of celebrated pictures.
The mechanism by which the copper-plates are printed off
upon stuffs is a secret in the possession of the <i>Hartmann</i>-manufactory,
which is not shewn to strangers. We were made
an exception to the rule. An ingenious machine for rubbing
colours was also invented here, and is as yet the only one
of the kind. Alsace which is so rich in manufactories, is very
discontented with the new government, which does nothing for
the encouragement of industry as did the exiled Emperor, to
whom the people are devotedly attached. This may be readily
imagined when we consider, that in the palmy days of
the Empire, the manufactories in this part were in an extremely
flourishing condition, which arose in a great measure
from the exclusion of English manufactures from the Continent
by the celebrated Berlin decrees. But now again when the
whole of Europe is inundated with English goods, the facto<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span>ries
here are obliged to restrict their labours considerably.
People express here without reserve their discontent with the
present government, and say quite openly, that the favourable
opportunity is only waited for to shake off the present yoke
once more. It is true, also, that many things that tended
greatly to the public good, such as canal and road making,
the distribution of prizes for encouragement of Industry, Art-institutions
etc. such for example as the Conservatory of Music
in Paris, have been in part suppressed or greatly limited,
as hateful reminiscences of the Revolution and of the Empire.
All this had made much bad blood, and rendered the new
Government extremely hated. People will therefore be by no
means displeased, should the report be verified, that Alsace
is to be ceded to Austria.</p>

<p>
<i>Basel</i>, April, 2.
</p>

<p>Herr <i>Tollmann</i>, a good Violinist and Director and at the
same time the most obliging man and most willing to render
a service I ever met, had already with the assistance of the
Union-society of Music here, prepared every thing for our
concert. Nothing remained to be done but to obtain the permission
of the Head Burgomaster to raise the price of admission
to half a laub-thaler. This was immediately granted.
Herr <i>Tollmann</i> introduced me to the Directors of the society,
whom I found both agreable and well bred people. They completely
disproved in their persons the report which prevails in
Alsace, that the Baseler is cold and uncourteous, and usually
cuts short the visits of strangers at the street door. I was
received with politeness by all whom I visited, and even with
distinction. As the Orchestra, with the exception of four or
five artistes was composed of Dilettanti merely, the accompaniment
of my Solo-pieces, particularly by the wind-instruments
was fearful. How poor <i>Tollmann</i> is to be pitied, to be obliged
to hear such music all the year round! And yet, he says,
the Orchestras in the other towns of Switzerland are still worse.
If that is the case, then indeed Music is in a more pitiable<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span>
condition in Switzerland than in Alsace. The good folks here
are enraptured still with compositions such as in Germany
even in <i>Pleyel’s</i> time were considered intolerable. <i>Mozart</i>,
<i>Haydn</i> and <i>Beethoven</i> are scarcely known by name to the majority.
But they are fond of music, and the best of all is,
they are easily pleased; for badly executed as all the orchestral
passages were in our Concert the people were nevertheless
content, and considered that on this occasion the Orchestra
had particularly distinguished itself. Even a Bravoura air
which was awfully tortured by a Dilettant, they found delicious.
The expenses being slight, the receipts were somewhat
considerable.</p>

<p>
<i>Zürich</i>, April, 10.
</p>

<p>On the road from Basel to this place, like all other travellers
coming from Germany, we had ample proof that though
one travels with more comfort in Switzerland, yet is as expensive
again as there. At every inn here, even in the smallest
villages, one finds a complete and well dressed dinner or supper,
but the price all through Switzerland is half a Laub-thaler
a head. All other necessaries are equally good, but also
very dear. The expense of travelling is almost still worse.
With the exception of the short distance from Basel to Zurich,
there is no extra-post in all Switzerland, and one is
therefore obliged to travel either by the Diligence or with
hired horses. Both are very dear. The price for a pair of
hired horses per day is three laub-thaler, and their days for
return are also charged for.</p>

<p>There is here also an “Union-society of Music.” These
societies in the Swiss towns are a great boon to the travelling
artiste, for they very willingly undertake all the arrangements
for his concert. Ours took place already on the fourth day
after our arrival. We had nothing more to do but to play.
The accompaniment certainly was again very bad and I
suffered the more from it, by allowing myself to be persuaded
to select a Concert of my own compositions. At the rehearsal,
by dint of innumerable repetitions of the most difficult<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span>
parts, I at length succeeded in making them sound like music;
but in the evening the orchestra got so frightened that
it upset every thing again! Fortunately, the auditory did not
appear to notice anything of it, for they evinced the greatest
satisfaction with every thing they heard.</p>

<p>The receipts were yet greater than at Basel. There are
two artistes living here who are also known in Germany. One
of them, Herr <i>Nägeli</i>, is the proprietor of a music-shop, and
the composer of the song sung throughout Germany: “<span lang="de" xml:lang="de">Freut
euch des Lebens</span>” (Life let us cherish) he has also since made a
name for himself by his Singing Instructions on the <i>Pestalozzian</i>
system. He may have great merit as a Theorist and
musical Composer but in the practical part of the science of
music and in the development of taste, he does not appear to
have effected much; for of three of his pupils whom he introduced
to us as his best, one sang an Aria, and the other two
executed a Duett in our Concert, with a bad method, and
without taste.</p>

<p>The other artiste is Herr <i>Liste</i>, who is considered here a
first rate pianiste and Instructor, he is known by some compositions
for the piano. He shewed me some Glees and Quartetts
for male voices, which pleased me much for their melody,
harmony and induction of the voices.</p>

<p>Zurich is most charmingly situated. From our room, at
the Inn “<span lang="de" xml:lang="de">zum Raben</span>” (The Raven) we have a view over great
part of the lake. The arrival and departure of boats and
other craft give great life to this part of the town.</p>

<p>
<i>Bern</i>, April 20.
</p>

<p>With most beautiful weather we had an extremely pleasant
journey thither. From the summit of a high hill about
a league from here, we saw for the first time since we entered
Switzerland the whole magnificient chain of the Alps quite
distinctly, and in all its grandeur. We hailed the sight with
joy! How we long to approach yet nearer to those mountains!</p>

<p><span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span></p>

<p>The musical society of Bern undertook also with zeal
the preparations for our Concert, and relieved me of all trouble
in the matter. The attendance here likewise, was more numerous
than had ever before been known at the Concert of
a foreign artist. The receipts however, on account of the here
customary low price of admission, were not so great as at
Zurich. The Orchestra here is if possible still worse than in
Basel and Zurich, and the public with the exception of very
few yet more uncultivated. At the head of the Orchestra is a
brother of <i>Carl Maria von Weber</i>, who, as I am told, is a
good theorist. As a Violinist and Director he is very weak.
Among the dilettanti and members of the Society of music
Professors <i>Meissner</i> and <i>Jahn</i>, and the Burgomaster <i>Hermann</i>
are particularly distinguished for their cultivated taste for the
science of music. The former is Director of the society, and
a very good violinist.</p>

<p>As the season is already too far advanced, to give further
Concerts in the other towns of Switzerland, we intend giving
up our journey there for the present, and at once set ourselves
down to rest in some beautiful part of the Bernese Oberland,
of which <i>Dorette</i> has such urgent need for the full re-establishment
of her health. Our acquaintances here recommend
to us a village in the neigbourhood of Thun. Yesterday, accompanied
by <i>Edward</i><a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> we drove out there, and found every
thing so much in accordance with our wishes, that we resolved
to remove thither on the next day. The name of the village
is Thierachern, and it lies in one of the most beautiful spots
that we had yet beheld. At the Inn we hired two rooms, for
which together with a coach house for our carriage, and
breakfast and dinner daily, we agreed to pay the host two
Carolines per week. We are all longing to settle in this paradise,
and looking forward to the enjoyment of its rural repose.
I think especially to avail myself of it to write some<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span>
new Violin compositions, with very simple and easy accompaniments
for Italy, as from all accounts the Orchestras there
are worse than those of the provincial towns in France. <i>Edward</i>
has promised to visit us frequently, and then join us in
excursions into the beautiful environs.</p>

<p>Bern, the handsomest of all the towns of Switzerland that
we had yet seen, is situated upon an eminence of moderate
height in the centre of a somewhat long and narrow valley.
The Aar, a rapid, clear mountain stream, flows round three
sides of it. The mountains which surround it are not so high
as to impede the view of the Alps from the town. From the
Platform in particular, a spacious quadrangular bulwark near
the principal church, planted with chesnut trees and furnished
with benches, the view is extensive, and charmingly beautiful.
On leaning over the wall which surrounds this platform on
the south side, the foaming Aar is seen deep below rushing
between the rocks, above this in the middleground, smiling
meadows, hills covered with woods, and villages thickly surrounded
with fruit trees, and in the back ground the majestic
Alpine chain with its summits covered with eternal snow! The
Bernese are not a little proud of this spot; and the first question
they put to a stranger is usually: “Have you been on
the platform?”</p>

<p>The houses of the town are all of them massively built,
and have open Arcades running the length of the street, under
which one is able to traverse the whole town dry footed in
wet weather. Under these Arcades are the warehouses and
shops of the merchants and trades-people.</p>

<p>
<i>Thierachern</i>, April, 26.
</p>

<p>We have been here three days in our beautiful little village,
and are inhaling in full draughts the breath of the first
spring days in this indiscribably charming place. We have
no thought of work as yet, for early every morning we feel
impelled to hasten out into the fresh air. We have already
wandered a full mile in different directions round our little vil<span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span>lage,
and always discovered new beauties. The situation of our
dwelling is beautiful beyond conception; it stands upon a hill
from which one has a view of the country on every side. Our
rooms open upon a long balcony which extends the whole breadth
of the house, and is covered in by the eaves of the main roof.
These open galleries, which almost all the houses have, are
called “Lauben”.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> From this laube, where in the hitherto
fine weather we breakfast every morning, we have a most extensive
view over wood and meadow, as far as Thun, and its
ancient castle; then upon the right across the lake as far as
the chain of the Alps, with the white peaks of the Jungfrau,
the Eiger, and Schreckhorn. Still farther again to the right,
the eye rests upon green copse-covered hills, and villages
embosomed amid orchards, and beyond these upon the fearful
rocky ridges of the Riesen, as far as the Stockhorn. Almost
every day these mountains present aspects different from
those of the previous one. Sometimes the foremost mountains
are covered with dense masses of clouds, and the hinder ones
appear majestically above them at an altitude, such as one
can scarce believe possible for any thing firm to exist; at
others the farmost mountains stand out clear and distinct;
and the highest peaks alone are shrouded in clouds. But in
the evening, shortly after sun set, the sight of these snow
covered mountains is quite entrancing to behold. When
the valley is wholly wrapped in gloom, and the lights from
Thun are seen reflected upon the lake, the mountain peaks
are still resplendent with the most beautiful rosy light, which
when the darkness encreases changes into as beautiful a blue.
It is a spectacle from which it is difficult to tear one’s self
away!</p>

<p>
May, 16.
</p>

<p>We have now begun to divide our time between pleasure
and work. In the forenoon, while I compose, <i>Dorette</i> gives
the children instruction in arithmetic, writing, geography etc.:<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span>
in the afternoon I teach them the Piano and singing. Then away
we sally out into the free air. If the weather permits an
extended excursion, we take our frugal evening repast in some
“<span lang="de" xml:lang="de">Küher’s</span>” (so the shepherds are called here) and do not return
till late in the evening. Should the weather be uncertain,
we go provided with umbrellas, at least as far as Thun,
to enquire after letters from home; procure some amusement
for rainy days from the lending-library, and purchase our
little necessaries. The daily exercise in the beautiful pure
balmy air strengthens our bodies, enlivens our spirits and
makes us joyous and happy. In such a disposition of mind,
one works easily and quickly, and several compositions lie already
completed before me, namely a Violin Concerto in the
shape of a Vocal-scena and a Duett for two violins.</p>

<p>I must not forget to mention a musical Natural-curiosity
which we remarked in our walks. There is a Cuckoo here
which does not sing its name like ours in a terza, but adds
another “koo” between, and which may be expressed as follows:</p>

<div class="figcenter" style="width: 216px;">
<img src="images/zill_c240.png" width="216" height="80" alt="" />
</div>

<p>Whether this is a different kind from ours, I have not
been able to ascertain, but, that every year in this part, such
Cuckookoos are heard.</p>

<p>Something also, I have here remarked, which has still
more interested me as a musician. The serving boy belonging
to our house and some maidens of the neighbourhood who
hold their Singing-Academy before our window every Sunday
evening, intonate in their songs just like the notes from a tin
instrument when unassisted by the stopping of the finger, i, e,
the Terza somewhat too high, the Quarta still higher and the
little Septime considerably too low. From this it is evident,
that this intonation is natural to the human ear, if it is not
accustomed from early youth to the attemperated system of
tones. These nature-singers would sound as false to our tone-scale,<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span>
as we to theirs. But it is nevertheless specially remarkable,
and <i>almost disquieting</i>, that in order to attain our present
richness of harmony, we have been obliged to deviate
from the Tone-scale given to us by nature. For without our
attemperated Tone-system we should be confined to the nearest
tones, and obliged to renounce the enharmonical changes which
are the <i lang="fr" xml:lang="fr">haut goût</i> of modern harmony. And yet by this deviation
from nature, it seems to me that music is alone elevated
to a real Science, while all other arts, must be content
to copy Nature, and even when they would idealise, still imitate
nature in all individualities. The songs of these Nature-singers
have a great deal of originality, and when I have
learned to understand better the dialect of these parts, which
has much resemblance to the Allemanic, I will endeavour to
note down some of them.</p>

<p>
June, 4.
</p>

<p>Yesterday we returned from the first more distant excursion
which the fine weather tempted us to undertake, and
enjoyed ourselves exceedingly. We went to Kandersteg, a
small village high up in the mountains, distant from here between
seven or eight leagues. I had hired for this purpose
our host’s one horse “Rietwägeli” and drove myself. The map
was again our guide. Our road lay at first along the right
bank of the lake of Thun as far as Spiez. Behind Gwatt we
crossed the Kander over a wooden bridge, which in a single
arch of most ingenious construction spans high and boldly the
broad and rushing stream. About a hundred years ago the
course of the Kander was turned into the lake, by which means
the beautiful valley from Glutsch to Thierachern which lay
waste and uncultivated every spring owing to the inundations,
was converted into fine meadows and fruitful fields. But this
must have been a giant-labour, for it was found necessary to
pierce a high mountain for the purpose. From the centre of
the bridge one looks down from a dizzy height upon the foaming
Kander in its passage over the rocks, and at the same time<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span>
upon the lowering banks on either side. From Spiez the road
turns to the right round the majestic Riesen, and leads through
a fruitful and highly cultivated valley to Frutigen, a cheerful
little place. Here a second valley opens, out of which the
Kander issues. In this gloomy, fearful rocky vale, which is
frequently scarce broad enough for the bed of the river and
the road, the ascent now begins. On both sides, rocks of
stupendous height, and which in many places hang so much
over the road as to make it quite dark, and fearful to behold.
Added to that, the roar of the onward rolling Kander over its
rocky bed, and the numerous waterfalls which on both sides
of the glen precipitate themselves frequently from a height of
more than a hundred feet. As we by degrees ascended higher
with every step, we receded as it were more and more back
into the season of Spring. The cherry trees, which at Thierachern
had already bloomed a month ago, were here only in
their first bloom. But higher, all fruit trees ceased, and after
we had crossed the last steep mountain of the Kandersteg we
saw nothing but a few thinly scattered fir trees. The village,
consisting of small wooden huts, unsurrounded by gardens and
trees, lying wide apart from each other between masses of
rock, presents a cheerless aspect. The snow which lies here
for nine weary months, was scarcely melted, and the meadows
upon which lean looking cattle sought a scanty fodder, still
wore the sickly yellow hue of the winter season. Upon all
the lofty peaks which tower on either side of the valley of
Kandersteg, lay still a deep mantle of snow, from which innumerable
small rivulets had their rise, and leaped foaming
down. From this part, the road still ascends for three leagues
more to Gemmi, and then descends precipitously to the
Leuker Baths, whose hot springs are greatly frequented in
the autumn. As the made road ceases at Kandersteg, the visitors
to the Baths, who are bad pedestrians, are obliged to
be carried on there by bearers, or upon mules, and with this
arduous occupation the majority of the inhabitants of the little
village eke out a scanty subsistance.</p>

<p><span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span></p>

<p>We slept at Kandersteg, and returned on the following
day. It was an agreable feeling to return by degrees as it
were from winter once more into the spring and summer.</p>

<p>
July, 1.
</p>

<p>A few days ago I sent five new works to Herr <i>Peters</i> at
Leipsic to be engraved. They were two collections of Songs,
three Duetts for two Violins, the seventh Violin Concerto and
a grand Polonaise for Violin and Orchestra, work 37-41.
The Duetts and one of the Songs are new; the other Songs
which I wrote the previous summer at Carolath, I have partly
rewritten and newly instrumentated the Polonaise.</p>

<p>After mature consideration we have resolved to make the
journey to Italy without our carriage, as one travels there
more economically and safely by Vetturino. The chief reason
for this decision was the fear that the renewed exertion upon
the instrument which so much affects the nerves might again
shake the health of my good <i>Dorette</i>, and embitter both for
her and us the long anticipated enjoyment of the delightful
journey. As therefore we were going to leave the harp and
a part of our luggage behind with our host, until our return,
we should not require the carriage, and save at the same
time the long circuitous route by the highroad to the lake of
Geneva, and through the whole length of the valley of the
Valais. That <i>Dorette</i> however, as artiste, should not wholly
sink into inactivity, I shall write several things in part anew,
for Violin and Pianoforte, and re-arrange some from former
things, which we can then play both in private circles and in
public in Italy, where it is even said there is great difficulty
in meeting with a good Quartett accompaniment. In the way
of preparation for our next winter journey, I may also mention
an improvement I have made upon my newly acquired violin.
By a variety of experiments with voice and bridge, I have at
length so far succeeded as to make it speak as softly with
the Quinte which was hitherto hard and brittle, as with the
other strings. The change in the instrument has not been<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span>
without effect on the style of the new Violin-compositions, as
also upon my method of execution! So certain it is, that,
the instrument exercises an influence upon the method of the
player in the same manner as does the voice upon that of the
singer. As one endeavours to conceal the weak points of
the instrument, and to bring out its good qualities, one plays
more especially what the instruments renders with the most
ease, and in this manner the whole method of play becomes
by degrees subordinate and appropriate to the peculiarity of
the instrument. One may therefore not only recognise the
peculiarities of a Virtuoso by his compositions, but those also
of his instrument.</p>

<p>
August, 1.
</p>

<p>We have again made some farther excursions in the neighbourhood.
First of all, a fortnight ago we went to Bern, to
repay the solicited visit to Professor <i>Jahn</i>, who accompained
by his wife and <i>Edward</i> had several times visited us. We
passed a most delightful day with our Bernese friends. For
the last month we had been in hopes of settled weather, in
order to make an excursion on the lake; but with the wet-cold
weather of this summer we have as yet not had three
wholly bright days in succession. At length it appeared as
though it would be finer! The mountains, which for a long
time we had not seen wholly unshrouded, stood out on Friday
evening in all their majestic distinctness. On Saturday the
horizon remained quite clear. As the height of the barometer
now also indicated settled fair weather, we resolved to set out
on our journey early the following morning. On our awaking,
a bright clear sky filled us with the most agreable expectations,
and we got into our Rietwägeli amid the joyous exclamations
of the children. At Thun I hired an extra-boat which
carried us over the whole length of the lake. This voyage in
the beautiful calm Sabbath morning gave us the most inexpressible
delight. The sail so over the green, clear bosom of
the lake, and along its banks clothed in the richest verdure,
the majestic chain of the Alps in the back ground, whose<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span>
snow covered peaks mirrored themselves in trembling outlines
in the fathomless depth of the lake, the solemn tolling of
the bells calling to Divine worship, every thing was entrancing,
and inspired as with a sense of the purest joy. At Neuhaus,
where we landed after a three hour’s sail, we were pounced
upon immediately by one of the drivers of the carriages plying
there for hire. We permitted him drive us to Lauterbrunn.
The road leads through the little, poverty stricken
town of Untersee, round the base of a projecting mountain into
a deep valley, resembling that from Frutigen to Kandersteg,
but not quite so wild and barren. Almost at the extremity
of this valley, after it has gradually become somewhat higher,
lies Lauterbrunn. As soon as we had turned the base of the
last projecting wall of rock, the Staubach lay before us in all
its grandeur. The water precipitates itself down from an immense
height upon a perpendicular wall of rock, and scatters
itself so completely into a vapoury spray, that one would almost
imagine it a cloud of the finest dust rather than water. Every
thing around this wonder of nature is worthy of it. In the
back ground of the valley, barriers of rock, over which also,
leap numerous small streams of water; above them a glacier
of a greenish hue, and near that, stretching far away, the
Wengern Alps, above which the Jungfrau towering majestically
over all. Upon our arrival, we were so fortunate as to be still
enabled to behold the whole grandeur of this sublime scene
under favour of the most beautiful weather. But shortly afterwards,
to our regret, the sky became obscured, and while
we were taking dinner at the inn, hail and rain poured down
in torrents. Towards evening it again cleared up a little. We
hastened therefore to take a walk through the village in the
direction of the waterfall, but found that our previous point
of view from the side, was far more favorable than close in
front of it. We were exceedingly annoyed by the pertinaceous
solicitations of beggars on every kind of plea. One offered
small pieces of quartz or minerals, and another cristals for sale.
Two grown up maidens had posted themselves on the road<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span>
and howled a Duett, for which they expected to be remunerated.
We were however soon driven back into the inn by
the recommencing rain, from the windows of which we enjoyed
a third view of the waterfall from another aspect.</p>

<p>
August, 12.
</p>

<p>We are just returned from Freiburg, where we went to
hear the Swiss Musical festival. Herr <i>Nägeli</i>, the President
of the Swiss Society of Music, had in Zurich previously invited
me to it, and offered me its direction, which I willingly
accepted. But he had not then bethought him that the statutes
of the Society expressly forbid that a foreign and non-member
of the Union should direct the concerts. We received
therefore from the Director of the Society (who here in Switzerland
is not the same who directs the music, but he who conducts
the correspondance, provides the locale, superintends the
erection of the orchestral platform and the printing of the
tickets of admission) a friendly invitation it is true, to be present
at the Festival, but not a word was said about the direction
of the orchestra. Instead of that, he begged me to
assist with the violin. But as I had always replied both by
word of mouth and writing in the affirmative, whenever questioned
whether I would direct the Musical Festival this year,
and that this had been more widely circulated, I could not
now well undertake a subordinate <i>rôle</i> at the Festival. I
therefore excused myself from assisting at it, but wrote to
say that we would attend the Festival as hearers. On the
6<sup>th</sup>, with clear favourable weather we drove to Freiburg in
our Rietwägeli. Upon our arrival, although I had declined
to assist at the Festival, we were lodged in a private house
just the same as the members of the society, and found there
tickets for admission to all the rehearsals and performances
as also to a dress ball, with text books of the “<span lang="de" xml:lang="de">Schöpfung</span>”
(Creation) in French and German, and for myself also an invitation
to the sittings of the Society.... As the weather was
very fine, we resolved upon a walk with the children to the ce<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span>lebrated
Hermitage, three miles distant from Freiburg, situated
in a narrow wild rocky valley on the banks of the
Saane. This was the habitation of a pious Recluse who many
years ago had hewn it in the sandstone rock in this secluded
part of the country. It now consists, after having been enlarged
by his son and successor, of a Chapel with a bell tower
86 feet in height, hewn out of the rock, five or six rooms, a
kitchen with a chimney of the same height as the tower, and
several passages of intercommunication. The whole of this
space, the architectural proportions of which are very pleasing,
is gained by boring and excavating the gigantic perpendicular
rock, and has no where not even in the window spaces any
supports of masonry. One is filled with wonder not only at
the immense patience and perseverance of the two architects,
but with admiration also at their skill and sentiment for beauty
of proportion.</p>

<p>The chapel is still very prettily decorated, and the bells
in the tower are still sometimes rung to summon the pious of
the neighbourhood to mass. The remaining apartments were
taken possession of by a peasant-family after the death of
the last Recluse and therein they possess a commodious and
healthy dwelling at all seasons of the year.</p>

<p>We dined at an inn in the immediate neighbourhood
and returned to Freiburg in the evening. There we were
informed, that during our absence a deputation of the Musical
Society had called at our house, to announce to me, that on
the following morning at their second sitting, I was to be nominated
honorary member. At the same time, the gentlemen
had again begged that I would lead with the violin. I was
very glad that my absence had exonerated me of the unpleasant
obligation to give a refusal. In order not to be taken
by storm, I slipped secretly into the Church and concealed
behind a pillar, listened to the rehearsal. It went very badly,
and I was therefore very pleased that I was not of the party.
After the first part was over, I was obliged to retire in order
not to be seen.</p>

<p><span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span></p>

<p>When I appeared the next morning at the sitting, I was
received with applause. The President announced to me, that
the members present had unanimously elected me honorary
member of the Society, adding thereto many things very flattering
to me and made honourable allusion to our musical
Festival at Frankenhausen. I returned thanks to him and the
Society in a few words, and then seated myself in the place
assigned to me. They were then engaged in the choice of a
President and of the other Officials for the next year, and
after some debates nominated Zurich as the place of meeting
for the next assembly.</p>

<p>At three o’clock in the afternoon the performance of the
“Creation” took place. The locale was exceedingly favourable
for music, and the orchestra very well placed, but unfortunately,
on the opposite side to the Organ, so that of this no use
could be made. The assistant <i>personnel</i>, which on former occasions
was at least estimated at three hundred and fifty persons,
amounted this time scarcely to two hundred, and as
the larger half formed the chorus, the orchestra was relatively
to the strength of the chorus much too weak, so that it was
frequently not heard at all. As it was also very bad besides,
the Chaos, and the accompanied Recitative in particular, went
awfully bad. The Violinists intonated unbearably false, and
the wind instrumentalists, particularly the Hornists, and trumpets,
brought out tones sometimes which excited general laughter.
<i>Tollmann</i> directed with firmness and foresight, but unhappily
took several <i>tempi</i> totally false, almost all the airs
too slow and the chorus too fast. His greatest mistake was
in the chorus after the Chaos: “<span lang="de" xml:lang="de">Und der Geist Gottes</span> etc.”
(And the spirit of the Lord etc.) which he gave just like an
<i>Allegro</i>. The chorus had been well practised and sang powerfully
and purely. It consisted chiefly of German singers. Among
the Solo-singers there were however two from French Switzerland
who sang in their mother tongue which sounded droll
enough, particularly in the Duett between Adam and Eve
in which the latter replied in French to the tender breathings<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span>
of her German Adam. To the auditors at Freiburg this appeared
however in no wise strange, as their town forms, the
frontier boundary of both languages, and on one side of the
Saane they preach in French, on the other in German. Hence
all the inhabitants understand and speak both languages.&mdash;The
part of Eve was sung by Madame <i>Segni</i> from Lausanne,
who has a very fine voice, but unhappily also for a German
ear, an unbearable style of execution. Among the German
singers were also good voices. The assembled public applauded
the music in a very lukewarm manner, and there was not a
spark of the enthusiasm that inspired us so much in Frankenhausen.</p>

<p>On the 9<sup>th</sup>, the rehearsal for the Concert took place. As
it had been previously the intention to give it in a smaller
saloon, but it was found insufficient for the accommodation of
the audience present, there was a want of written voices for
the whole of the orchestra. It was therefore much less numerously
appointed than the day before, and its want of purety,
and stupidity were still more obvious to the ear. But
how could it be otherwise with an Orchestra composed wholly
of dilettanti and particularly of <i>Swiss dilettanti</i>? The easiest
passages were obliged to be repeated from six to eight times
before they went even tolerably. I was astonished all along
with the indefatigable patience of the worthy <i>Tollmann</i>, but
who nevertheless, it must be confessed, was born with every
qualification for the Director of an Orchestra of Swiss dilettanti.&mdash;At
three o’clock this remarkable concert began
at once in an ear-rending manner with the Overture to
<i>Gluck’s</i> “Iphigenia.” The trumpets were pitched a quarter of
a tone too high, and notwithstanding the weakness of the orchestra
were blown with the utmost strength of lungs. Had
the Overture only lasted a little longer the greater part of the
auditory would now already have run out of the church. Then
followed a long succession of dilettanti, partly Singers, partly
Instrumentalists with their Solo-pieces. Some of them were
very good, for instance a gentleman from Iverdun distinguished<span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span>
himself by the ease and good taste with which he executed
a Harp-concerto by <i>Bochsa</i>. Madame <i>Segni</i> also, the “Eve” of
the day before, sang this time in Italian and right well. A
gentleman, whose name is as little known to me as those of
the other performers, for no programme was distributed, played
variations upon a clarinet, in tone and form similar to the
Basset-horn, with much skill and beauty of tone. In the second
part of the Concert, which we did not stop to hear, for
we were now satiated to nausea, we were informed that a
Clergyman of Lucern and the worthy <i>Tollmann</i> executed a
Violin-Rondo in a very effective manner. We regretted that
we were not aware that the latter was going to play, otherwise
we would have remained to the end. Such were the productions
of the Swiss Society of Music so highly spoken of in
Germany. Director <i>Conradin Kreutzer</i> of Stuttgard and his
wife, a native of Zürich, whose acquaintance we made here,
sat near us during the performances, and we were pleased to
be enabled to interchange our opinions upon what we heard.
But we were obliged to keep a constant guard upon our looks
and gestures, fore we were continually watched by those sitting
round us, who sought to read in our faces the impression
their music made upon us. When we were asked also for
our opinion, which was not unfrequently, and always with a
sentiment of national pride, we carefully kept in the mean
between truth and flattery, and by that means successfully extricated
ourselves without giving offence.</p>

<p><i>Kreutzer</i> told me in confidence that, he would not return
to Stuttgard because the despotism there had become thoroughly
insufferable.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> My former Viennese acquaintance <i>Romberg</i> and
<i>Kraft</i> were just in the same position; they also longed to
get away and made application for other appointments.&mdash;We
passed the greater part of the time while at Freiburg in
the society of <i>Kreutzer</i> and his wife. We dined and supped<span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span>
together, and during the continuous fine weather made frequent
promenades into the charming surrounding country. It is true
the Society had a place of meeting at the “Schützenhouse”,
where most of the members dined; but as women were not
admitted, because there were several unmarried Clergymen in
the society, we did not pay a single visit to that place. But
I heard that there was a total absence of that sociability and
cheerfulness which gave such a zest to our meals at Frankenhausen.&mdash;The
ball which took place in the same locality, had
neither any attraction for us, as none of us danced. We sat
therefore meanwhile, in confidential discourse at the tea-table,
and amused ourselves with the relation of past incidents of
our lives and experience. <i>Kreutzer</i> in reality had come with
the sole view to give a concert upon his own account at the
conclusion of the musical festival, as he had been told in
Zurich that this year the Society would only give one performance.
He seemed to think that I had the same intention,
for he proposed that we should make common cause and give
one together. But I had never thought of giving a concert
here, and had not even brought my violin. His concert however
never took place, for the Society gave a second, and
thus we had no opportunity of hearing the play and compositions
of this famous artist.</p>

<p>On the 10. early in the morning we left Freiburg, spent
the afternoon and evening very pleasantly in Bern in the society
of <i>Edward</i> and <i>Jahn</i>, and returned here at 11 in the
forenoon.</p>

<hr class="tb" />

<p class="break center large">Journey to Milan.</p>

<p>In <i>Edward’s</i> company, who was desirous to avail himself
of his vacation to make a little excursion into North-Italy,
we set out upon our journey on Sunday the 2<sup>d</sup> September.
At one o’clock we arrived at Kandersteg, where I immediately<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span>
hired four horses with as many guides, to carry us over the
Gemmi. On three of them, rode <i>Dorette</i>, <i>Emilie</i> and <i>Ida</i>, the
fourth carried our luggage. <i>Edward</i> and I preferred to do it
on foot. Three quarters of a league on this side of Kandersteg,
the ascent begins and continues tolerably steep for a good
2&frac12; leagues. The road then leads round the Gemmihorn for
some distance upon a level, till at a distance of &frac34; of a league from
Schwaribach it ascends again.&mdash;The weather had up till
now been very favorable; but here a hail storm over took us
which soon changed to rain and wetted us completely through.
As it was already tolerably late besides, and we had still the
greatest and most difficult part of the way before us, the
guides easily persuaded us to put up for the night in Schwaribach.
The inn here is a mere rude blockhouse, and has
nothing in common with the hotels in the Swiss vallies, that
one should be made to pay here equally their exorbitant
overcharges. But as one of the two habitable rooms was
wholly given up to us, and that besides a bundle of clean
straw for us men, we found there a large bed for <i>Dorette</i> and
the children, we passed the night nevertheless in tolerable
comfort. We could certainly not help feeling a shudder of
horror when we called to mind previous to going to sleep, that
the midnight murder in <i>Werner’s</i> “Twenty fourth of February”
was enacted here.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p>

<p>During the night, snow had fallen, and it was bitter cold
upon our setting out next morning. I therefore sent back three
of the horses, and let <i>Dorette</i> and the children walk also,
more especially as the descent to the Leuker Bad cannot be
made on horseback. At Schwaribach all vegetation ceases,
and even the beautiful Alpine rose is not to be found. The
road has again a very steep ascent as far as the Daubensee
(then half covered with ice) along which it runs for the distance
of half a league through a barren valley, in which<span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span>
seemed to reign the stillness of the grave; to the last ascent,
which as it leads through snow and icefields was the most
toilsome ascent of all. Arrived at the top, to our disappointment
we were favoured with one look alone into the abyss
opening beneath us; for in a few minutes we were envelloped
in a mist, which scarcely permitted us to see a few paces before
us. We were now compelled to follow blindly the pack-horse
and its guide, and to keep quite close together. The
road led precipitously down between fissures in the rocks
and sometimes even between perpendicular walls of rock in
which a small path had been cleared by blasting. At the
part where it runs, the horse’s neck projects over the abyss,
and the guide is obliged to hold him up by a rope secured
to the load on his back, or even by holding on to his tail
with all his might. At this place the view down into the
depth which had been concealed from us by the thick fog, makes
the head so giddy, that many invalids who wish to go to the
Leuker Bad have not the courage to make the descent, and
prefer, after having had the object of their journey under
their very eyes, to take the immensely circuitous route of
nearly twenty leagues by way of Bern, Freiburg, Lausanne
and through the Valais.</p>

<p>After we had continued descending for more than an hour
without finding any other vegetation than here and there
a violet blooming in the clefts of the rocks, we came suddenly
to a region where the mist ceased, and we were now
favoured with a most unexpected and charming view far
away down upon the Leuker Bad beneath us. At this place
we rested ourselves for a moment, to recover a little from
the highly fatiguing exertions of the steep descent. But it
required many such resting places before we reached the bath,
at 11 o’clock. The children only, were not fatigued, and were
always in advance of us.</p>

<p>While we refreshed ourselves in the large and well appointed
inn, I sent for fresh horses, and at 2 o’clock in the
afternoon, animated with new spirits we continued our journey,
<i>Edward</i> and I on foot, <i>Dorette</i> and the children on horseback.<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span>
Previous to leaving, we inspected the sulphur-spring which
rises out of the earth at boiling heat, in front of the inn.</p>

<p>At Leuk it was not possible to procure any vehicle for the
farther journey. We were therefore obliged to pass the night
in the miserable inn to which our guides brought us. On
Friday the 4<sup>th</sup>, at an early hour in the morning, we continued
our journey to Brieg in two one-horse vehicles, and arrived
there at noon. The valley of the Valais is very narrow and
little cultivated. We saw numerous marshy meadows, and but
few maize and potatoe fields. At Brieg commences <i>Napoleon’s</i>
famed Simplon-road, a gigantic work, which cannot be enough
admired. We here hired a two-horse vehicle to take us to
Domo d’Ossola. The road is so ingeniously carried in and out
of the mountain ravines, that it never rises more than five
inches in six feet, so that heavy loaded waggons can descend
without using the drag-shoe. Especially remarkable are several
colossal bridges, which are thrown across deep glens and clefts
in the rocks, and those parts of the road which have been
bored through the rocks by blasting, and resemble subterraneous
galleries. One of these is so long, that it is but imperfectly
lighted by the light admitted on both sides. At the
distance of every league, one finds a house to afford shelter on
the sudden coming on of stormy weather. In the third of
these houses is the post-house, the sixth the custom-house,
where we were obliged to pay a few laubthaler for roadway
duty. Considerable as this tax is, it is still insufficient to
keep the road in good repair, and it is greatly feared that
it will by degrees fall into ruin. Nevertheless what one hears
of this decay in foreign countries is without foundation, for
with the exception of some of the barriers which had been
carried away by avalanches and not yet reconstructed, we found
it in good condition. Upon the highest part of it, the construction
of a gigantic house has been begun, in which if it
were finished, a corps of 4000 troops would be able to pass
the night. But since the fall of <i>Napoleon</i>, its construction has
been stayed, and it will now soon fall into decay. The Simp<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span>lon
pass is certainly not so high as that over the Gemmi, but
here also all vegetation ceases, and even in the village of
Simpeln where we slept, we found it very wintery.</p>

<p>Wednesday the 5<sup>th</sup>, September 1816, was the happy day
on which the realisation of the wish of my early childhood,
to behold the land “where the citrons bloom” was at length
to be fulfilled. After we had travelled for two leagues more
in continual descent, we came to the frontier of Lombardy
and soon found ourselves transported into the midst of the
South. Now we beheld woods of the sweet chesnut, and in
gardens, figs, almonds and magnificent festoons of the vine,
trained from one tree to another, and pendant with masses
of the finest grapes. At every step as we descended, the warmth
increased; at first agreably, but, soon quite oppressively. At
noon we arrived at Domo d’Ossola, a small but pretty town.
Here in the Hotel of the <i>Capello verde</i> we were for the first
time imposed upon in real Italian style, and impressed with
the necessity of the caution, to agree always before hand with
the hotelkeeper on the charges for the accommodation. After
dinner we travelled as far as Laveno, which lies close to the
shore of the beautiful Lago Maggiore, and opposite to its celebrated
islands. Here although we had agreed before hand
on the charges for our nights accommodation, we paid as we
were afterwards informed too much by half. On the 6<sup>th</sup>, early
in the morning, we visited the so oft-times enthusiastially described
Borromean islands, Isola Madre and Isola bella. Like
many others whose expectations have been unduly raised by
the too lavish praises of enthusiastic travellers of particular
localities, they did not come up with our too sanguine expectations.
We were most pleased with the Isola Madre, where
for the first time we beheld with admiration the vigorous vegetation
of the South, in the ancient and majestic laurel, citron,
pomgranite and fig-trees, with other shrubs and plants of
southern growth. Though of necessity these plants must here
also, as with us be protected in winter, to secure them from
the frost, yet their growth is so much more vigorous, and the<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span>
fruits are much larger and more juicy than those of our greenhouses.
On Isola Bella, there is a large but as yet not wholly
finished palace, which contains some fine apartments, in which
are several fine pictures, but the building is already going to decay.
The remaining space on the island comprises the celebrated
garden, which rises in ten terraces from the shore of the lake.
The inside is supported by masonry which rises in progressively
higher arches from terrace to terrace. The plan of
the garden is gigantic, but in a bad old french style. The numerous
wretched statues in the alleys and on the steps of the
terraces are particularly repulsive and offensive to the eye.
The terraces are ornamented with beds of flowers and numerous
yet more southern products, which in the winter time
are put under cover under the arches. All were in most
beautiful flower, and diffused unknown sweets around us.
From the summit of the garden site, a most charming view
is obtained of the opposite side of the lake, towards Palanza,
Intra, Laveno, and the beautiful outline of mountains which
bound the sight. Far as the eye could reach, all was canopied
by a sky of the purest and deepest blue, and lit up with such
a flood of sun light that the most distant objects could be
clearly distinguished. This, and the mild balsamic air made
us especially feel that we had entered a southern climate.
Before we left the Islands, the gardener conducted us to an
historical curiosity, to the name of <i>Napoleon</i> cut by himself
in the bark of a laurel tree, shortly before the battle of Marengo.</p>

<p>The same boat that brought us to the Islands, took us
six leagues farther to the little town of Sesto Calende, at the
extremity of the lake. On this excursion we again had many
a fine view of the beautiful banks of the lake. Belgirate,
Arona, and the colossal statue of <i>St. Carlo Borromeo</i>, were
seen to great advantage. At Sesto Calende, we already found
the dirt and smell peculiar to Italian towns, and that of an
Oil-boilery, so offensive to a German palate. On the 7<sup>th</sup> we
performed the last days journey to Milan in the vehicle of a<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span>
Milanese driver, through a flat and uninteresting country, and
put up at a <i>Pensione Suizzera</i> which was recommended to us
for its German cleanliness.</p>

<p>
<i>Milan</i>, Sept. 9.
</p>

<p>The first of the remarkable things in Milan which we
visited yesterday, was the cathedral. This beautiful building
upon which the labour of nearly five centuries has been almost
uninterruptedly devoted, and which nevertheless is as yet unfinished,
approaches most nearly in style and architecture to
the cathedral of Strasburg, but in form is nevertheless very
different from the latter. It is in the form of a lengthened
cross; at the place where the two lines meet, stands the high-altar,
and above that, the span of the majestic dome, upon
which the pretty tower in the form of a pyramid is built,
the top of which is surmounted by the colossal statue in bronze
of the holy Virgin. Innumerable other pierced gothic pyramids
ornamented with niches and statues rest in part upon
the pillars of the external walls, and in part on the marble-slabbed
roof, increasing in height more and more the nearer
they approach to the tower. On the pinnacle of each stands
the statue of some Saint. The whole structure, from the ground
to the highest point, is of white, polished marble, quarried at
Baveno on the Lago Maggiore, and brought thither by the
Ticino-Canal. During <i>Napoleon’s</i> rule, the work was prosecuted
with great zeal and not only was the <i>façade</i> of the chief entrance
completed (which had been carried out only to the
top of the door) but all the pyramids also, upon the external
walls. At first sight, and seen from below, the building now
seems finished; but upon ascending the roof, and the tower,
one sees how much yet remains to be done.</p>

<p>The pillars and niches are in the Gothic, the doors and
windows in the Roman style, and the statues are clothed after
the Greek manner. All the sculptured works, of which in small
and large statues, in high- and low-reliefs, in arabesques and
other ornaments there are an immense quantity in this splen<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span>did
building are from the chisel of celebrated masters, and
it seems to me that, the modern works excel even the ancient
in beauty and correctness.</p>

<p>The Interior of the church is by reason of the painted
windows somewhat dark, but on that account and from the
imposing grandeur and height, is the more fitted to raise religious
feelings. Among the numerous statues in the interior
of the cathedral, that of <i>Carlo Borromeo</i> is the most esteemed.
Its great merit as a work of art is considered to lie in
the anatomical correctness displayed by the sculptor in the
deliniation of all the muscles, tendons, veins and prominent
joints. From the gallery of the tower one has an extensive
view, bounded on the north by the Swiss Alps, and on the south
by the Apenines.</p>

<p>In the evening we went to the theatre <i>della Scala</i>, where
was given “<i lang="it" xml:lang="it">la statua di bronza</i>”, a <i>semiseria</i>-opera by <i>Soliva</i>,
a young composer and pupil of the conservatory here. Upon
our entrance, we were surprised at the size and beauty of the
house. It is built after the model of the <i>St. Carlo</i>-theatre
at Naples, the largest in Italy, and contains a spacious pit
and six tiers of boxes one above the other, but will not hold
much over 3000 people, so much space having been wasted
in the manner of its distribution. The price of admission is
the same to every part of the house, viz, two <i>Lire di Milano</i>.
The orchestra is very numerous; four and twenty violins, eight
counterbasses, the same number of violincellos, all the customary
wind instruments, trumpets, bass-horn, turkish music
etc. and yet with all, not numerous enough for the size of the
locale. The performance very much surpassed my expectation;
it was pure, vigorous, precise, and withall very calm. Signor
<i>Rolla</i> an <i>artiste</i> known also in foreign countries by his compositions,
directed as first violin. There is no other directing
whether at the piano, or from the desk with the baton,
than his, but merely a prompter with the score before him, who
gives the text to the singers, and if necessary, the time to the
choruses. The composition of the opera is more in the Ger<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span>man
than the Italian style, and one could hear very plainly
that the young artist had taken our German composers, particularly
<i>Mozart</i>, much more for his models, than his own
countrymen. The orchestral parts are not so subdued as is
usual in Italian operas, but are rendered in a very prominent
manner, and sometimes even so much so as to cloak the singing.
It is therefore astonishing that this opera has pleased
so much, as this <i>genre</i> is never much liked. The well studied
<i lang="fr" xml:lang="fr">pièces d’ensemble</i> and the finale have certainly not been the
reasons for the success of the opera, but a few little unimportant
cantabili’s which were well executed by the singers.
These <i>alone</i> also, were the points listened to with attention.
During the powerful overture, several very expressive accompanied
recitatives, and all the <i lang="fr" xml:lang="fr">pièces d’ensemble</i>, the audience
made so much noise that one could scarcely hear the music.
In most of the boxes, the occupants played at cards, and all
over the house, people conversed aloud. Nothing more insufferable
can be imagined for a stranger who is desirous
to listen with attention, than this vile noise. On the other
hand, from such persons as have perhaps seen the same opera
thirty or forty times, and who come to the theatre only for
the sake of the society, no attention is to be expected, and it is
a great condescension if they only listen quietly to some
“numbers”. At the same time, I can imagine no task more ungrateful
than to write for such a public, and one is surprised
that good composers will submit to it. After the first act
of the opera, a grand serious ballet was given, which from
the skill of several of the dancers male and female, and the
splendour of the decorations and costumes, presented a very
imposing dramatic spectacle. As it lasted nearly an hour, the
auditory had forgotten the first half of the opera. After the
second act of the opera, another, but a comic-ballet, not much
shorter, was produced, so that the whole of the performances
lasted from eight o’clock to midnight. What work for the
poor musicians!</p>

<p><span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span></p>

<p>
September, 14.
</p>

<p>Last evening we went to a concert, given by <i>Ferlendis</i>
of Venice, a <i lang="it" xml:lang="it">Professore di Oboa</i>. His composition and play
were alike pitiable. It is impossible to imagine a worse Tone
and a greater want of Taste in the execution of the passages
and of the cantabile, than this Professor <i lang="it" xml:lang="it">di Oboa</i> displayed.
In Germany he would most certainly have been hissed off;
here of a necessity, he was applauded as a matter of course
by the Free-tickets. In the second part, <i>Luigi Beloli</i> played
a Horn-Concerto of his own composition. This it is true did
not exceed the line of mediocrity, but the execution was very
superior. <i>Beloni</i> has a very beautiful tone, much skill and
a cultivated taste. In order that the horrid Oboe should not
obliterate the last more pleasing impression, we would not stop
to hear the remainder of the concert.</p>

<p>
September, 16.
</p>

<p>That the Italians are a very musical nation may be judged
from the fact that their beggars always solicit alms either
singing or playing. Here are parties of four or five such musicians,
who play of an evening in front of the Cafés, a by
no means intolerable music, usually accompanied by a finely
dressed female vocalist, who afterwards collects the money;
sometimes they consist of three singers who with guitar accompaniment
execute Trios and short Canons very efficiently; at
others, blind fiddlers, flute players or singers who either without
accompaniment, or who accompany themselves on the tambourine,
seek their fortune singly; and even those who hawk
things about for sale, offer their wares singing. Yesterday
we came upon a comical fellow of this kind. He had manufactured
for himself a remarkable instrument out of a whip-handle,
from one end of which to the other he had stretched
a single string. On the top, this cord was passed through
a ball of paste, from the aperture of which rose a large bouquet
of artificial flowers by way of ornament. In the right
hand he carried a violin-bow, with which he produced the single
tone which his instrument was capable of. The remarkable<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span>
talent of this artist consisted there-in, that on a constantly
repeated melody, for the fundamental tone of which his instrument
furnished the Quinte, and which therefore never concluded
in the Tonica, but always in the dominant, he improvisated
the politest compliments to all who passed, or who
sat before their doors; for these, the persons flattered, seldom
refused a gift of money, which he collected in his hat, but
without interrupting his song. In this style of recitative singing,
in which his instrument fulfilled the duty of the orchestra,
he would now praise the shape, now the dress of the passers
by, and one could see by the self-satisfied smiles and generosity
of the persons bepraised, that he well knew how to touch
them on the weak side.</p>

<p>This afternoon we went to another concert, given by the
<i lang="it" xml:lang="it">Società del Giardino</i>. The two Mesdames <i>Marcolini</i> and <i>Fabré</i>
sang a duett of <i>Rossini’s</i>. The former is celebrated throughout
Italy as an contralto, her voice is fine, and she has great
execution; but she almost always sings too low, by which in
my opinion her singing was much injured. Signora <i>Fabré</i> is
the <i>Prima donna</i> of the great theatre whose high notes are
particularly fine, and her method of execution cultivated.
Although both singers stand equally high in regard to voice
and skill, yet here also the soprano bore away the palm from
the contralto, just as a bass-viol can never please by the side of
a violin. In the second part were sung also, a duett of <i>Paccini</i>,
a Cavatina by <i>Bonfichi</i>, and a <i>Rondo</i> by <i>Paer</i>. All alike, the
humorous or the serious, were sung in the same manner and
with the same ornamental trimmings which have been heard
a thousand times. The compositions were almost all insipid
and without intimate connection, and the singing frequently disturbed
or cloaked by meaningless figures of instrumentation.</p>

<p>
September, 17.
</p>

<p>We have just seen the Mosaic-Manufactory here. The
most important work is a copy in mosaic of <i>Leonardo da
Vinci’s</i> “Last supper” on which the artist has been uninterruptedly
engaged for twelve years; it is of the same size as the<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span>
original, (the figures of the size of life). It is divided into
twelve pieces, each of which is about three ells in length
and of the same breadth. All the pieces are now finished,
but only some have as yet been polished, these (from the ceiling
part only) have a bright polish, those containing the figures
were somewhat matt in the colours, at least as compared
to the good copy of the picture from which it had been worked;
but perhaps it will gain yet more life when the polishing
has been completed. <i>Bonaparte</i> had given the order for this
work, which will now be finished at the expense of the Emperor
of Austria. As eight ducats a day are paid to the workmen,
it already costs in wages for labour 34,960 ducats. Besides
this herculean labour we saw several mosaics in the establishment,
of exceeding beauty, exhibited for sale.</p>

<p>
September, 17.
</p>

<p>To-day we were present at the concert at the Conservatory
of music, for which Count <i>Saurau</i> had presented us with
tickets.</p>

<p>What I could ascertain respecting the interior administration
of the Conservatory is as follows: The Professors, of
whom four teach singing, one the violin, one the violincello,
one counterbass, and some others the wind instruments, are
appointed by and receive their salaries from the government,
which pays also for the board and lodging of twelve pupils,
six boys and six girls. All the other pupils some of whom
live at the Conservatory, and some attend only at the hours
of tuition, are required to pay for every thing. The Milanese
are said to be very much opposed to the Institution; at the
present time also, there are scarcely thirty pupils.</p>

<p>
September, 22.
</p>

<p>To-day I paid a momentary visit to a kind of Practising-Concert
where the dilettanti of this place, perform Symphonies
under <i>Rolla’s</i> direction, and in particular of the German
masters. The string-instruments are chiefly played by dilettanti,
the wind instruments by players from the <i>della Scala</i><span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span>
theatre. When I arrived, they had already given the old symphony
in D major of <i>Mozart</i>, and some overtures by Italian
masters, and were just then engaged practising one of the grand
Symphonies of <i>Haydn</i> (B major). It was played with tolerable
accuracy, but without <i>piano</i> and <i>forte</i>, and for the most part
crude. Nevertheless, the Institution which is moreover the
only one of the kind in Italy, is a very praiseworthy one,
since it enables the lovers of music here to become acquainted
with our magnificent Instrumental-compositions. If I do not
mistake, this weekly Practice-Concert takes place in the house
of Signor <i>Motto</i>, who is said to have a fine collection of first
class violins. But there are a great many fine violins here.
A Signor <i>Caroli</i> has two very fine Stradivari’s; <i>Rolla</i> has one
also of great beauty; a Count <i>Gozio de Solence</i> has in his
numerous collection of fine violins among several others by
<i>Amati</i>, <i>Guarneri</i> and <i>Guardagnini</i>, four Stradivari’s also, which
have never been played upon, and which although very old
look as though they had only just been made. Two of these
violins are the production of the last year of that artist, 1773,
when he was an old man of ninety three years of age. But
it is immediately perceptible on the violin that it was cut by
the tremulous hands of an infirm old man; the other two are
however of the best days of the artist, from 1743 and 1744,
and of great beauty. The tone is full and strong, but still
new and woody, and to become fine, they must be played
upon for ten years at least.</p>

<p>
September, 28.
</p>

<p>Last evening we gave our concert in the <i>della Scala</i> theatre.
The orchestra kept its usual place, but the female singers,
and <i>Dorette</i> and I, for our performances, took our places
under the Proscenium, between the curtain which remained
down, and the orchestra. The house although favourable for
music, requires nevertheless on account of its immense size, a
very powerful tone, and a grand but simple style of play. It
is also very difficult <i>in a place</i> where people are always accustomed
to hear voices only, to satisfy the ear with the tone<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span>
of a violin. This consideration, and the uncertainty whether
my method of play and my compositions would please the
Italians, made me somewhat nervous on this my first <i>début</i> in
a country where I was as yet unknown; but as I soon observed
after the first few bars, that my play was listened to with
attention, this fear soon left me, and I then played without
any embarrassment. I had also the satisfaction to see that
in the new concerto I had written in Switzerland, which was
in the form of a <i>Vocal-Scena</i>, I had very happily hit upon
the taste of the Italians, and that all the cantabile parts in
particular were received with great enthusiasm. Gratifying
and encouraging as this noisy approbation may be to the
Solo-player, it is nevertheless exceedingly annoying to the composer.
By it, all connexion is completely disturbed, the <i>tutti</i>
so industriously worked out, are wholly unheeded, and people
hear the Solo-player begin again in another tone without any
one knowing how the orchestra has modulated with it.&mdash;Besides
the Concerto, I played with <i>Dorette</i> the new Pot-pourris
for piano and violin, and another with orchestral accompaniment.
The latter, at the general request, I was obliged to
repeat. The orchestra, the same that played in the opera,
accompanied me with great attention and interest. <i>Rolla</i>, in
particular, took great pains. My overture to “Alruna” was
played at the beginning of the second part with great power
it is true, but not without fault. The orchestra is accustomed
to too many rehearsals, to be able to execute any thing free
from fault after one rehearsal only. Madame <i>Castiglioni</i>, a
Contre-Altiste engaged as a supplementary vocalist at the
next carnival in Venice, sang an aria in the second part, with
a fine voice and a good school, and was rewarded with a general
applause. It had cost me infinite trouble to procure these
two song-pieces; for the singers of the great theatre some of
whom would have been very pleased to sing, could not get
permission from the Impressario, and all the other singers of
note who lived here, had already either signed engagements,
or did not dare to appear at the Scala. The Impressario at<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span>
first demanded the fifth part of the receipts for the grant of
the theatre, but by the intercession of the governor Count
<i>Saurau</i>, this tax was remitted in my favour.</p>

<p>After the concert, I was solicited on all sides to give another;
but as next Friday, the only free day in each week,
is the Emperor’s Name-day, on which the governor gives a
grand fête, and we have no desire to prolong our stay another
fortnight, I shall rather defer this second concert till my return,
and proceed forthwith to Venice. The first concert moreover,
has but little more than paid the expenses, which amounted
to fifty ducats.</p>

<p>A few days ago we visited the Picture Gallery in the
Arena; the locale is the finest we ever beheld. It consists of
three large saloons, which receive the light from above, of a
long gallery, and two cabinets. In the gallery are the pictures
<i>al fresco</i> collected from the churches in Milan, from the
walls of which they have been taken with the plaster on which
they were painted, and here let into the walls again. Among
them are some of high artistic worth, of which copies and
engravings have already been made. In the saloons, the paintings
are chronologically arranged, and the name of the master
given under each. In the first saloon are those of the earlier
period, in the middle are those of the later, and in the third
those of the modern school. Yet as far as I know there are
no works of any living artists hung up. In the Cabinets, the
smaller paintings are exhibited. The most precious of all, a
<i>Raphael</i>, which although of his earlier days when he still
painted in the style of his master, is nevertheless of infinite
beauty. It is the betrothal of the Holy Virgin with <i>Joseph</i>.
In the centre stands the Rabbi who in a grave and dignified
posture pronounces his blessing; on his left is <i>Joseph</i>, a manly
figure with dark hair and beard, placing with a kindly expression
the ring upon the finger of the Virgin, who upon
the right, softly blushes in all the graceful sweetness of maiden
modesty. Among the other figures, a youth is also conspicuous,
who breaks a stick against his knee. Artists admire<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span>
greatly the foreshortening of the inclined posture. At first
sight the sharp outline of the figures strikes one as unpleasing;
but after one has become somewhat used to it by a longer
contemplation, one is irresistibly fascinated with the elevated
expression both of countenance and position. In this as in all
<i>Raphael’s</i> pictures the hands and feet are of exceeding beauty.</p>

<p>
<i>Venice</i>, October, 5.
</p>

<p>On Monday the 30<sup>th</sup> September we set out upon our journey
thither in company with two amiable Polish Counts, whose
acquaintance we had made in Milan, and of a painter who
had just returned from a tour in Sicily. For myself and
family I had hired a Vetturino as far as Padua, for seven
louisd’or, for which price it was also agreed he was to pay
for our supper and beds....</p>

<p>The road to Brescia presents very little variety. Brescia
is an ancient town, in which there is very little worth seeing;
but it is situated in a charming locality on the slope of a
mountain covered with vineyards and countryhouses. We took
a walk through the town, in which we saw nothing remarkable
except a vine that covered the fronts of five houses up to their
roofs, and was every where loaded with clusters of the finest
grapes. One of the Poles, Count <i>Zozymola</i>, had meanwhile paid
a visit to Signora <i>Mulonatti</i>, one of the most celebrated Contre-Altistes
of the day, whose acquaintance he had made in Florence,
where a few months previously she had sung. She is now
reposing from the fatigues of the last months in the society
of her <i>Cavaliere serrente</i>, a Count <i>Secchi</i> who has a fine house
in Brescia, and a still finer estate in the neighbourhood. During
the Carnival she will again make her appearance here
in Venice, at a salary of 10,000 francs and a benefit. Her
admirer, a man of large fortune and extensive knowledge
has devoted his whole life to his <i>Donna</i>, while his two elder
brothers have greatly distinguished themselves as Generals in
the French Army. For the last ten years he has accompanied
her every where she has sung, manages her affairs, and de<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span>votes
himself to all her caprices. His sole somewhat earnest
occupation is to write her memoirs <i>i</i>, <i>e</i>, her triumphs over
other singers, and her love adventures. Once a year she furnishes
him with the written data for the latter, which are
the originals of the love-letters received, and although he is
very jealous, she nevertheless prevails on the good natured
fool to copy those letters himself, and introduce them with
their respective explanations in her history. She has a husband
as well, and two children by him, of whom she is said
to be very fond. This husband plays a thoroughly pitiful part;
he always keeps a certain distance, and awaits every look
and beck of his ruling mistress. Up to the present time
Count <i>Secchi</i> has seen neither Rome nor Naples, because his
lady has not yet sung in those Cities, and she would not
readily grant him permission to go there without her.</p>

<p>Between Brescia and Verona, the road passes along the
Lago de Garda, whose beautiful wooded shores studded with
country seats and enclosed by mountains, present the most
beautiful views, which richly repaid us for the uniformity of
the previous days journies. At the farthest end of the lake
and half in the water, lies Peschiera, a small mean-looking
town containing but few houses, but with extensive fortifications.
From thence to Verona, the road is again very uninteresting.
Upon our arrival, we learned that a female Pianiste
and Harpiste of note from Naples was to give a Concert in
the theatre, and we proposed to ourselves to go there. Through
the slowness of the waiters who brought our supper an hour
later than we had ordered it, we were however prevented going.
We went nevertheless, at eleven o’clock at night by a beautiful
moonlight to see the Coliseum, of all the monuments of
Roman greatness, the one which is in the best state of preservation....
We ascended to the topmost benches, which
equal in height the loftiest buildings of the town; from thence
we had a splendid view over the whole colossal structure.
We pictured to ourselves the immense mass of stone filled
with the Romans of old&mdash;how they cheered the victors in<span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span>
the Arena beneath,&mdash;and then lost ourselves in the contemplation
of the perishableness of all human greatness, and in
comparisons between that vigorous people of yore and the
present inhabitants of this beautiful land.</p>

<p>On one side of the Oval, the prisons are still to be seen
where the malefactors were confined who were to be thrown
to the wild beasts. The arrangement is still existing also, by
means of which in a few minutes the circus could be laid
under water for naval fights and boat races. During the visit
of the Austrian Emperor, the people were treated with a resuscitation
of the ancient horse and foot races. We had seen
something similar in Milan of which I had forgotten to speak.</p>

<p><i>Napoleon</i> has erected in the <i>Foro Buonoparte</i>, a Circus
in the Roman Style, whose exterior consists also of a wall
having passages for ascent; but the benches in the interior are
of turf only. Of these there are about twelve, but from 25- to
30,000 people find nevertheless room sufficient. On one
side of the breadth, stands a handsome building with a fine
colonnade looking into the interior, from which stone benches
run the whole breadth of the building down to the circus.
In this modern Arena, which can also be laid under water,
the people were treated at the time of the coronation of <i>Napoleon</i>,
as king of Italy, with a free admission to a <i>rechauffé</i>
of the ancient Roman games. A third but smaller edition, on
payment, took place the day before our departure.</p>

<p>First of all, eighteen runners in Roman costume made
their appearance, who upon a signal from the trumpets ran
forward in a seemingly encumbered manner to the goal. The
victor received a flag, from the top of which was suspended
a wreath of laurel. The two next best after him, were also
presented with tokens of triumph. Twelve horsemen now advanced
to compete in speed. Several fell from their horses at
the first start, and all of them rode so badly that they excited
nothing but laughter and compassion. After the winners
had been again rewarded, came the Chariot Race, which
however presented both a new and interesting sight. The six
charioteers were mounted on small two-wheeled Roman cha<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span>riots
such as one sees upon old coins, and on a given signal
to start, lashed their horses, of which there were two to every
chariot into a full gallop; at the extremity of the course, one
of them in turning fell twice, horses and all, but without
taking any harm. The others drove round the course three
times, and the victors were again presented with their rewards.
Now commenced the grand Triumphal-procession. From thirty
to forty Hautboyists in the <i>Roman</i> costume with <i>Turkish</i> music!&mdash;playing
a March from the Opera “John of Paris”
opened the spectacle. Then came the Runners carrying spears;
and at length a large Roman triumphal chariot drawn by
four oxen, with the whole of the victors. The handsomely decorated
oxen had been harnessed in pairs in the Roman manner;
but the poor animals had not been accustomed to that
sort of thing, and they would not move an inch; so that it
was at length found necessary to yoke them in the same
manner as they were used to, in their dung carts, and when
this was done they went off in style. Behind them came the
unsuccessful riders and charioteers who closed the procession.</p>

<p>The costume of all these people and animals was well
chosen, and had one not seen round the Circus the modern
<i>beau monde</i>, with now and then among the runners a three
cornered hat, the wearer of which kept order in the games,
and, not have heard the Turkish music playing the march
from “Aline”, one might indeed for a moment have fancied,
to see beneath one the old Romans of yore. But these soldiers
and hackney carriage drivers were so sparing of their miserable
horses, and at the same time so clumsy, that they soon
dissipated every deception.</p>

<p>On the 3<sup>rd</sup> early in the morning we parted from our agreable
fellow travellers, who now proceeded on their farther
journey by another road through the Tyrol to Munich. We
slept in Vicenza, a filthy dirty place. Our windows looked
out upon a lonely street, in which heaps of dirt of the most
disgusting kind infected the air in an unbearable manner.
But one meets with the same kind of thing here even in the<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span>
largest Cities, and in the most magnificent squares. If one
ascends a retired flight of steps, often of the finest marble,
at the grandest palaces, it behoves one to keep in the centre,
to avoid contamination, and even the Cathedral of Milan is
unapproachable on many sides for the high heaps of filth.
This exceeding dirtiness, in which the Italians surpass almost
all other nations, prevails also in most of the apartments
and kitchens. I thought to myself that a Dutchman would
go out of his senses here!</p>

<p>On the 4<sup>th</sup> at noon, we arrived at the ancient, unsightly
Padua, where we stopped till eight o’clock in the evening.
We then continued our journey by water in the Canal-Diligence.
On getting into the bark, deceived by the uncertain
moonlight I missed my footing, and fell into the water; but
in my fall I fortunately caught hold of the gunwale of the
bark, and was immediately pulled on board again. With the
exception of the fright and the trouble of changing my clothes
I experienced no unpleasant consequences from this fall. The
bark is very conveniently fitted up for the accommodation of
from twenty four to thirty persons, and towed by a horse at
full trot, goes very fast. The last half of the Canal is thickly
dotted on both sides with beautiful country seats and gardens,
which at this period are inhabited by the wealthy Venetians.
The Palace of the former Viceroy, in which the governor
Count <i>Goes</i> resides during the fine season, is particularly remarkable.
We much regretted passing this beautiful part of
the country in the night, but even by moonlight the view
presented is magnificent. At five o’clock in the morning,
when all Venice was yet asleep, we arrived, and alighted at
the <i>Albergo della Scala</i>.</p>

<p>
<i>Venice</i>, October, 10.
</p>

<p>Little as Venice upon the whole, has come up with my
expectations, yet I was the more surprised by the beauty
of some parts of the city. The Piazza San Marco, is particularly
imposing. The thousand-year old church of St. Mark,
built in the oriental style, with its five cupolas, its innume<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span>rable
statues and magnificent mosaic-pictures with their resplendent
gold ground; the colossal Bell tower with its pyramid
which serves as a beacon to the mariner far away on
the Adriatic sea, the three grand buildings almost in the same
style of architecture which enclose the square upon three sides;
the busy life under the Arcades, the rich shops of the traders
and the tastefully decorated coffee-houses, in and in front of
which from eight o’clock in the morning till far into the night
the fashionable idle world of both sexes may be seen collected:
the mingled vociferations of the numerous vendors of refreshments,
and of the criers who read aloud the proclamations
of the government, or announce the pieces to be performed in
the evening at the different Theatres&mdash;all these together
form so varied a picture, that a stranger finds subject therein
for a whole week’s entertainment.</p>

<p>If one then proceeds to the second square which abuts
on the first near the church, enclosed on the east side by
the former palace of the Doges, and on the west by the
prolongation of one of the three large buildings adverted
to; a new spectacle quite different from the former one presents
itself. Before you, the harbour dotted with gondolas,
barks and trading ships of all sizes; on the left the quay
bordered with magnificent buildings and churches extending
as far as the <i lang="it" xml:lang="it">giardino publico</i>. Opposite, situated upon a
small island, a monastery in whose handsome church the last
Pope was elected, and to the right on the other side of the
grand canal the church of <i>San Giorgia maggiore</i> with its majestic
dome, surrounded by other beautiful buildings. When
the eye has feasted itself on these objects, it is attracted by
the nearer surroundings; by the motley crowd of human beings
upon the high-arched stone bridges leading over the numerous
canals which from this spot intersect the City; by the loading
and unloading of the larger ships, the embarking of the fashionable
and unfashionable world in gondolas and barks for
pleasure-excursions, or journeys of business; by the singular
forms of the fish and shell-fish exposed here for sale, and the<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span>
other numerous striking objects peculiar to a sea-port. Having
seen all this, one returns gladly to the square of St. Mark,
and there finds new subjects for admiration. Upon contemplating
the church more attentively, the four gigantic bronze
horses over the chief entry first attract the eye, less by their
artistic worth, for they are not of the finest proportions, than
on account of their antiquity and their various fortunes. Carried
off by the Venetians on the taking of Constantinople, they
were placed as war-trophies over the chief entrance of the
church of St. Mark, and there remained undisturbed until the
French after the conquest of Italy took them to Paris. From
thence with all the other treasures of art carried from Italy,
they were again brought back after the capture of Paris by
the allies, and reinstated in their old place amid the exultations
of all Venice. Besides these horses, there are many
other memorials of the triumphs of the Venetians in the church
of St. Mark. Statues, bas-reliefs, arabesques, columns and
capitals from Greece, Egypt and the Barbary States, and it is
subject of astonishment in this building, that, though comprising
so many objects executed in the most different styles
of Art, it presents nevertheless a whole of such harmonious
beauty. In front of the church, stand three lofty red painted
masts, which on Festival days are decorated with long silken
streamers reaching to the ground, and their cast bronze foot-sockets
are ornamented with fine bas-reliefs.</p>

<p>On the second square, close to the water, stand two
colossal pillars of Egyptian granite, each pillar hewn in one
single block. One supports a winged lion in brass, which was
also carried to Paris, the other, the patron Saint, the holy
Theodorus upon a crocodile.</p>

<p>The interior of the church of St. Mark, is not less beautiful
than the exterior. Walls, niches, and domes are entirely
covered with Mosaic-pictures, among which it is true some
are of little artistic worth; but in the most of them, the composition,
drawing, and colouring are very fine, and all have
a pure gold ground which in spite of its great age still shines<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span>
as though it were new. Here, however, one is soon surrounded
by whole rows of mendicants, who plead hunger so piteously
and look so disgusting, that one is glad to make one’s escape
from them with the sacrifice of a few copper coins. In fact
one cannot pass through any part of the city at any time without
being addressed by beggars, and it is said as many as
25,000 here suffer from hunger. At this period, it is true, the
poor subsist very cheaply on cooked, or rather roasted, pumpkins,
which are sold at the corner of every street, and of
which a piece as big as the hand costs but a centisimo.</p>

<p>On leaving the Square, one finds but little to divert
attention, for in Venice people neither ride nor drive, the
streets being so narrow that frequently two persons cannot
walk side by side. In the busiest part of the city not far
from the <i>Ponte Rialto</i>, the crowd is so great that one has a
difficulty to work one’s way through it. From the dirty habits
of the Italians, who throw every sort of refuse into the canals,
and from the pestilential smell of half-putrid fish and
muscles, together with the disagreeable effluvia from the workshops
of most of the artizans, it is very natural to suppose
that in these narrow streets, the whole year long, one cannot
once breathe a pure air.</p>

<p>Here gondolas take the place of vehicles, and are to
be had at a very cheap rate. They all have an awning of
black cloth, which gives them a mournful appearance. At the
time of the Republic such luxury prevailed in the decoration
of the gondolas, that the government found it necessary to
establish the present mode of covering. The gondoliers are
very expert in rowing and steering, and however great may
be the throng on the canals, they pass each other with great
swiftness, without coming in collision. When one hires two
of them, the speed is equal to that of a horse in full trot.
As the houses have, besides the front entry towards the water,
a side door or exit upon the street, one can go, it is true,
everywhere by land; but on account of the bridges one is<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span>
obliged to make so many turnings, that one can get to the
required place as quickly again by water.</p>

<p>
October 12.
</p>

<p>By the most beautiful weather we to-day enjoyed the singularly
splendid view from the tower of St. Mark, which is
ascended very conveniently by a spiral ascent without steps.
The view is truly enchanting! On one side one sees over the
extensive mass of houses to the mainland, in the distance the
snow-covered mountains of the Friaul; on the other side the
harbour with its varied and busy life, the Islands covered with
handsome churches and buildings; and in the back-ground the
open sea. I do not remember having ever seen so beautiful
a view from any tower, not even from that of St. Michael’s at
Hamburg.</p>

<p>At 4 o’clock we visited the church of the Foundling, where
a mass was being performed by the female foundlings. The
orchestra and choir were composed entirely of young girls; an
old instructress of music gave the time, another accompanied
on the organ. There was more to be seen than to be heard,
for the composition and execution were execrable. The girls
playing the violin, flute, and horns, looked strange enough;
the contra-bassist was unfortunately not to be seen, being
hidden behind the trellis. There were some good voices
among them, and one quite remarkable, which sang up to <i>g</i>
on the fourth leger line (<i>g</i><sup>3</sup>); but the style of singing of all
was horrid.</p>

<p>We have made the acquaintance of several lovers of music,
the two Counts <i>Tomasini</i>, and Signors <i>Contin</i>, <i>Filigran</i>, and
several others whose names I do not know. The two former
are assisting me greatly in making arrangements for my Concert,
and if at the present bad time of the year for business,
when every body of note is in the country, I should have a
tolerable Concert, I shall have them to thank for it.</p>

<p>To-day we had a visit from a German musician, Herr <i>Aiblinger</i>,
from Munich, and a pupil of <i>Winter</i>, who has been
residing in Venice for the last sixteen years. He is a pianist<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span>
and composer, and seems to possess much real taste for his
art. At least he complained to us, with a most piteous face,
that in this country it was impossible for him to keep pace
with his German brothers in art, because he had scarcely ever
the good fortune to hear a German work of any note, and
that with his enthusiasm for music, his heart was fit to break;
that his circumstances bound him to a city where, for sixteen
years, he had heard every year the same things over again, while
the Germans, in the meantime, had witnessed the production
of so many classic works. I afterwards saw some of his
productions, and it is much to be regretted that he has
been confined in this Siberia of art. In order to give me an
idea how little art and artists were esteemed, even by gentlemen
who wished to pass for Mæcenas’s, he related to me an
anecdote of what occurred to <i>Bärmann</i> of Munich, who was
here last winter with Demoiselle <i>Harles</i>. Count <i>Herizo</i>, a
very rich nobleman, who, during the winter, gives a concert
at his house every week, to which he frequently invites as
many as two hundred persons, besought <i>Bärmann</i>, through a
third party, to play at one of them. The latter had himself
already announced a public concert, and presuming that it
would be greatly to his disadvantage if he played elsewhere
before, he declined the invitation, but promised to play <i>after</i>
his own concert. On the same day, however, Count <i>Herizo</i>
gave one of his customary grand concerts in which “the Creation”
was performed, I believe for the first time in Venice;
and <i>Bärmann</i> had so thin an attendance, that to cover the
expenses of the concert he was obliged to add forty francs
from his own pocket. Nevertheless a week afterwards, Count
<i>Herizo</i> repeated his invitation to <i>Bärmann</i>, who now, however,
demanded a gratification of twelve Louisd’or. After much
debate this was at length agreed to. But <i>Bärmann</i> shortly
after was apprised that it was intended to play off a hoax
upon him. To avoid this he wrote anew to decline the invitation,
and went on a pleasure excursion with <i>Harles</i> to the
mainland. Upon his return, a friend of Count <i>Herizo’s</i> came to<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span>
inquire of him the reason why he would not play, and on being
told, he assured him upon his honour that nothing of the kind
was intended, and that <i>Bärmann</i> had not the least to fear;
upon which the latter gave his promise to appear at the next
concert. He was very politely received by Count <i>Herizo</i>, and
the music began. After the space of an hour, when six pieces
had been performed, <i>Bärmann</i> was curious to know when his
turn would come; he therefore asked the loan of a programme
from his neighbour, and found at the end of the whole of the
pieces of music, which at least would last two hours more, the
following words: “If time will permit, Herr <i>Bärmann</i> will
also perform a concerto on the clarinet.” His rage may be
imagined. Count <i>Herizo</i> is reported then to have said to him
at the end of the concert, in a loud tone of voice: “We
have no time to hear you this evening, but we shall perhaps
another time!” and in this manner he was cheated of his pecuniary
gratification. <i>Bärmann</i> immediately slunk out, but
in so doing was so unfortunate as to mistake the way, and
instead of taking the passage leading out upon the street,
plumped right into the canal. Fortunately the gondoliers plying
near the spot came to his assistance, and soon pulled him out.
Half-perished with cold, and highly exasperated, he returned
home. Next morning he was summoned before the police by
Count <i>Herizo</i>. The director of police, after the matter had
been explained to him by <i>Bärmann</i>, had nevertheless courage
sufficient to justify <i>Bärmann</i>, and to point out to Count <i>Herizo</i>
the rudeness of his conduct. Under such circumstances, however,
<i>Bärmann</i> thought it advisable to hasten his departure, especially
as a suspicious-looking fellow had been making inquiries
about the hours of his going out of evenings. Fräulein <i>Harles</i>,
also, came badly off. In the first opera she gave tolerable satisfaction,
and fault was found only with her bad accent; but
on the first representation of the second opera, she was so disconcerted,
in her very first scene, by the loud talking, coughing,
and laughing of the audience, that she ran off the stage in
the middle of her aria, and fell down behind the scenes like<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span>
one dead. She was seized with an inflammation of the throat,
and, during the whole winter, was unable to sing any thing
else but the speaking recitatives. All <i lang="fr" xml:lang="fr">pièces d’ensemble</i> and
both finales were sung without her, and yet, as she could find
no substitute, she was obliged to appear before the public every
evening. The managers deserve praise, for they played her no
underhand tricks, but paid her according to the agreement made.</p>

<p>
October 15.
</p>

<p>There are two kinds of dilettanti-concerts given here.
One takes place every fortnight at the <i>Fenice</i> theatre, under
the direction of Count <i>Tomasini</i>. At the one at which I was
present <i>Teresa Sessi</i>, who was formerly engaged at Vienna, sang
two airs, a duet, and a quartet, with much applause, in her
old style, which is neither better nor worse. Besides her, a
dilettante attracted the attention of the auditory by singing
several buffo things in the genuine Italian caricature style. All
the rest, particularly the composition and execution of the ouvertures,
was, as is usual in Italy, exceedingly bad.</p>

<p>The other is a sort of practice concerts, and takes place
once a week, under the direction of Signor <i>Contin</i>. With the
exception of some of the wind instruments and of the bass-viols,
the orchestra is wholly composed of dilettanti, and the pieces
performed consist mostly of symphonies and overtures by German
masters. But a proper study of these works is quite out
of the question, and it is considered matter of gratulation if
they are got through without coming to a stillstand. On the
day I was present, a very old symphony of <i>Krommer’s</i> was performed
first, which was followed by the one in E flat major
by <i>Andrew Romberg</i>.</p>

<p>For the finale I was solicited to direct <i>Beethoven’s</i> second
symphony in D major, which I could not refuse. But
I had a rare job with the orchestra, for they were accustomed
to quite other <i>tempi</i> than I took, and seemed not at all to
understand that there are shades of <i>forte</i> and <i>piano</i> in music,
for all worked with bow and breath as hard and incessantly<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span>
as they could, and my ears rang the whole night with the
infernal noise. But these practice concerts are nevertheless
so far good that they afford the lovers of music in Venice the
opportunity of hearing several of our classical instrumental
compositions, such as the overtures to “Don Juan” and the
“<span lang="de" xml:lang="de">Zauberflöte</span>,” which they had not hitherto been acquainted
with; and, though but imperfectly, they learn to feel that the
Germans are immensely superior to them in that kind of composition.
Indeed they say so themselves, but they do not
thoroughly believe it, and only acknowledge it, in order to
be enabled to boast with more freedom of their superiority in
song and vocal compositions (!!). The self-satisfaction of the
Italians, despite their poverty of fancy is in fact unbearable;
whenever I executed in their presence any of my things, they
thought they could pay me no higher compliment than when
they assured me they were quite Italian in taste and style.</p>

<p>
October 16.
</p>

<p>To-day in the forenoon, in company with three Silesians,
we went to the ancient palace of the Doges. The so-called
golden stair case was the first thing that attracted our attention.
It is outside the building as far as the first floor, is of the
finest marble, and ornamented with colossal statues of beautiful
proportions. Up to the second and third stories it is in
the interior of the building, and there is richly decorated on
the sides with marble bas-reliefs, on the ceiling with gilt mouldings
and small fresco-paintings, and with very fine statues in
the niches. We then saw an extensive suite of salons and
apartments, which were truly grand in decoration, the walls
and the ceilings are painted in oil by the best masters, and
here and there at intervals are the richest and most beautiful
sculptured ornaments I ever beheld. The subjects of these
pictures are almost exclusively incidents in the history of Venice;
Doges returning thanks to the Holy Virgin for victories
achieved, or the surrender of the keys of some one of the fortresses
besieged by the Venetians, etc. etc. Despite the want of<span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span>
good taste in the bringing together, in these paintings, of heavenly
and earthly personages, the execution and grouping of each,
particularly in those by <i>Paul Veronese</i>, is exceedingly fine. Altogether
in my opinion, there is no kind of decoration so befitting
and worthy of a princely palace as this, in which the deeds
of the nation are immortalized at the same time with the
name of the most skilful national artist. In the present day
how little feeling exists for this kind of patriotism! Where
up to the present day is there to be seen any painting illustrating
the modern deeds of heroism of the Germans, executed
by the order of a Sovereign? And yet how greatly the artists
of the present day are in want of such encouragement and
support! And I am here speaking of painters and sculptors
only; poets and musicians ought also to have been invited to
immortalize the deeds of the German people.</p>

<p>We came at last to the great library, which contains also
a perfect treasure of paintings and antique statues. From the
gallery of this hall one has a charming view of the harbour.&mdash;In
order to be enabled to make a comparison between the style
of decorating palaces in former time with the modern method,
we visited the apartments in the government building fitted
up by order of the former Viceroy. We found them pretty
and convenient, it is true; but what a difference between the
earnest splendour of that ancient palace and the tasteless ornamentation
of the new! Instead of the marble bas-reliefs and
the rich gilt mouldings and ornaments of the latter, here we
found slovenly painted arabesques by the hands of unknown
daubers, and the walls hung with silk tapestry or figured paper
instead of the pictures of famous masters.</p>

<p>
October 17.
</p>

<p>Yesterday <i>Paganini</i> returned here again from Trieste, and
therefore, as it would appear, has at once abandoned his project
of going to Vienna. He called on me this morning, and
so I have at length made the personal acquaintance of this
wonderful man, of whom since I have been in Italy I have<span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span>
heard some story or other every day. No instrumentalist ever
charmed the Italians so much as he, and although they are
not very fond of instrumental concerts, yet he gave more than
a dozen concerts in Milan and five here. On making nearer
enquiry, what it is that he in reality fascinates his auditory
with, one hears from the non-musical portion the most exaggerated
encomiums&mdash;that he is a complete wizard, and brings
tones from his violin which were never heard before from that
instrument. Connoisseurs, on the other hand, say that it cannot
be denied he certainly possesses a great dexterity with the
left hand, in double-chords and in passages of every kind, but
that the very thing by which he fascinates the crowd debases
him to a mere charlatan, and does not compensate for that in
which he is utterly wanting&mdash;a grand tone, a long bow-stroke,
and a tasteful execution. But that by which he captivates the
Italian public and which has acquired for him the name of the
“Inimitable,” which is even placed under his portraits, consists,
on a nearer enquiry, in a succession of feats which, in the dark
times of good taste, the once so famous <i>Scheller</i> performed in
the small towns and some capitals of Germany, and which at
that time equally excited the admiration of our countrymen,
viz, in the flageolet tones; in variations upon one string, in
which for the purpose of imposing more upon the audience,
he takes off the other three strings of the violin; in a peculiar
kind of <i>pizzicato</i>, produced with the left hand without the
help of the right or of the bow; and in many tones quite unnatural
to the violin, such as the bassoon tone, the voice of
an old woman, etc. etc.&mdash;As I never heard the wonderful
<i>Scheller</i>, whose saying was: “<i>One God! one Scheller!</i>” I should
much like to hear <i>Paganini</i> play in his peculiar manner, and
the more so, because I presume that so admired an artist must
possess some more real merits than those adverted to.</p>

<p>The origin of his present skill as a virtuoso is said to have
been a four years incarceration, to which he was condemned, for
strangling his wife in a fit of violent rage. Such, at least, is the
public report in Milan and here also. As from a wholly ne<span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span>glected
education he could amuse himself neither with writing
nor reading, he cheered the <i>ennui</i> of the tedious hours of his
existence in the invention and practise of all the tricks of art
with which he now astonishes all Italy. By his disobliging and
rude behaviour he has made enemies of several of the lovers
of music here, and they, after I have played any thing before
them at my lodgings, extol me upon every opportunity at <i>Paganini’s</i>
expense, in order to annoy him, which is not only very
unjust, since between two artists of such entirely different style
no parallel can be drawn; but is also disadvantageous to me, because
it makes all <i>Paganini’s</i> admirers and partizans my enemies.
His opponents have inserted a letter in the journals, in which
they say that my play recalls to them the style of their veteran
violinists, <i>Pugnani</i> and <i>Tartini</i>, whose grand and dignified
manner of handling the violin has become wholly lost
in Italy, and had been compelled to make room for the petty
and childish manner of their virtuosi of the present day; while
the Germans and French had understood how to adapt that
noble and simple method of play to the taste of modern times.
This letter, which appeared in to-day’s paper without my knowledge,
will certainly do me rather harm than good with the
public, for the Venetians are firmly persuaded that it is impossible
to come up to <i>Paganini</i>, much less to surpass him.</p>

<p>
October 19.
</p>

<p>Our concert took place yesterday, and was better attended
than I had expected, since all who have the means to go into
the country, or who are not tied to the city by very urgent
business, are away, and of all my letters of recommendation
the only one I have been yet able to deliver is the one to
the governor Count <i>Goes</i>. Neither is it worth the trouble,
to bring letters of introduction to Italians, for they are of no
manner of use. A cold offer of their services, which they do
not intend to give, is all that one gets from them. But I must
return to the concert. It took place in the St. Luca theatre,
which, next to the Fenice, is the largest and handsomest in<span class="pagenum"><a name="Page_282" id="Page_282">[Pg 282]</a></span>
Venice. The proprietor, Signor <i>Vendremi</i>, let me have it on
the condition that I should relinquish to him two-thirds of the
sale of the boxes which were not private property. There exists,
namely, a curious custom in Italy, which is, that certain boxes
are sold to private individuals for as long as the house stands,
whereby the proprietor of the house abandons all right to
them. But these proprietors of boxes must pay the price for
admission at the entrance the same as everybody else. This
is the same for every part of the house, and always a very
low one; with the boxes which remain in the hands of the proprietor
of the theatre rare bargains are sometimes driven, and on
the performance of very attractive pieces they are frequently
paid as high as several carolini. Yesterday very little was taken
for the boxes, so that signor <i>Vendremi</i> did not profit much.
From the coldness of the public at the commencement of my
play, I immediately observed that there was a prejudice against
me; but by degrees it subsided, and towards the close of the
concert the applause was so unanimous, that I was twice called
for. All that I afterwards played now found a much more
ready reception, and the clapping of hands was as boisterous
as in Milan.</p>

<p>To-day there has also appeared in the paper a very favorable
report upon yesterday’s concert, in which it says,
in reference to the letter adverted to, that it is unjust and
partial to endeavour to praise one style at the expense of another,
and that there should be no monopoly of any one genre
in art: in which report, however, it also says of me, among
other things, “that I unite the Italian sweetness with all the depth
of study peculiar to our nation, and that I must be acknowledged
to take rank among the first of living violinists&mdash;encomiums
therefore, such as might content the vainest artist.”</p>

<p>
October 20.
</p>

<p><i>Paganini</i> called upon me early this morning to compliment
me upon the concert. I very urgently solicited him to play
something, and several musical friends who were at my place<span class="pagenum"><a name="Page_283" id="Page_283">[Pg 283]</a></span>
united their entreaties to mine. But he very bluntly refused,
and excused himself on account of a fall, the effects of which
he still felt in the arms. Afterwards, when we were alone,
and I again besought him, he said, his style of play was calculated
for the great public only, and with them never failed
in its effect; and that if he was to play anything to me, he
must play in a <i>different</i> manner, and for that he was at the
moment by no means in the humour; but that we should probably
meet in Rome or Naples, and then he would not put me
off with a refusal. I shall therefore leave this place in all probability
without hearing the wonderful man.</p>

<p>This morning, on going out, we had the wholly unexpected
pleasure of meeting <i>Meyerbeer</i> and all his family. He is now returned
from a tour through Sicily to meet his parents here, who
have not seen him for five years: he will then turn back through
Florence and Rome to Naples, to be present at the opening
of the new theatre of <i>St. Carlo</i>. It was a real enjoyment to
me to be able once more to converse with a well-educated
German artist on subjects of art. His brother gave me the
gratifying information that my opera “Faust” had been performed
in Prague. On their journey through they were present
at a rehearsal of it. I now look forward with hope to
more detailed information respecting its representation.</p>

<p>At the theatre St. Moise we were present at the first performance
of the old opera “Don Papirio,” which had been
studied with great attention by the vocalists and the orchestra.
The prima donna, Madame <i>Marchesini</i>, already somewhat <i>passée</i>,
distinguished herself greatly on that evening by good execution
and clever acting. The buffo singer, whose name I do not remember,
was also very excellent.</p>

<p>
<i>Bologna</i>, October 25.
</p>

<p>Late on Monday evening we left Venice by the “mail
boat.” As the wind was very favorable, we performed the
first part of the journey by water, as far as where the canal
falls into the Lagunes, very quickly. Twice, for a short distance,<span class="pagenum"><a name="Page_284" id="Page_284">[Pg 284]</a></span>
we crossed a part of the open sea, that is the great and lesser
harbour of Chiozza, where the motion of our bark was
so violent from the roughness of the sea, that <i>Dorette</i> and the
children were regularly sea-sick. I only escaped this affliction
by seating myself on the deck in the fresh air. When we
had run into the canal, and afterwards into the Po, where the
boat was towed by horses, it went slowly and quietly enough,
so that I soon went to fetch up the patients. As I am told
here, that the rich people of the town are still in the country,
and that even at the most favorable season of the year concerts
scarcely cover their expenses, we shall abandon the idea
of giving one here, and continue our journey to Florence to-morrow
morning by vetturino.</p>

<p>
<i>Florence</i>, October 28.
</p>

<p>The journey here over the Apennines, with very fine weather,
was exceedingly pleasant. The mountains, though of a considerable
height, are wooded almost to their summits, and the
trees and bushes, were now rich with the most beautiful colours
of their autumnal garb. The valley in which Florence
lies presents a highly charming prospect. When one looks
down upon the beautiful gardens and country seats, one seems
to be entering a very Paradise.</p>

<p>
November 2.
</p>

<p>Florence does not quite come up to the expectations
one forms of it from the description of over-enthusiastic travellers.
Dresden is called the German Florence, but is not
much honoured by the parallel. The situation of Dresden, as
well as the city itself, are incomparably finer. The Arno is
a dirty, mean-looking river, and is not in the least to be compared
with the majestic Elbe. The four bridges which lead
over it and connect the two parts of the town are certainly
good and substantial, but not so long or so elegant as that
of Dresden. Neither has Florence such fine buildings nor
such handsome squares as Dresden, and excels it alone in its
treasures of art of every kind. Of these there are so many<span class="pagenum"><a name="Page_285" id="Page_285">[Pg 285]</a></span>
here, that one can scarcely find time to see them all. On
the square in front of the ancient palace stand several groups
of colossal statues in marble and bronze of the most celebrated
of the old masters, which make of this square, otherwise
so irregular and unattractive, one of the most interesting
in the world for connoisseurs in art. A group in marble, representing
the rape of a Sabine, especially charmed us. From
this square it is not far to the cathedral, a gigantic building
with a cupola, which in circumference and height is said
to be little inferior to St. Peter’s at Rome. The exterior is
somewhat too party-coloured and not very tasteful; the walls
are inlaid with tables of marble of different colours, which
present a variety of patterns. Near the church stands a very
lofty square clock-tower, which is ornamented in the same
manner. Belonging thereto, although isolated from it, is also
a christening chapel built in the same style, and also with a
tolerably high dome. Here are the celebrated gates of bronze,
of which <i>Michael Angelo</i> said they were worthy to stand at the
entrance to the abode of the blessed, as they were too beautiful
for any earthly building. There are three of them, two of
which are executed and ornamented in the same style. But
the single one is by far the handsomest and has far larger
bas-reliefs than the other two. In the whole world is not to
be seen any thing more beautiful in the grouping, drawing,
perspective, softness and purity of the work than these bas-reliefs.</p>

<p>In another church we saw a succession of tombs, among
which those of <i>Michael Angelo</i>, <i>Nardini</i>, and <i>Alfieri</i> interested
us greatly. On the tomb of the former is his bust, executed
with his own hand, and three female figures (by one of his
pupils) personifying the three arts in which he excelled: architecture,
painting, and sculpture, mourning for his loss. What
however does it not confer upon the artists who merited such
memorials of their worth, and upon their contemporaries also
who raised them to them! Where can one find anything of<span class="pagenum"><a name="Page_286" id="Page_286">[Pg 286]</a></span>
the kind in Germany? Where have <i>Mozart</i> and <i>Haydn</i> the
memorials to their honour? In Vienna no one even knows
where they are buried.</p>

<p>
November 5.
</p>

<p>On the day we arrived, and almost every evening since,
we have been to the theatre in the <i>Via della Pergola</i>. They
are now giving an opera of <i>Rossini’s</i>, “<span lang="it" xml:lang="it">L’Italiana in Algeri</span>,”
and a grand ballet. <i>Rossini</i> is now the favorite composer of the
Italians, and several of his operas, “Tancredi,” “<span lang="it" xml:lang="it">Il Turco in
Italia</span>,” and the above-named, are performed with great applause
in almost every town in Italy. I was therefore glad,
after having heard his compositions so frequently and highly
praised in Milan and Venice, to hear something of his myself.
This opera has, however, not wholly satisfied my expectations;
in the first place it is wanting, like all Italian music,
in purity of style, characteristic proprieties in the personages,
and judicious calculation of the length or shortness of the
music for the scene. These indispensable qualities of an opera
to which we would give the appellation classic, I had however
not expected, as we do not at all miss them in an Italian
opera. One is accustomed to have the same person sing alternately
in the tragic and comic style, and to hear from a
peasant girl the same pompous vocal ornamentation as from
a queen or a heroine, and to hear one of the persons performing
sing alone, for a quarter of an hour at a time, in situations
of the most impassioned kind, while the others walk about in
the back-ground, or partly behind the scenes, and chat and
laugh with their acquaintances. But I did indeed expect qualities
which should distinguish <i>Rossini’s</i> work above that of his
colleagues&mdash;novelty of ideas, for instance; purity of harmony,
etc.; but of all these I found but little. What the
Italians consider new in <i>Rossini’s</i> operas is not new to us;
for they consist of ideas and modulations for the most part
long since known in Germany; for instance the appoggiatura in<span class="pagenum"><a name="Page_287" id="Page_287">[Pg 287]</a></span>
the bass at the beginning of the much-admired duett in the
first act:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c287a.png" width="500" height="255" alt="" />
</div>

<p>which the musicians in Florence boasted of to me as something
quite new, and discovered by <i>Rossini</i>. In Milan, where I heard
the same duet at a concert, it was probably found too hard,
and the fifth and sixth measures were thus changed:</p>

<div class="figcenter" style="width: 350px;">
<img src="images/zill_c287b.png" width="350" height="127" alt="" />
</div>

<p>Or the following modulation, also, at the finale of the first act:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c287c.png" width="500" height="248" alt="" />
</div>

<p><span class="pagenum"><a name="Page_288" id="Page_288">[Pg 288]</a></span></p>

<p>Purity of harmony is not to be found in him any more
than in any other modern Italian composer; and I have heard
many sequences of quints like the following:</p>

<div class="figcenter" style="width: 400px;">
<img src="images/zill_c288a.png" width="400" height="165" alt="" />
</div>

<p>But in attention to the rhythm and in the complete use
he makes of the orchestra, he distinguishes himself above his
countrymen.</p>

<p>The instrumentation, however, as compared with ours,
first introduced by <i>Mozart</i>, is still very meagre, and the Italians
in that still cling too much to the old. The viols and
bassoons almost always go through the whole opera <i>col Basso</i>,
and the clarinets and hautboys in <i>Unisono</i>. As in most Italian
operas with from six to eight contra-basses there is only
one violincello, and usually not even a good one, they as yet
know nothing here of the (since <i>Mozart’s</i> day) frequent use of
the violincello for middle voices, which, skilfully brought in,
has such a splendid effect; and they are far behind the Germans
in the knowledge of how to get the best effect from the
wind instruments. But what surprised me most, was to hear
sometimes in these operas a very uneven cantabile, while a
flowing and for the voice grateful and well arranged cantabile
is the only praise-worthy quality of the modern Italian operatic
music, and must compensate for all the deficiencies and faults.
The two following passages struck me most; the first in an
aria of the prima donna, the second, in the first finale, where
it frequently recurs:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c288b.png" width="500" height="79" alt="" />
</div>

<p><span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span></p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c289a.png" width="500" height="254" alt="" />
</div>

<p>Both these passages are not only unsingable but exceedingly
insipid, and the second especially, from the somewhat
slow movement and its frequent recurrence, is wholly unbearable.</p>

<div>Among the singers in this opera, Madame <i>Georgi</i>, the
prima donna, is the only remarkable one. She has a full,
powerful voice of rare compass, from

<div class="figinline" style="width: 54px;">
<img src="images/zill_c289b.png" width="54" height="78" alt="" />
</div>

to

<div class="figinline" style="width: 63px;">
<img src="images/zill_c289c.png" width="63" height="78" alt="" />
</div>

Her part is written for a contralto, and she can therefore exhibit
her high notes in the <i>fiorituri</i> only; if she possesses equal
power in the low notes a deep soprano part would suit her much
better. Like almost every singer we have yet heard in Italy she
has the vice of ornamenting too much, and does not know how to
derive all the advantage she might from her splendid voice. One
hears very plainly, moreover, that she does not draw in the
least upon her own spontaneous feeling and taste, but everything
has been studied; so that her <i>fiorituri</i>, which are repeated
every evening, note for note, become so wearisome that one
cannot hear her again without repugnance. She was formerly
a dillettante, and only now sings in the third theatre; but
nevertheless she is already an excellent actress.</div>

<p>The ballet, which is given every evening between the two<span class="pagenum"><a name="Page_290" id="Page_290">[Pg 290]</a></span>
acts of the opera, is the most splendid of any I have ever yet
seen. I think it is called “The Destruction of the Western
Empire,” and is especially remarkable for the constant introduction
of great masses of persons on the stage in full activity
who form the boldest and most surprising groups. It
has been studied with extraordinary correctness, and is performed
every evening with the same precision. At the end
a cavalry engagement was represented, which however always
looks somewhat stiff and awkward.</p>

<p>
November, 8.
</p>

<p>Last evening our concert took place in the theatre <i>della
Pergola</i>. The Grand-duke, to whom I brought a letter from
his brother <i>Rudolph</i>, and who has received me several times
very graciously at his residence, honoured it with his presence,
accompanied by his whole family. The small though select auditory
was very animated, and after having greeted the Grand-duke
with the usual recognitions, were not restrained from a
loud expression of applause of my performances. The music
had a very good effect in the spacious and sonorous theatre;
but the accompaniment was not of the best.&mdash;To-day I
have received a great number of invitations to give a second
concert next week, from which I am promised a better result.
I shall make the venture, although the Grand-duke, who goes
to-morrow to Pisa to meet his brother <i>Rainer</i>, will not be
here. Yesterday’s concert, exclusive of the Archduke’s present
to me, did not bring in more than the evening’s expenses,
which were, as they always are, very considerable; the price
of admission being only three paoli, and all disposition over
the sale of a single box being again denied me. A very
favorable notice of my concert appeared this afternoon in the
newspaper.</p>

<p>
November, 12.
</p>

<p>As we have now been several times to the picture-gallery,
and attentively observed all that it contains, I will commit<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span>
to paper a few words, not upon the truly splendid works of art
which it contains, for they have already been frequently and well
described, but also the expression of the impression which they
made upon me. I must first of all give due praise to the admirable
custom, one by no means usual in Italy, of admitting the
public to the gallery free. At the entrance one finds a notice in
four or five languages, that the guardians of the gallery are
forbidden under the penalty of the loss of their situation, to
take the smallest present. Though perhaps they may not
altogether adhere too strictly to this injunction, one is at least
fully secured from the importunate begging, with which one is
everywhere pursued in Italy, and in this place, made sacred
by art, gives oneself peacefully up to the enjoyment.</p>

<p>To assist my memory hereafter I have sketched a plan
of the gallery and marked the position where the works of
art stand which made the greatest impression upon me. As
I never make use either of a guide or a book to find the objects
worthy of observation in a city (I am averse to all dictation
as what I should admire, and never permit myself to be
deprived of the pleasure of finding for myself the works of
art in a gallery which are known to me by reputation), therefore
it is very possible that I have erred in many instances.
On the first day I looked for a long time and with attention
at the works of art which are in the gallery proper, before
the apartments were opened in which the <i>most choice</i> are situated.
I am even now glad I did so, as afterwards, when
I had seen the most perfect specimens of art, I could never
again remain for any length of time with the works exhibited
in the gallery. One exception to this was the <i>group of the
Laocoon</i>, which I always contemplated with renewed admiration.
When the sanctuary of art was thrown open we first
beheld the celebrated <i>Medicean Venus</i>, whose perfect and surpassingly
beautiful form is yet more thrown out by the large
curtain of red-velvet suspended behind her. In the same
rotunda with her are the greatest master-pieces ever produced<span class="pagenum"><a name="Page_292" id="Page_292">[Pg 292]</a></span>
by the chisel and by the brush: the <i>Apollo del Belvedere</i><a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a>
and <i>Raphael’s St. John</i>. To contemplate and admire in these
three works of art the highest ideal of human beauty is
an enjoyment quite peculiar in its kind. After reiterated
contemplation and long hesitation I gave the palm for beauty
to the <i>St. John</i>. Any thing more charming and at the same
time more noble than the whole form of this Youth cannot
be imagined by the most lively fancy. What may have contributed
somewhat to this decision on my part is the circumstance
that the <i>Apollo</i> as well as the <i>Venus</i> are of a three-quarter-life
size, a proportion which seems to be not quite
happily chosen, as the figures being so nearly the real size of
life, always appear to be wanting in something, which, if they
were smaller, would not be the case. The <i>Apollo</i> has nevertheless
a rather too feminine beauty, which not I alone, but
my wife also and several other persons present remarked. In
this apartment are numerous other master-pieces, among which
a head by <i>Raphael</i>, the <i>Venus</i> of <i>Titian</i>; and a group of gladiators
in marble, excited most our admiration. Of the pictures
arranged according to the schools in the side apartments,
the head of a female, by <i>Carlo Dolce</i>, pleased me most; but
one soon returns again to the gems of the whole collection.
On the other side of the building, in two apartments, is the
collection of Bronzes, among which the celebrated flying <i>Mercury</i>
excites the most admiration. In another saloon is a collection
of <i>Niobes</i>, among which are some beautiful works of
art. Besides these we saw innumerable portraits of celebrated
masters, for the most part painted by themselves.</p>

<p>
November 13.
</p>

<p>Behind the residence of the Grand-duke is a large garden
called, I know not why, <i>Boboli</i>. It is open to all on Sundays
and Fridays. Last Sunday we went there for the second
time, and afterwards heard mass in the Court-chapel. The<span class="pagenum"><a name="Page_293" id="Page_293">[Pg 293]</a></span>
Grand-duke, who has a collection of between three and four-hundred
masses of celebrated masters of every period, had
given out upon this occasion one of <i>Michael Haydn’s</i> for
performance; it was executed with tolerable precision, but it
was found necessary to play a very simple solo for the tenor-trumpet
upon the viol. The musicians asked me afterwards
whether we had players on the trumpet in Germany who could
execute such soli as that!</p>

<p>Upon our way back our hired lacquey pointed out to us
the covered passage leading from the Grand-ducal residence
to the water side, which passes through several streets at a
considerable height, and after being carried across the river
Arno over one of the bridges, and through a few more streets,
abuts at the government buildings in which the gallery is
also situated. This gallery, which is at least a quarter of an
hour’s walk in length, is used by the Grand-duke when in wet
weather he attends the sittings of the privy council.</p>

<p>
November 15.
</p>

<p>Our concert yesterday was not better attended than the
first and therefore brought in nothing. I am now convinced
that an instrumental-musician, even under the most favourable
circumstances, can earn nothing in Florence; for in the first
place the Italians esteem and like instrumental music too little,
and in the second the price of admission is much too low in
proportion to the considerable expenses. I must here observe,
as somewhat worthy of note, that one part of the orchestra,
namely, all the violinists, took no payment, which for people
who must live from their daily earnings, and for Italians who,
wherever possible, extort three times the price of every thing,
is certainly very astonishing. For the rest, my play was
received with still greater applause yesterday than the first
time. Madame <i>Georgi</i> sang exceedingly well the admired cavatina
(sung everywhere in Italy) in <i>Rossini’s</i> “Tancredi,” with
the following theme:</p>

<p><span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span></p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c294.png" width="500" height="92" alt="" />
</div>

<p>It was again to be deplored, that upon the return to
the theme she overwhelmed it with so much ornamentation
that one could recognise nothing of the original song. Signor
<i>Sbigoli</i>, first tenor at the <i>Pergolo</i> theatre, who had also given
his assistance at the first concert, again sang two airs in a
good style, and with much exertion, but with little voice. He,
like the singers in Venice and Milan who sang at my concerts,
required payment, but was satisfied with the very moderate
sum of a carolin for each concert.</p>

<p>This afternoon we, for a last excursion, strolled out to the
<i>Porta Romana</i>, to see the fresco-painting, so celebrated from
the circumstance which gave rise to it, and which adorns a
small mean-looking house there. The following is related concerning
it: The Medici had sent to Rome for the most famed
masters of that time, to paint, I believe, the chapel <i>al fresco</i>.
The Florentine painters first became informed of this upon
the day previous to the arrival of the strangers, and jealous
of the preference which they had attained, they resolved at
least to shew them, that they were quite as well able to execute
the work, which they were sent for to perform. They
combined their abilities therefore, and in one night, by the
light of torches, painted this large fresco-picture, of which it
is true but few traces now remain, but which sufficiently attest
the excellence of the work. As the house on which this
painting is executed, is so situated that it must attract the immediate
attention of all persons entering at this gate, the foreign
artists immediately observed the work, which had been
completed but a few hours before, and as modesty was not
then so rare among artists as it is in the present day, they
immediately turned back, and sent word to the Medici, that
they could not understand why they had been written for,
since Florence produced artists who could execute so admirable
a work of art in the space of a single night, as they<span class="pagenum"><a name="Page_295" id="Page_295">[Pg 295]</a></span>
had beheld. As a matter of course the work was then given
to the Florentines for execution.</p>

<p>We have fixed our departure for to-morrow. Some
things of note, such for example as the tomb of the Medici,
which we have not yet been able to see, we must defer until
our return journey.</p>

<p>
Rome, November 22.
</p>

<p>We arrived at length last night, after a long and tedious
journey, in the former capital of the world. The journey was
rendered tedious, first by the slowness of our vetturino, the
driver of which had taken up, besides ourselves, who had hired
the interior of his vehicle for twelve Louisd’or (<i>inclusive</i> of night
lodgings and supper), three other travellers in the so-called cabriolet,
and therefore could only drive at a walking pace, secondly,
by reason of the raw weather and the cold, which for Italy was
very great, and against which so little shelter is found at the
inns where we stopped for the night, where the windows and
doors are always open a good hand’s breadth, the floors of
stone, and the generally very lofty rooms not to be warmed
by a chimney fire; thirdly, from the uninteresting and barren
country through which the road passes. One has the choice
of two roads. The one longer, but more interesting, by way
of Perugia, a journey of seven days; the other through Sienna
of six days. We took the latter. As far as Sienna it is not
without interest, and it is a clean and a pretty town, which
has moreover the reputation that the purest Italian is spoken
there. But from there the road runs through numerous barren
stretches of country. Neither houses nor trees are to be seen,
and now and then only the melancholy testimonials of Roman
justice, that is, high posts from which are suspended the arms
and legs of bandits and murderers. How in a country whose
soil yields without manure two harvests, one of corn and
the other of maize, men should be compelled by hunger to
subsist by robberies, is to me incomprehensible: but so it is.
So long as corn is in abundance, all the roads are safe, but<span class="pagenum"><a name="Page_296" id="Page_296">[Pg 296]</a></span>
when hunger pinches, the sternest severity is unavailing.
During the rule of the French knives were forbidden to be
carried on the person on pain of the galleys; if any one drew
a knife upon an opponent he was treated as a murderer and
hung without mercy. By such measures the public security
was soon re-established and for a long time one heard of no
more assassinations. Now, though certainly those regulations
still exist, they are not rigorously carried out: the previous
insecurity prevails anew, and it is not safe to venture alone
into the more lonely streets of the city.</p>

<p>Before we could drive to an inn, we were obliged to
proceed to the custom-house, where our trunks and other
luggage were inspected in the closest manner. For my violon,
although it is an old one and for my own use, I was obliged
to pay a duty of seven Paoli.</p>

<p>
December 5.
</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c296.png" width="500" height="440" alt="" />
</div>

<p><span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span></p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c297.png" width="500" height="138" alt="" />
</div>

<p>This is the first music we heard in Rome, and since
then have heard it so frequently, that I have been enabled to
write it down easily. During the time of Advent, when all
public music is forbidden, the theatres closed, and a real
deathlike stillness prevails, whole troops of virtuosi on the
bagpipe come from the Neapolitan territory, who play first
before the pictures of the Virgin and Saints, and then collect in
the houses and in the streets a <i>viaticum</i>, or travelling penny.
They generally go in pairs, one playing the bagpipe and the
other the shepherds-pipe. The music of all, with a few unimportant
deviations, is the same, and is said to have its
origin in a very ancient sacred melody; but from the way in
which these people now play it, it sounds profane enough.
Heard at a certain distance it nevertheless does not sound
badly; the one who plays the bagpipe produces an effect
somewhat as though three clarinets were blown, he of the
shepherds-pipe a sound like that of a coarse powerful hautboy.
The purity of the notes of the bag-pipe and shepherds-pipe
is very striking. Wherever one now goes, be the part
of the city which it may, one hears the above music.</p>

<p>Last Sunday Prince Frederick of Gotha took me to the
famous Sestine Chapel, where I for the first time saw the Pope,
surrounded by all the Cardinals in their fullest ecclesiastical
splendour, and heard his celebrated singers of the choir.
Whether it is that I am differently organized from other travellers,
or that my expectations are always too exalted from
the perusal of books of travel, neither the music, the place,
nor the ecclesiastical ceremony pleased me, or impressed me
with awe. The singers of the choir were about thirty in<span class="pagenum"><a name="Page_298" id="Page_298">[Pg 298]</a></span>
number, who comported themselves in a somewhat off-hand
and uncouth manner. The soprani, for the most part old men,
frequently sang false, and altogether the intonation was anything
but pure. They commenced with melodies for two voices
of very ancient date, which were declaimed by the singers rather
than sung. Then followed some things for four voices, written
in a condensed style, and arranged for the voices to fall in
like in a catch. The composition of these seemed to me
very dignified, in the genuine old ecclesiastical style, and well
calculated for the place. The execution was correct, it is
true, but, as we have said, too coarse, and not better than
most of our German choristers could have sung the same
kind of thing. Three and four-voiced soli interchanged alternately
with the choir; sometimes one heard also the <i>crescendo</i>
effected by the gradual and successive entry of the voices,
and the <i>diminuendo</i> produced by the inverse process, which in
the celebrated <i>Miserere</i> on Good Fridays is said to have so
charming an effect. It had also a good effect to-day, but this
can be equally obtained from any well-practised choir. The
place is indeed extremely favorable to simple slow church
music, as it is very sonorous and the voices blend well with
one another; but I know several churches in Germany&mdash;for
instance the castle chapel at Würzburg and the catholic church
at Dresden&mdash;where music sounds even better. I became also,
convinced anew, that vocal and instrumental music combined
have a much finer effect than vocal music alone, which, after
all is always somewhat monotonous, and, on account of its
restricted limits, becomes tedious. But in the papal chapel there
is never any instrumental music, being contrary to ecclesiastical
etiquette. Lastly, as far as regards the ceremonies,
which, according to the accounts of travellers, are on Good
Friday of so elevating a character, and increase immensely the
effects of the music, this was by no means the case on Sunday;
on the contrary, many things took place which could not but
appear ridiculous to an unprejudiced spectator; for instance,
the frequently repeated removal, as though at the word of<span class="pagenum"><a name="Page_299" id="Page_299">[Pg 299]</a></span>
command, of the little red caps of the cardinals, the clumsy
awkwardness of several of their attendants when carrying after
them their long violet-coloured trains, and on handing to them
and again taking off their caps, etc. I also felt indignant when
I saw that the priests who read the mass, and the preacher,
before he ascended the pulpit, threw themselves upon their
knees before the Pope and kissed his red slipper; and how
every time previous thereto two assistants fell upon one knee,
spread out his capacious mantel and lifted his sacerdotal
frock to enable him to raise his foot for them to kiss. Neither
did any of his assistants hand any thing to him, not even his
pocket handkerchief, without previously kneeling before him.
What is this but a degradation of humanity?</p>

<p>The celebrated “Last Judgement” of <i>Michael Angelo</i>, and
all the other fresco-paintings which decorate the chapel, have
greatly suffered and are much blackened with smoke. But one
can still see sufficient of the former, which covers the whole
wall behind the altar, to admire the grandeur of the composition
and the masterly touch of the artist in the execution.</p>

<p>After the mass the sacrament was presented to the Pope
and all the Cardinals in the Pauline Chapel, which, illuminated
by innumerable tapers, presented when first seen an imposing
spectacle. As we got there first, we heard the chaunt of the
choristers who walked at the head of the procession, approach
by degrees nearer and nearer, which produced a fine <i>crescendo</i>.
A silent prayer, during which all present remained kneeling,
here closed the ceremony.</p>

<p>In Rome there are two private musical réunions: one,
a kind of singing academy, takes place every Thursday at
the house of its institutor, <i>Sirletti</i>, a teacher of singing and
of the piano-forte. From thirty to five-and-thirty singers,
mostly dilettanti, meet here, some of whom have very fine
voices, as, for example, Madame <i>Vera</i> (née <i>Häser</i>) and the
tenor, Signor <i>Moncade</i>. Up till now we have been there
twice. The first day, in compliment to us Germans, they
gave <i>Mozart’s</i> Requiem, and that very powerfully and purely;<span class="pagenum"><a name="Page_300" id="Page_300">[Pg 300]</a></span>
all the soli and the quartet were especially well sung. Madame
<i>Vera</i> with her splendid sonorous organ, her firm intonation,
and her fine management of the voice, sang her part
in an irreproachable manner. The grand and very difficult
fugue was in particular sung purely and well. The only
disturbing influence upon the execution, which otherwise would
have afforded us great enjoyment, was signor <i>Sirletti’s</i> pianoforte
accompaniment from the score. It is true we ought
not to have expected better; for where should an <i>Italian</i>
teacher of singing and pianoforte get a knowledge of harmony
sufficient to read and play correctly a score of <i>Mozart’s</i>?
But as his deep (!) knowledge of harmony had been greatly
extolled to me previously, I had certainly expected something
better. He struck some such barbarous harmonies at times,
that, could <i>Mozart</i> have heard him, he would have turned round
in his grave. After the Requiem they sang a piece of <i>Händel’s</i>
hitherto unknown to me, and, for the finale, the Halleluja;
the latter in particular was powerfully and purely sung.</p>

<p>On the previous Thursday they had sung some of <i>Marcello’s</i>
Psalms, for two and three voices. These Psalms, which
the Italians consider classic master-pieces, and of which some
years since a fine edition was published with long commentaries
on the particular beauties of each Psalm, pleased me
very well, but I did not find anything so very particular in
them; on the contrary, I am persuaded, although I am not
very familiar with the German works in this style, that we
have compositions of the kind by <i>Bach</i> and others which are
greatly superior to them. They appear to me, particularly in
the form, to have been carelessly constructed, they deviate frequently
for a length of time from the chief key, and then close
immediately after the return to the tonic in a very unsatisfactory
manner. Those for three voices begin generally with soprano
and tenor, and the bass first enters with the repeat; but this
third voice was never essential, and always sounded like an
orchestral fundamental bass; there were however some among
them in which the voices took up their parts as in a canon,<span class="pagenum"><a name="Page_301" id="Page_301">[Pg 301]</a></span>
and these were very remarkable. Nevertheless, on the whole,
the part-writing and modulation were very monotonous, and
the same intrate and appoggiaturas recurred in all. Signor
<i>Sirletti’s</i> accompaniment was again also very disturbing in
these Psalms, and particularly unpleasant to me was an impurity
of some of the full chords, which in these simple three-voiced
things was still more out of place. With that, like
all Italians whom I have yet heard accompany, he has the
execrable fashion practice of doubling the bass notes with the
right hand, which with some accords, for instance 6/5 accords,
sounds quite unbearable with the leading tone. That moreover,
by this method octaves must arise in the solution, does
not appear to trouble the Signori, nor are their ears offended
by it. To me it was also exceedingly displeasing that some
Germans who were present seemed so much delighted. What
is the meaning of these grimaces? The Italians really might
be induced to believe that we have never heard any thing so
good in Germany. When will Germans cease to be the blind
admirers and the apes of foreigners!</p>

<p>The other private musical réunion takes place every Monday,
at the home of Signor <i>Ruffini</i>, the proprietor of the great
manufactory of strings for instruments. Here operas are executed
also by dilettanti as concert music, before an auditory
of from 200 to 250 persons. The singers stand upon a slightly
raised platform, and the orchestra, consisting of four violins,
viol, violincello, double bass, two clarinets, two horns, and a
bassoon, is disposed round them in a semi-circle on the level
floor. Last Monday, when Prince Frederick took us there, an
old <i>opera buffo</i> of <i>Paisiello</i> was given. The selection was certainly
not the best concert music. The music of a comic opera
can alone be produced with the desired effect upon the stage,
combined with the proper action which belongs to it; but
apart from that, this one appeared to me somewhat insipid.
The execution both on the part of the singers and the orchestra,
was equally bad; Signor <i>Moncade</i>, with his splendid tenor
voice, was the only one worthy of remark. Between the two acts<span class="pagenum"><a name="Page_302" id="Page_302">[Pg 302]</a></span>
a dilettante executed the first Allegro of a clarinet concerto with
much ability and a tolerably good tone, but without the least
taste. He was another illustration of a remark I have already
made, that Italian virtuosi and dilettanti direct their whole
attention to the acquirement of mechanical skill, but as far
as regards a tasteful style of execution, they form themselves
very little after the good models which their best singers might
be to them; while our German instrumentalists generally possess
a very cultivated style and much feeling, which, without
taking pattern of any one, they must find in themselves.</p>

<p>
December 7.
</p>

<p>As Rome, like other Italian cities, offers us no great musical
treats (and even less than usual, at the present moment,
as all the theatres are closed), we must, like all other travellers,
content ourselves with the creations of architecture, painting,
and sculpture of the former flourishing period of Italian art.
Of these certainly there is a wealth such as is not to be found
in any other city in the world. Wherever one goes&mdash;in
the streets, in the squares, palaces, churches, and gardens&mdash;one
sees everywhere columns, obelisks, statues, bas-reliefs and
paintings. We first strolled through all the streets, in order
to familiarise ourselves with the remains of ancient Roman
architecture. The venerable Pantheon, the Forum Romanum
with its triumphal arches and columns, and particularly the
Colosseum, filled us with wonder and admiration. We then
ascended the Capitol, saw the Tarpeian rock and a thousand
other places and objects made interesting by Roman history.</p>

<p>On the following day we visited the immortal <i>Michael
Angelo’s</i> master-piece, the church of St. Peter. Several travellers
whose expectations of this gigantic structure from their
point of view had not been satisfied, had much depressed mine,
and from that circumstance perhaps it made a powerful impression
upon me. The open space before the church, with
the semi-circular colonnades, the obelisk and the two stupendous
fountains are of themselves of imposing grandeur. But<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span>
on entering the interior of the church, one is seized with wonder
and admiration at the magnificence of the decorations.
Without being overloaded, it contains such wealth in mosaic pictures,
statues, and bas-reliefs, that it would occupy weeks to
examine all the separate works of art. As all these things are
in the most harmonious relation and proportion to each other,
and are as colossal as the whole structure itself, one is greatly
deceived at first in regard to the size of the church. But upon
contemplating more nearly the separate objects, one finds, for
instance, that the little angels which hold the basins for holy-water,
when seen closer, are taller than the tallest Prussian
grenadier; and one finds the assertions of the architects who
have taken all the dimensions of the building, more creditable,
that, for instance, the cathedral of Strasburg could conveniently
stand under the dome without the top of the tower
reaching higher than into the lantern. But it is necessary
to ascend into the interior of the lantern itself to convince
oneself of the correctness of the other calculations, viz., that the
pen of St. Peter is eight feet long, that four men abreast can
conveniently walk round upon the cornice, etc. etc.</p>

<p>From the church we went to the museum of the Vatican.
The riches it contains in treasures of art and antiquities, and
the size and splendour of the place, surpass even the most
exalted expectations. One first enters a long gallery on both
sides of which the walls are encrusted with ancient Roman inscriptions
and sepulchral stones, which had but little interest
for us. We then came into a second gallery, in which are
statues, busts, and fragments of sculpture innumerable. We
then entered the famed Belvedere, where all round a circular
open court, in the centre of which is a fountain, a number of
niches, apartments, and saloons contain the most precious works
of ancient and modern art. We first saw in one of the niches
the celebrated <i>Apollo of Belvedere</i>, whose form is still considered
the beau ideal of manly vigour and beauty. By a mistake
for which I may be readily pardoned, since as I have said
I never make use either of a guide or book, I had taken the<span class="pagenum"><a name="Page_304" id="Page_304">[Pg 304]</a></span>
somewhat feminine figure in the gallery at Florence for the
universally admired Apollo of Belvedere. That statue, which
is also of extreme artistic beauty, is, as I am now informed
called the Apollino. In a second niche we saw the celebrated
group of <i>Laokoon and his sons</i>; in a third, three master-pieces
of <i>Canova</i>, a <i>Perseus</i> and two Roman gladiators. The <i>Perseus</i>
is a wonderfully beautiful figure, but evidently imitated
from the <i>Apollo</i>; for the head as well as the position of the
body and of the mantle are strikingly similar. One of the
gladiators is said to resemble more an English prize-fighter
than a Roman gladiator; at least such is the opinion of the
pupils and partisans of <i>Thorwaldsen</i>, who cannot forgive <i>Canova</i>
his certainly very blamable vanity, that he should have
placed his work, the only one of a modern in a museum of antiques.
Nevertheless, if one judges without reference to persons,
it must be admitted that in <i>Perseus</i> he has produced a splendid
work of art, and that there are hundreds of antiquities in
the museum which are not equal to it in artistic beauty.</p>

<p>In one apartment there is a great number of animals, single
and in groups, in marble and other yet more costly and rare
varieties of stone, of the most perfect execution. I could not
give the preference to any one of them without disparaging
the others. In other apartments are vases of immense size,
of Egyptian granite and porphyry, cups, fountains and sarcophages
with bas-reliefs, arabesques and other ornaments, as
well as statues of all sizes. A two-wheeled Roman chariot,
such as were used in chariot races, with two incomparably
beautiful horses, greatly pleased us. The magnificence of the
saloons, rotundi, apartments, and staircases exceeds anything
we have ever seen. The floor consists almost wholly of ancient
mosaics, and the ceilings are decorated with the most
splendid fresco-paintings.</p>

<p>From the Belvedere two handsome staircases then lead
one story higher up to a long gallery. One then enters an
apartment in which the tapestries are hung which were worked
after the drawings of <i>Raphael</i>. As is natural to suppose, not<span class="pagenum"><a name="Page_305" id="Page_305">[Pg 305]</a></span>
only the colours are said to be bad, as is usual with all tapestries,
but the drawing is also defective, so that connoisseurs
in art esteem them but little. In the composition and throughout
the grouping, nevertheless, the spirit of <i>Raphael</i> is visible.</p>

<p>Now come the celebrated “Stanzi” of <i>Raphael</i>, which are
considered by painters and connoisseurs in art as the most costly
and beautiful, not only in Rome, but in the whole world. One
of these apartments he finished entirely himself; in the others
only some of the figures are of his execution; the rest were
painted by his pupils and friends after his drawings and under
his eye. The paintings are in much better preservation than
those in the Sixtine chapel and, with the care which is now
taken of them, they may for centuries to come attract the admiration
of connoisseurs. It is nevertheless a sad reflection that
some of the most precious things produced by the genius and
pencil of <i>Raphael</i> are here adherent to the walls, and must
perish with them. It is therefore fortunate that these paintings
have been and are so frequently copied and engraved, that
something of them will yet remain when the originals shall be
no more. But this must not be permitted to be done in the
way resorted to by the young Parisian academicians, who stick
their tracing paper upon the paintings with wax or even fasten
it on with nails, in order to copy the contours, by which proceeding
a quantity of the lime cement has already crumbled
away from one of the walls. An iron rail is now put up round
the apartments, so that one can no longer approach close to the
walls. The passages from these apartments lead to the “Logge”
of <i>Raphael</i>, by which is understood the arched galleries outside
the buildings. Those decorated by that master himself are now
enclosed by glazed windows to shield them from the destructive
effects of the weather, the rest are open. In these “logge”
there are but four small paintings from his own hand; all the
rest are painted by others after his drawings. In a niche at
the end of the gallery stands a bust of <i>Raphael</i>, which is said,
however, to be but an indifferent likeness of him.</p>

<p><span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span></p>

<p>
December 9.
</p>

<p>On a second visit which we made yesterday to the museum,
we saw the room containing the celebrated oil paintings
of <i>Raphael</i>. The finest of them is without a doubt the Transfiguration,
respecting which so much has been written, and
disputed. Connoisseurs of art are not agreed as to whether
the composition is correct or defective. Some maintain that
it consists of two separate groups which do not harmonise with
each other in the least; others, on the contrary, say that every
part is in the most perfect and beautiful accord. Without
troubling ourself with the contentions of the æsthetics, which
was renewed by two persons in our presence, we gave ourselves
up to the enjoyment of its contemplation. It is extremely
interesting to see here three paintings of <i>Raphael</i> of
different periods of his life in close proximity to each other.
The eldest, or that of his youthful days, hangs by the side
of one by his master <i>Perugino</i>, and is painted wholly in his
style, with the same hardness of outline and the same formal,
almost symmetrical grouping. The one of the middle period
(a Madonna with the child, and some others figures, resembling
very much the painting at Dresden in the grouping) evinces
his own genius enfranchised from the form of his teacher. In
the third, the “Transfiguration,” his last important work, we
see the fully developed artist.</p>

<p>
December 12.
</p>

<p>As we live in a couple of rooms which cannot be heated,
we have suffered somewhat from cold the last eight days, on
account of the <i>Tramontana</i>, or north wind, which has not ceased
to blow all that time; but although we have had hoar-frost
a few times in Rome, we have had no ice yet, neither has it
snowed. When we rose this morning, we found that the outside
of our window was dim with moisture, and on opening
it a warm moist air blew in; while the weathercocks informed
us that the <i>Sirocco</i> (south wind) was blowing. It now soon became
overcast, and this afternoon it is raining. Generally, how<span class="pagenum"><a name="Page_307" id="Page_307">[Pg 307]</a></span>ever,
the <i>Tramontana</i> brings bright settled weather. As Rome
is very damp and dirty, one soon longs for the return of that
wind, and is better content with a little cold than with the
unwholesome moisture. In the spring of the year especially,
when it begins to grow warm, this moisture is said to be quite
unbearable, and to engender dangerous fevers, particularly on
the other side of the Tiber, in the neighbourhood of the Vatican,
where many a stranger, who has taken up his residence there on
account of the cheaper rate of the lodging, has found a grave.
In the summer months especially Rome must be very unhealthy,
the air being charged with the exhalations from the dead bodies,
which, according to ancient custom, are here all deposited in the
vaults of the churches. Every time one of these vaults is opened,
which takes place almost every day, a stench rushes out which
penetrates into the interior of the very palaces of the living.
At the time of the domination of the French the dead were
buried outside the city, but no sooner was the papal rule restored,
than that wholesome regulation was discontinued. No
corpse is permitted to remain unburied longer than twenty-four
hours, and accordingly the body of any one deceased is
laid upon a bier, some eight or ten hours only after the breath
is out of it, and carried with uncovered head, breast, and feet,
in broad daylight, through the street to the church, and set
down before the altar, when if the estate is sufficient to pay
the expenses, a mass for the dead is read, and the body is
thrown uncoffined through one of the openings of the vaults.
That many only apparently dead are in this manner buried
with the rest, may be readily imagined; and a few years ago
such a case actually occured. A poor man, who a few hours
after his apparent death had been thrown into the vault, was
aroused by the fall and passed two fearful days among the
half-decomposed bodies, when fortunately the chief entrance
to the vault was opened in order to clear it out, and the poor
fellow was rescued and is still living.</p>

<p>In no city in the world, I think, is the contrast so striking
between the most luxurious splendour and the most abject<span class="pagenum"><a name="Page_308" id="Page_308">[Pg 308]</a></span>
misery as here. On the marble steps of the palaces, among
the statues for which thousands have been paid, near the altars
of the churches which are laden with golden ornaments
and utensils&mdash;everywhere, in fact, one sees half-starved mendicants
lying, who moan for bread, and gnaw the stumps of
cabbages or the peel of lemons, which they have picked out of
the gutter. At first I thought this a trick merely to excite
the compassion of strangers; but I became convinced afterwards
that many of the poor must for days subsist on such horrid
food, or perish with hunger. The Romans are accustomed to
see this misery from their youth, and seldom give alms (except
they drop it into the begging-box of some well-fed monk
collecting for his monastery), and strangers soon become hardened
to pity, when they find that as soon as they have given
something to one beggar, they are immediately surrounded by
<i>twenty others</i>. It is true there are many among them who beg
from sheer idleness, but there are many also who are quite
unable to work for a livelihood. In this respect also I admire
my native country, where every pauper has at least potatoes
and bread, and a case of one dying of starvation in the midst
of his richer fellowmen is wholly unheard of.</p>

<p>
December 19.
</p>

<div>Last evening our concert took place. As I had been refused
permission to give a public concert in the theatre during
Advent, I was obliged to make arrangements to give it at a
private house, without any public announcement. Prince <i>Piombino</i>
granted me an apartment for the purpose in the <i>Ruspoli</i>
palace, and Count <i>Apponyi</i>, the Austrian ambassador, procured
for me a considerable number of subscribers; so that
this was the first concert in Italy that brought me a somewhat
considerable profit. The price of admission was one Piaster
(nearly a Laubthaler). The orchestra, composed of the
best musicians of Rome, was nevertheless the worst of all that
had yet accompanied me in Italy. The ignorance, want of
taste, and stupid arrogance of these people beggars all de<span class="pagenum"><a name="Page_309" id="Page_309">[Pg 309]</a></span>scription.
Of <i>nuances</i> in <i>piano</i> and <i>forte</i> they know absolutely
nothing. One might let that pass, but each individual makes
just what ornamentation comes into his head and double strokes
with almost every tone, so that the <i>ensemble</i> resembles more
the noise of an orchestra tuning up than harmonious music.
I certainly forbade several times every note which did not stand
in the score; but ornamentation has become so much a second
nature to them, that they cannot desist from it. The first
hornist, for instance, blew once in the <i>Tutti</i>, instead of the
simple cadence,

<div class="figinline" style="width: 173px;">
<img src="images/zill_c309a.png" width="173" height="78" alt="" />
</div>

the following

<div class="figinline" style="width: 245px;">
<img src="images/zill_c309b.png" width="245" height="90" alt="" />
</div>

The Clarinets blew perhaps at the same time

<div class="figinline" style="width: 247px;">
<img src="images/zill_c309c.png" width="247" height="90" alt="" />
</div>

instead of

<div class="figinline" style="width: 219px;">
<img src="images/zill_c309d.png" width="219" height="80" alt="" />
</div>

and now if one imagines the figured passages for the violins,
which the composer has prescribed, some conception may be
formed of the bewildering noise which such an orchestra gives
you for music. With that, the musicians have so little musical
taste, and are so unskilled in note-reading, that we nearly
broke down twice. Here also, my concerto in the form of
a vocal-scene pleased most, and I gained far more applause
for the way in which I played the song parts, than for the
mastery of very great difficulties. A tenor belonging to the
papal orchestra, the permission for whose co-operation I had
obtained with great difficulty, sang a duet with Mademoiselle
<i>Funk</i> of Dresden, and a very beautiful air of <i>Rossini</i>, the best
of that composer which I had yet heard.</div>

<p><span class="pagenum"><a name="Page_310" id="Page_310">[Pg 310]</a></span></p>

<p>
December 20.
</p>

<p>Last evening I was present at a small private musical
performance at the house of Count <i>Apponyi</i>. There was much
good vocal music with piano accompaniment. The best were a
duet from a “Passione” by <i>Paisiello</i>, most charmingly sung by
Madame <i>Häser</i> and the Countess <i>Apponyi</i>; an aria by <i>Zingarelli</i>
with chorus, written for Madame <i>Häser</i> and executed by
her in the most finished manner; a duett of <i>Rossini’s</i>, sung
by Countess and Signor <i>Moncade</i>. Madame <i>Häser</i> sang with
a feeling and a purity such as I never heard her display before.
Her magnificent sonorous voice, which in a room with
much reverberation sounds almost too sharp, particularly in the
higher tones, had a fine effect yesterday in an apartment where
the tapestry and carpeting deadened the sound. She has at
command every nuance of tone, from the most tender breathings
to the greatest fullness of power, and she knows how to
avail herself of it in a masterly manner. She has lost, it is
true, the brilliant fluency of voice which was formerly so much
admired in Dresden, but she retains still enough of it to enable
her to give every vocal ornamentation with ease and elegance.
The only thing I miss in her singing is the shake, which in
the present day is so much neglected. <i>Moncade</i> is a singer
with a fine chest voice, and a tasteful though not a very feeling
execution. Besides them, Prince <i>Frederick of Gotha</i> sang
an air, and a bass singer a couple of Buffi.</p>

<p>I have again been twice to <i>Sirletti’s</i> music parties. A
week ago some parts of the Requiem were repeated and the
Halleluja; but the rest of the evening was wholly devoted to
<i>Marcello’s</i> Psalms. With regard to the latter, I find my former
opinion still more confirmed. In the fine edition of these
Psalms, there is also a biography of <i>Marcello</i>, in which the
reason is given for his relinquishing theatrical compositions,
to which alone he had previously devoted himself, and taking
all at once to sacred music. On visiting a church in a retired
part of Venice, he had the misfortune to fall through a badly
covered opening into one of the subterranean dead-vaults, and<span class="pagenum"><a name="Page_311" id="Page_311">[Pg 311]</a></span>
remained there a long time before his cries for assistance were
heard. This accident induced so serious a tone of mind, that
ever after he would write nothing but sacred music.</p>

<p>I have again been to <i>Ruffini’s</i> music parties also, and
heard a tragic opera by a young and early deceased composer,
who had much native talent but evinced also a complete
deficiency of study. The singer showed to more advantage
in this opera than in the one they gave previously; but the
orchestra was just as unbearable. I sat next to the formerly
so celebrated singer <i>Crescentini</i> (but, who is said to have now
wholly lost his voice, although he is scarcely fifty years of
age), and I had the satisfaction to find that his opinion upon
the present state of music in Italy agreed in every respect
with mine. His conversation evinced the highly cultivated artiste,
free from the trammels of prejudice. He deplored that
at the present day the good school of vocal music, the only
one in which Italians had distinguished themselves, had become
more and more rare every day, and upon his last return
to Italy (I think he had been in Paris) he had found so
frivolous and bad a taste, that it no longer bore the least trace
of the former simple yet noble style of his time. To him,
also, who had heard much good music in Germany and France,
the insipidity and incorrectness of modern Italian music are
abominations.</p>

<p>
December 23.
</p>

<p>Now that the festival of Christmas is approaching, begging,
with which one is plagued here at all times, will be carried
on on a large scale. Wherever you go, you are greeted with the
cry of “Pleasant holidays!” and you are then expected to pull
out your purse. This system of begging occurs, it is true, in
Germany at New Year, but is by no means so general as here.
For instance, the servants of all the nobility and gentry at
whose houses have shewn yourself, if but once, come to beg of
you; and indeed at other times as well, foreigners are laid
under contribution by them. If you have paid the master a<span class="pagenum"><a name="Page_312" id="Page_312">[Pg 312]</a></span>
visit, the servant comes the next day and asks you for a present.
As one cannot give less than three Paoli, it becomes a
dear amusement to deliver many letters of introduction here.
The poor devils are certainly very badly paid, and must resort
to such a system of begging if they would not starve.</p>

<p>Yesterday <i>Meyerbeer</i> and his mother arrived here. He received
a letter in Florence from <i>Carl M. von Weber</i>, and read
to me from it the gratifying intelligence that my Opera “Faust”
had already been twice performed at Prague with marked approbation.</p>

<p>
December 25.
</p>

<p>Last evening we were present at a service in the Sixtine
chapel preparatory to the approaching high festival. I
had anticipated something very effective but I found myself
very much mistaken. The illumination was by no means effective,
for the chapel was soon so filled with the smoke of
the tapers that you could not see distinctly ten paces before
you. Instead of the four-voice Psalmody which I had hoped
for, the singers of the choir recited merely a rather long Litany
of prayers in <i>unison</i>, without any melody, something as
the following:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c312.png" width="500" height="58" alt="" />
</div>

<p>To listen to this for almost half an hour without interruption
was the greatest musical penitence that I ever endured. At
length, in the midst of a silent prayer, we were refreshed by
a four-voiced solo, in which the splendid soprano-voice before
alluded to was again remarkable. But immediately after this,
the monotonous chaunt was again resumed, and now we thought
it preferable to work our way through the compact crowd
at the expense of great exertion rather than to endure it any
longer.</p>

<p>This morning early we at length saw the head of the
catholic church in the highest ecclesiastical pomp perform<span class="pagenum"><a name="Page_313" id="Page_313">[Pg 313]</a></span>
mass in the church of St. Peter. The high altar under the
dome, divested of its habitual covering, was radiant with gold
and precious stones; the clergy and cardinals, habited in their
richest gold-embroidered stuffs, the body-guard in their splendid
uniform, the Swiss guard in their bright polished old German
armour, in a word all converted with the pope contributed
to render this service the most splendid spectacle ever
performed in a church. For more than a theatrical spectacle
it was not to the surrounding crowd: not a sign of emotion
or spiritual elevation was to be seen among the many thousand
spectators! The appearance of a spectacle got up for
amusement was more especially given to it by the circumstance
that for the accommodation of the high personages who were
present&mdash;the king of Spain, the queen of Etruria, the princes of
Prussia, Gotha and others&mdash;a sumptuously decorated box had
been erected, and, that upon the amphitheatre the fashionable
world of Rome was present in full dress. A singular contrast
with this splendour was presented by the rags and dirt of
the riff-raff of the Roman populace who had pressed to the
very step of the high altar. As the “service” became tediously
long, and what the singers sang was neither very interesting,
nor could be heard distinctly for the noise in the church, we
preferred to take a walk, as the weather was so mild and
bright, but returned in sufficient time to the church to see
the procession, which forms the close to the whole performance.</p>

<p>In front moved a detachment of the body-guard, behind
these the Cardinal’s hat was carried upon a sword; then came the
Cardinals, and lastly the Pope seated upon a richly decorated
sedan or throne borne by eight priests; on either side of him
two large fans of white ostrich feathers; then all the clergy,
and lastly the remainder of the body-guard and Swiss guards.
During the procession, the Pope, a venerable old man of 75, on
whose pale and interesting face the exhausting influence of frequent
fast and of the long fatiguing service were very distinctly
visible, bestowed with a feeble motion of the hand his blessing<span class="pagenum"><a name="Page_314" id="Page_314">[Pg 314]</a></span>
upon the people. But the latter shewed during this no sign of
devotion; not a knee was bent; there was laughing and loud
talking during the whole service. The procession passed out
through a side chapel into the Vatican. The immense size
of the church could be first rightly seen to-day, from the
mass of human beings which it held. It was full half an hour
before they could make their exit through three large doors.</p>

<p>
December 27.
</p>

<p>Yesterday, at last the theatres were once more opened,
after being closed six months. At the <i>Argentino</i> theatre, the
largest and handsomest, <i>Rossini’s</i> “Tancredi” was performed,
at the theatre <i>Valle</i>, a new <i>Opera buffa</i> by Signor <i>Pietro Romano</i>,
called “<span lang="it" xml:lang="it">Il Quiproquo</span>.” As “Tancredi” is an old opera,
the first night of which is not more interesting than the succeeding
ones, <i>Meyerbeer</i> easily persuaded me to go with him
to the <i>Valle</i> theatre, while my wife and the children, with Madame
<i>Beer</i>, went to the <i>Argentino</i> theatre. Before the opera
a farce in prose was given, imitated from our German “<span lang="de" xml:lang="de">Proberollen</span>.”
Then came the first act of the opera, the text of
which we soon recognised as an adaptation of the “<i lang="fr" xml:lang="fr">Nouveau
Seigneur de Village</i>.” The subject, though spun out somewhat
too much, was neither so stupid nor so wearisome as those
of most Italian operas. But so much the more insipid and
common-place is the music. Signor <i>Romano</i> has taken the
now so much admired <i>Rossini</i> as his model, and so closely
imitated him, or rather copied him outright, that the pit called
out every moment “<i>Bravo Rossini!</i>” With that his music is so
incorrect, that an ear accustomed to a pure harmony cannot
hear it without disgust. Nevertheless that was no injury to it
here, but much more so its want of fire and noise, the last
of which the Italians are as fond of as the French and Germans.
Once only, after a duet, the pit called out the encouraging
and joyful “<i>Bravo Maestro!</i>” for which he immediately
made a most profound bow. All the rest was listened to with
coldness, and at the conclusion of the opera neither approval<span class="pagenum"><a name="Page_315" id="Page_315">[Pg 315]</a></span>
nor displeasure was expressed. The singers were by no means
sure of their parts, and were continually making mistakes.
Madame <i>Georgi</i>, the <i>prima donna</i>, who in the previous carnival
had been the favorite of the public, did not please much
yesterday, and had the annoyance of seeing the <i>seconda donna</i>,
who certainly did not sing badly, called forward after her
aria in the second act, an honour which had not fallen to her
lot all the evening. She shewed her displeasure at this by
singing the rest of her part with the utmost indifference and
with half-voice only, by which however she injured the
last finale very much, and was perhaps the cause of the opera’s
going off so coldly, and of the report which prevails in the
town to-day, that she had not given satisfaction. The orchestra,
composed for the most part of the professors (!) who had
played at my concert, played crudely, incorrectly and without
any sort of difference between piano and forte.</p>

<p>This morning there was another private music party at
Count <i>Apponyi’s</i>. Nothing else scarcely was sung but things
from <i>Rossini’s</i> operas, of which a terzette, from “Elisabetha,”
if I am not mistaken, pleased me most, on account of the excellent
treatment of the voices. The more I hear of <i>Rossini’s</i>
compositions, the more I am disposed to join <i>in part</i> with
the general opinion, which pronounces him the most distinguished
of modern Italian composers, and as a reformer of
the taste in operatic style. <i>Mayer</i> may nevertheless with propriety
be excepted, who has, if not so much imagination as
<i>Rossini</i>, yet, certainly, more knowledge and æsthetic feeling.
That the latter is wanting in knowledge of harmony, delineation
of character, sense of the difference between the serious
and comic style, and of propriety, I observed already in Florence,
after hearing the “Italiana in Algeria.” <i>Rossini</i>, however,
has devised <i>some quite new things</i>, although they are not
necessarily good because they are new: for instance his “flowery
song,” as <i>Meyerbeer</i> very characteristically calls it, which in
reality is nothing more than that the passages hitherto sung on<span class="pagenum"><a name="Page_316" id="Page_316">[Pg 316]</a></span>
one vowel are sung with a series of syllables, as in an aria in
the “Italiana”:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c316a.png" width="500" height="127" alt="" />
</div>

<p>or in a duet between a tenor and a bass in the same opera,
where the part for the second voice is very unsingable and
more like an orchestral bass than a singing bass:<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c316b.png" width="500" height="268" alt="" />
</div>

<p>Every time such little tricky passages occur, and are well
executed by the singers, as to-day by <i>Moncade</i> especially, the
auditory breaks out into an ecstasy of applause which causes
Italian music to degenerate more and more into a mere tickling
of the ears and both singers and composer; become every
day less capable in use of working upon the feelings; so that
I may say without exaggeration, that of all the compositions
we have yet heard in Italy, I have not experienced the least
emotion, with the exception of one or two passages in the
“<span lang="it" xml:lang="it">Testa di bronzo</span>”; and of all the singers we have yet heard,<span class="pagenum"><a name="Page_317" id="Page_317">[Pg 317]</a></span>
Madame <i>Häser</i> alone, in a duet from the old “Passione” of
<i>Paisiello</i> moved me for a few seconds.</p>

<p>Likewise new, and first introduced by <i>Rossini</i>, is the way in
which the speaking passages in the <i>Opera buffa</i>, hitherto usually
written in one tone, or at least at very close intervals only,
and formerly always given <i>legato</i>, are provided with syllables,
as for instance in the beginning of the above duet:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c317a.png" width="500" height="238" alt="" />
</div>

<p>Well known as this commencement is (it resembles the
beginning of a finale in a quartett of <i>Haydn</i> in E flat-major):</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c317b.png" width="500" height="55" alt="" />
</div>

<p>yet his method of giving it with the different syllables of the
text in this manner is quite new; but whether good or not,
is still the question; to me it always sounded as though travestied,
as if, for instance, a song which admits of a feeling
execution were executed upon a singing instrument and for
fun’s sake so caricatured that it excited laughter instead of
emotion. At any rate no instrumentalist of taste would play
the above song <i>staccato</i>.</p>

<p>The following and similar <i>crescendo</i> passages are also peculiar
<i>to Rossini</i>, they appear in almost all his musical pieces,
and the Italian public are thrown into ecstasies by them; for
instance, in the overture to the “Italiana.”</p>

<p><span class="pagenum"><a name="Page_318" id="Page_318">[Pg 318]</a></span></p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c318.png" width="500" height="466" alt="" />
</div>

<p>In this manner it continues for a while, until at length
at the strongest <i>forte</i>, the public break out into a furious clapping
of hands and shouts of “Bravo!” In fact it can so little resist
such a <i>crescendo</i>, that even the luckless imitators of <i>Rossini</i>,
like Signor <i>Romano</i> in the opera last night, understood how
to draw down a storm of applause by it. That such passages
are frequently very incorrect and offensive from the passing
notes occurring in them, it is not necessary for me to remark;
even in the celebrated cavatina from “Tancredi,” so enthusisiastically
admired throughout Italy, and which was also sung
to-day, there are in the very first bars the most hideous-sounding
octaves, between the bass and the second hautboy, that I
ever heard.</p>

<p><span class="pagenum"><a name="Page_319" id="Page_319">[Pg 319]</a></span></p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_c319.png" width="500" height="149" alt="" />
</div>

<p>The first result of my judgment of <i>Rossini</i> is, therefore,
that he is by no means wanting in invention and genius and
with those qualifications had he been scientifically educated,
and led to the only right way by <i>Mozart’s</i> classical masterpieces,
he might readily have become one of the most distinguished
composers of vocal-music of our day, but, as he now
writes, he will not raise Italian music, but much rather lower
it. In order to be new, <i>Rossini</i> departs more and more from
the simple and grand style of song of former days, and does
not reflect that in so doing he wholly robs the voice of its
charm and advantages, and actually debases it, when he forces
it to execute passages and fioritures, which every petty
instrumentalist can produce much purer, and especially much
<i>more connected</i>, because he has no need to express a syllable
every time on the third or fourth note. With his “flowery
song,” however much it may please, he is therefore in a fair
way to make a clearance of all <i>real</i> song which is already
now very scarce in Italy, and in which the despicable horde
of Imitators, who here as well as in Germany pursue their
pitiful calling, are doing their best to assist him.</p>

<p>
December 29.
</p>

<p>Last evening I went with <i>Meyerbeer</i> to hear “Tancredi”
at the <i>Argentino</i> theatre. I never witnessed a more wretched
performance. The singers, with the exception of <i>Paris</i> the
elder, are very <i>mediocre</i>; the <i>prima donna</i>, the younger <i>Paris</i>,
is yet quite a beginner, the <i>basso</i> was frightful, the orchestra
worse than in the smallest provincial town in Germany, and
in a word, it is an assemblage of folks such as had all Italy<span class="pagenum"><a name="Page_320" id="Page_320">[Pg 320]</a></span>
been ransacked for the purpose, it would have been difficult
to find worse. God help the composer whose work falls into
such hands! They disfigured it in such a manner that one can
no longer recognise it. The only one person who distinguished
herself, was the elder <i>Paris</i>, who, in the part of “Tancredi,”
displayed a powerful, healthy contralto voice and a cultivated
execution. It would be unjust after such a representation to
pass judgment upon the opera, and the more so, as several
passages were omitted and others substituted. The ballet
which was given between the acts, was quite of a piece with
the rest: a serious ballet executed by a number of grotesque
dancers! But among these were some men, who made themselves
remarkable by the power, and agility and by springs of
all kinds.</p>

<p>During the last week we have again seen many interesting
things; the museum of the Capitol, in which the dying gladiator
and several Egyptian statues pleased me most&mdash;the
latter less remarkable for artistic beauty than for singularity;
the picture gallery in the <i>Doria</i> palace, which contains among
many other remarkable pictures, four beautiful landscapes by
<i>Claude Lorrain</i>; another gallery in the <i>Colonna</i> palace, in
which hangs an extremely beautiful head of <i>Raphael</i>; the handsome
and richly decorated churches of <i>Santa Maria Maggiore</i>
and <i>St. Giovanni in Laterano</i>, &amp;c. From the portal of the
latter one has an extensive view in the direction of Albano,
which with the ancient aqueducts, which the eye can follow
for miles, and other remains of ancient Roman architecture,
possesses much romantic interest.</p>

<p>On Sunday evening, the weather being very clear, we ascended
the dome of St. Peter’s church. The ascent is at first
by a footway of a spiral form without steps as far as the
roof of the church. Arrived there once fancies one’sself again
in the streets of a town, for the ground is paved, and a number
of houses, some of which are inhabited, together with numerous
small and large cupolas, prevent a view into the distance.
But if you walk up to the gigantic statues over the<span class="pagenum"><a name="Page_321" id="Page_321">[Pg 321]</a></span>
portal of the church, you then see at how great a height you
are standing. The pavement of the square in front of the
church looks like a minute mosaic, and the people little puppets
creeping about upon it. On looking up to the dome from
here, it looks like an enormous isolated building; from the
first interior gallery one has also to mount to a considerable
height before one arrives at the second, where the first swell
of the dome begins. The view from these galleries, particularly
from the second, down into the church is quite <i>sui generis</i>,
and makes one positively shudder. The hundred lamps
which burn right under the dome at the entrance of the subterranean
chapel, seem to mingle as in one flame, and the
human beings below appear like moving black spots. From
the second gallery one then ascends between the inner and
exterior dome by wooden steps up to the lantern, from which
one has again a view down into the church that makes the
head turn. From here a flight of winding stone steps once
more leads up into a tolerably large chamber situated in the
top of the lantern, and thence at length ascending an iron
ladder, one passes through the shaft to the ball, which is large
enough to contain from twelve to sixteen persons.</p>

<p>The foolhardy can ascend yet higher, by a ladder outside
the ball, up into the cross, but we were quite satisfied
with having been as high as the ball. The view from the external
galleries is magnificent and varied beyond description.
Below, proud Rome with its inummerable palaces, ruins, columns
and obelisks; around it the villas.</p>

<p>In the distance the mountain near Tivoli and Albano,
above which are seen the peaks of snow-covered mountains,
and far away on the west the Mediterranean, which at the
time of the day we ascended the dome looked like a fiery
stripe in the distant sky. After we had long enjoyed this
entrancing view, we descended and found that two hours had
passed very rapidly in the ascent of the dome.</p>

<p>We also went up the high column on the <i>Piazza Colonna</i>,
and from its summit, which rises high above all the houses,<span class="pagenum"><a name="Page_322" id="Page_322">[Pg 322]</a></span>
enjoyed one of the finest views of Rome and its immediate
environs.</p>

<p>
December 30.
</p>

<p>I have acquired the conviction that the Italians, even in
modern times, are not wanting in natural abilities for the study
of the fine arts, and indeed, that on the whole they surpass
therein the northern nations. Almost all their singers have
a happy ear for intonation, and the faculty of immediately
seizing and repeating a melody once heard; although but very
few of them, even among the theatrical singers possess <i>what
we call music</i>, and most of them scarcely even know their notes.
At the last musical party at <i>Apponyi’s</i> there was a Canon of
<i>Cherubini’s</i> to be sung, in which <i>Moncade</i> who, as I had been told,
is one of the singers who cannot read music, although formerly
a theatrical singer, was solicited to take a part. As he willingly
assented to sing something that he did not know, I immediately
thought that in his case at least what I had heard was untrue.
The Countess first sang the slow melody consisting of eight bars
and <i>Moncade</i> repeated it note for note with all the little ornaments
which she had added. But when his part began, he
could get no farther: nevertheless, he did not permit himself
to be disconcerted, but sang away by ear, which certainly sometimes
did not sound much like music by <i>Cherubini</i>. When, however,
the third singer, who also had no music before him, began,
after his first simple entry in the second part, also to
compose, such confusion and discord arose that they were obliged
to leave off. Both singers declared very ingenuously that
they had hoped, they would have accomplished it; like the
Englishman who, when he was asked if he played the violin,
replied: “It is possible, but I have never yet tried.”</p>

<p>Among the lower uneducated classes of the people, a remarkable
genius for painting is by no means rare here, which
is awakened by the early contemplation of the public works
of art. In this manner the attention of the painters here has
been attracted for the last year and more by the extraordinary<span class="pagenum"><a name="Page_323" id="Page_323">[Pg 323]</a></span>
artistic talent of a lad in the streets. This boy, without ever
having had the least instruction, draws large historical sketches
in charcoal upon the white walls of the houses, and there is
scarcely a street in which some of his artistic work is not to
be seen.</p>

<p>Sometimes he chooses for his subject a Madonna, or some
legend, at others a Roman triumph. But in no one instance
has he ever copied from any existing subject, or even repeated
himself; his fancy constantly creates something new. Some of
these sketches excite the greatest astonishment by the richness
of the composition, comprising frequently more than thirty
or forty figures, and by the correctness of the drawing. The
most remarkable to me is the certainty with which he throws
off and depicts his ideas. You see no double stroke in the
contours&mdash;nothing wiped out&mdash;everything stands there at
once clear and prominent. When he draws he is always surrounded
by a crowd of people, who look on with gratification
at the skill he displays; but he is so deeply engrossed with
his work, that he heeds neither the surrounding spectators
nor their remarks. I have been told that <i>Canova</i> took this
lad, with the view of developing his talent; but that regular
kind of life did not all please him, and he soon ran away.</p>

<p>
January 1. 1817.
</p>

<p>The new year has begun very unpleasantly for us. This
morning <i>Emily</i> was taken suddenly ill. The doctor thinks she
will have the scarlet fever; should that be the case, we shall
be obliged to postpone our departure for Naples, which we
had fixed for the 7th, for at least a fortnight. Added to the
annoyance of remaining here yet longer without any object and
in anxiety, is that of being compelled to see our fellow-countrymen
with whom we had contemplated making the journey
together depart alone, and that also of missing the opening
of the St. Carlo theatre at Naples, which is to take place on
the 12th. To console ourselves for the latter we shall meanwhile
hear the new opera of <i>Rossini</i>, which he is writing for the<span class="pagenum"><a name="Page_324" id="Page_324">[Pg 324]</a></span>
<i>Valle</i> theatre, and the début of Madame <i>Schönberger</i> at the
<i>Argentino</i>.</p>

<p>
January 3.
</p>

<p>Not only <i>Emily</i>, but <i>Ida</i> also has caught the scarlet fever,
and now for a certainty we shall not be able to leave before
the 20th. Both children were very ill for some days, and my
good <i>Dorette</i> has been extremely alarmed and anxious. I have
kept up my spirits and amused myself in inventing some puzzle-canons
and have now began to write a new solo-quartett.</p>

<p>I should so much have liked to make <i>Rossini’s</i> acquaintance;
but before he has finished his opera this is quite out
of the question. The impressario, in whose house he lives,
neither permits him to go out nor to receive visits, so that
he may not neglect his work. Should his opera not be brought
out before our departure, I shall probably not be able to see
him.</p>

<p>
January 18.
</p>

<p>The children have recovered sooner than we had anticipated,
and we have fixed to leave for Naples the day after to-morrow.</p>

<p>Last Thursday I went again to <i>Sirletti’s</i>, and yesterday
to the morning concert at Count <i>Apponyi’s</i>; at neither place,
however, was any thing played worth particular notice, with
the exception of a fine quartett by <i>Mayer</i> and a duet from
a comic opera of <i>Fioravanti</i>. <i>Mayer</i> is remarkable for scrupulously
correct harmony, regularity of rhythm and a good
treatment of the voices in part compositions, and surpasses
therein all modern Italians. The duet out of <i>Fioravanti</i> more
particularly interested me from the circumstance that it is also
adorned with the modern so-called “flowery song,” from which
I find that <i>Rossini</i> is neither the first nor only one who
makes use of it. I begin moreover to judge him more favourably,
as long as he does not venture beyond the limits of
<i>comic</i> opera, and when his music is as gracefully executed as
by the Countess <i>Apponyi</i> and <i>Moncade</i>.</p>

<p><span class="pagenum"><a name="Page_325" id="Page_325">[Pg 325]</a></span></p>

<hr class="tb" />

<p>On the 20th January we left Rome. The <i>Campagna di
Roma</i> is as little cultivated on this side as on the other; the
road as far as Albano derives nevertheless much interest from
the many antiquities seen on the way. The numerous remains
of three or four old Roman acqueducts give a particularly romantic
aspect to the country round. One of the acqueducts,
which was less injured, has been repared in later times, and
still serves to supply Rome with water upon this side.</p>

<p>While our <i>vetturino</i> was baiting his horses at Albano, I
ascended the mountain upon which the lake of Albano is situated.
The view across it towards Rome is exceedingly beautiful.
Below at one’s feet is seen the lake with its high precipitous
banks thickly covered with trees and underwood; upon
the right a long building, the use of which I do not know;
to the left, upon the high steep bank, Castel Gandolfo, and
in the extreme distance the mass of houses of Rome. The
form of the lake and of its high precipitous banks indicates
plainly that it has been formed by the falling in of a burnt-out
crater.</p>

<p>The road from Albano to the little dirty town of Velletri,
where we took up our first night-quarters, presents a great
variety of scenery.</p>

<p>On the second day we crossed the Pontine marshes, which
extend from Velletri to Terracina, a distance of four and twenty
Italian miles. We did not find them so desolate and barren
as we expected, for one has always a sight of the mountains
on the left, and here and there of even a few patches of cultivated
land. The numerous herds of oxen, buffaloes, swine, and
in the dry parts, of sheep also, give some life to the uniformity
of the level. But houses are of rare occurrence, and the inhabitants
have always a pale unhealthy appearance. In the heat
of summer the exhalations from the marshes are very dangerous,
even to travellers who do but cross them, particularly if they
abandon themselves to sleep, to which one is greatly induced by
the uniformity of the road. Only last summer a young lady
who could not resist the disposition to sleep inhaled death here,<span class="pagenum"><a name="Page_326" id="Page_326">[Pg 326]</a></span>
and was carried off by a malignant fever three days after her
arrival in Naples. Such cases are not unfrequent in summer.</p>

<p>At <i lang="it" xml:lang="it">Torre a tri ponti</i>, a solitary hostelry, all the inmates
of which looked as if they had just risen from their graves,
we dined, and had very excellent meat, and roast ducks and
geese, of which there are swarms in the uncultivated parts of
the marshes.</p>

<p>Terracina, where we arrived at night-fall is most charmingly
situated. The town stands upon a wild rocky eminence,
but we stopped below at a very excellent inn close to the sea.
From our windows we had a view of the sea, and on the following
morning enjoyed the magnificent sight of the rising sun. Close
below our windows, the waves broke with considerable noise,
although during the previous day the wind had not been high.
The air was as mild as after a warm summer’s day in Germany,
and in the evening late we saw the fishermen launch
their barks through the surf by moonlight, to cast their nets.</p>

<p>On the next morning we had to pass through the most
dangerous part of the whole journey, from being the most infested
with banditti. This part is between Terracina and Fondi,
where the road lies through a thinly inhabited country and
almost always between masses of low bushes in which the
scoundrels easily conceal themselves, and can shoot down travellers
and their escort from an ambuscade without being perceived.
It is here where the most robberies are perpetrated,
and but recently only some travellers were again attacked.
But the government has at length taken earnest measures to
suppress this. We found several hundred peasants employed
in cutting down all the bushes on both sides of the road and
burning them; and we met several strong detachments of soldiers,
sent out to hunt up the banditti in their fastnesses.
From twenty to thirty have already been brought in and hung
up with little ceremony. On this side of the Neapolitan frontiers
we met a picquet of soldiers at intervals of every quarter of
an hour, which bivouacked on the side of the road and sent
out patrols during the night.</p>

<p><span class="pagenum"><a name="Page_327" id="Page_327">[Pg 327]</a></span></p>

<p>At Fondi, a poor dirty looking hole, where we were almost
torn to pieces by beggars, we saw the first gardens of
lemons, pomegranates and oranges. We took a walk through
the town and were delighted with the sight of the splendid
trees, which were loaded with the finest fruit. In the gardens
and in the market we saw fine fresh vegetables, such as cauliflowers,
savoy-cabbages, carrots, &amp;c. But at noon the heat
was so great, that we were obliged to seek the shade.</p>

<p>We passed the night at Molo di Gaëta, also a small town
situate close to the sea. From the windows of our inn in the
evening we saw the fishermen put out to sea by torchlight to
fish. Between Molo and Santa Agata we saw a great number
of evergreen shrubs and plants, which do not grow even in
the north of Italy, and upon the rocks several kinds of aloes,
such as we grow in greenhouses. Several other shrubs which
are also indigenous with us were already in their first leaf.
On the road-side the air was perfumed by the violets, and the
fields with the blossoms of the beans.</p>

<p>Capua, where we passed the last night of our journey, is
a handsome town with fine buildings. We supped in the evening
with two Austrian officers, who told us among other things,
that they did not bury people in Capua, but threw them down
a hole about a mile from the town, which was unfathomly
deep, but was believed to have a communication with the sea,
as after some lapse of time one could hear the bodies of those
who were thrown down fall into the water.</p>

<p>The road from Capua to Naples is the most uninteresting
of the whole journey. Nothing else is to be seen on either
side of the road but high mulberry trees and pendant vines,
both now without leaves. At two o’clock in the afternoon we
at length arrived at the long-wished for Naples, and found a
lodging which had been already engaged and prepared for
us by one of our fellow-countrymen.</p>

<p class="p2 center"><span class="smcap">End of the First Volume.</span></p>



<p><span class="pagenum"><a name="Page_328" id="Page_328">[Pg 328]</a></span><br /></p>

<p class="break p4"><span class="pagenum"><a name="Page_ii_1" id="Page_ii_1">[Pg 1]</a></span>
<i>Naples</i>, January 1.
</p>

<p>Naples, although not remarkable for beautiful architecture, is,
from its situation and many peculiarities, one of the most beautiful
cities of the world. On coming from Rome, one certainly
misses the grander taste in architecture and other works of
decorative art formed upon and refined by the study of the
antique, which for ages has rendered that city the most interesting
of all others to the architect, the sculptor and the
painter; but one is compensated for that in Naples by other
advantages that Rome has not. To an inhabitant of northern
lands, the city presents from its amphitheatrical position a
most imposing spectacle, and with its flat roofs covered with
party-coloured and lacquered tiles, its cupolas and towers, it
has a very novel and oriental appearance. It is moreover
one of the most lively cities of the world, at least one of the
most noisy; for although Vienna and Hamburg, the two most
populous cities that I have yet seen, may have proportionately
as many inhabitants as Naples, yet the latter, partly from
its southern liveliness, and partly from the circumstance that
here all classes idle away more time in the streets than they
work at home, is much more animated than those cities. The
noise in the streets is positively great beyond description, and
until one has become somewhat accustomed to it, one is completely
deafened by it. All the mechanics pursue their calling
in the streets: blacksmiths, locksmiths, copper-smiths, car<span class="pagenum"><a name="Page_ii_2" id="Page_ii_2">[Pg 2]</a></span>penters,
tailors and shoemakers&mdash;all alike sit in front of
their houses variously intermingled, and work. Added to that
the rattling of the carts and vehicles, which in the principal
streets almost always move on two lines, the wild cries of
itinerant vendors, always endeavouring to undersell each other,
and lastly the animated language and gestures of those who
meet, or converse in the streets, who to a German seem as
though they were in violent dispute, although they are perhaps
merely talking of the weather or some unimportant piece
of news or town gossip. But more striking than in any other
city of the world is the contrast between the luxury in the
equipages and dress of the higher classes, and the dirt and
nakedness of the lower ones, particularly of the so-called Lazzaroni.
Of these whole families are to be seen lying in the
streets in the midst of the <i>beau monde</i>, looking for vermin
upon their half-naked bodies. A more disgusting sight I never
beheld! And yet before <i>Murat’s</i> time, who made soldiers
of all the able-bodied Lazzaroni, these vagabonds were far
more numerous.</p>

<p>
February 3.
</p>

<p>Yesterday we made our first excursion. In company with
our Silesian fellow-countrymen, Herren <i>von Raumer</i>, <i>von Lattorf</i>,
<i>Hagen</i> and <i>Kruse</i>, we first drove out to Portici to see
the museum. Here, in a suite of apartments, are preserved
the paintings and interior-decorations found in Herculaneum
and Pompeii, from whence they have been taken from the walls
with the plaster, and are here hung up in frames with glass
doors. Of the greater part of them the colours are in excellent
preservation, especially a very fine red. The room or
interior decorations, consisting of arabesques, small landscapes,
and the figures of animals, are almost all well painted. The
larger historical paintings taken from temples and public buildings
have great artistic merit, and are remarkable both for
drawing and colour. Some of these are in a wonderful state
of preservation, and appear as though they had been painted<span class="pagenum"><a name="Page_ii_3" id="Page_ii_3">[Pg 3]</a></span>
but recently. Besides these paintings, there is in another room
a collection of a variety of metal utensils, a helmet, and some
vases in pottery, with different kinds of grain, partly burnt by
the glowing ashes, such as wheat, barley, Indian corn, beans,
&amp;c. &amp;c. These different kinds of grain are readily recognised,
and we found them quite similar to our own in size and form.
All the other antiquities which were formerly preserved here
have been transferred to Naples, and it is intended to transfer
the paintings there also.</p>

<p>As the weather was extremely fine, we felt a great disposition
to make the ascent of mount Vesuvius without loss of
time. But as it was almost impossible for women and children
to climb the last steep ascent, <i>Dorette</i> and the children
returned to Naples, accompanied by Herr <i>Kruse</i>. We others
hired some asses for the journey and return, at the extremely
low charge of four Carlini (about 15½d.), and set out
at 12 o’clock at noon. At first the road lies through vineyards
for about the distance of an hour and a half’s journey,
and with but a gentle ascent only; but the road begins
already to be difficult, being very uneven and stony. We saw
several vineyards enclosed with large bush-aloes instead of
hedges. After the lapse of an hour and a half we came to a
plain which spread away before us like a desolate waste, as far
as the proper base of the volcano. Not a vestige of vegetation
met the eye; on every side nothing but masses of lava
piled upon each other! Our path now turned leftward across
the plain towards a mountain ridge, which rises like an island
out of the midst of this fearful wilderness. On this stands the
so-called hermitage, a building of two stories high, where we
refreshed ourselves with bread, wine, cheese and fruits, and
enjoyed the fine and now tolerably extensive view. After a
short rest, in company with ten Englishmen whom we met
here, we resumed the road, which still continues to run over
the summit of the ridge as far as the crater. This part of
the way is the least difficult, leading for some distance through
bushes of sweet chesnuts, the plain covered with black lava<span class="pagenum"><a name="Page_ii_4" id="Page_ii_4">[Pg 4]</a></span>
stretching away before the eye. After half an hour’s progress
we reached the steepest part of the ridge, at the foot of which
we were obliged to leave the asses. Now began the difficult
part of our work. Treading upon deep ashes without solid
bottom, at every footstep one slips back so far, that one has
often scarcely advanced an inch; and the mountain is here
so steep, that one is obliged to use the hands as well for
progression. Fortunately a ridge of solid lava extends downwards
almost from the whole height, and rises like a ridge
of rock from out of the ashes. When one has reached this,
the toil is less, as the ground beneath has again become firm.
But were one obliged, as at first, to wade always through the
ashes, it would require a whole day to make the ascent of
this height alone. Nevertheless it took a good hour to accomplish
it, although we set out from our resting place with
recruited strength, and with the hope of soon reaching the
summit. On reaching the top, we saw again a small plain before
us, from which in several places between the lava-rocks
a white sulphurous steam ascended. The ground here was
more or less hot and our footsteps produced a hollow sound.
After we had passed rapidly over this we had to climb another
though a lower height, and then beheld at a moderate
distance before us the two craters, which were now vomiting
fire. We sat down upon the ground between the lava-rocks
and found ourselves as though sitting in a heated stove,
for a great heat rose from the earth, which was nevertheless
very agreeable to us. After we had rested here some time,
some one of the company asked whether one could not ascend
between the two cones close to the brink of the crater? All
the guides replied in the negative, and assured us it was very
dangerous to approach it nearer. We saw sufficiently well
ourselves that it would be impossible to ascend direct from
the place where we stood, as we should have run the risk of
being stifled with the smoke of the crater upon our left. But
it seemed to us that a way might possibly be found round the
left side of one crater, from which we could ascend on the<span class="pagenum"><a name="Page_ii_5" id="Page_ii_5">[Pg 5]</a></span>
windward side of the other; so we immediately proceeded to
make the trial together; after some objections our guides followed
also. We had scarcely proceeded a distance of two
hundred paces, when one of the craters with a fearful report
threw out a quantity of red-hot stones, some of which fell at
no great distance from us. This soon brought the whole party
to a standstill; but after some little hesitation the foremost
proceeded onward and the rest of us followed. In this manner,
after a toilsome passage, we reached the rear of the left-hand
crater, and then began to ascend the cone. But this
was the most laborious task of the whole day, for we had
now to climb a very steep incline up to our knees in ashes.
Nevertheless, after great exertion we reached the summit and
stood on the narrow edge of the crater, which, in the form of
a funnel, is about two hundred feet in diameter at the upper
part of the opening. After we had taken breath here awhile,
and contemplated the eruptions of the other crater, which lay
before us to leeward, the one close to which we were standing,
became suddenly quite clear of smoke, and we could look
down into the awful abyss. We there saw large cavernous
fissures between the masses of rock forming the neck of the
funnel, out of which flames burst at intervals; but as these
were immediately followed by smoke, this sight was of short
continuance only. One of the Englishmen of our party took
it into his head, at a moment when the smoke of the crater
upon the brink of which we were standing was somewhat less,
to run across even to the other, in order to look down into
it. But scarcely had he reached the brink, when an eruption,
though fortunately not a very strong one, took place, from which
he had barely time to save himself, and rush back again to
us. At the same moment a third crater behind us began to
make a noise, and it was now indeed high time that we should
make our retreat. Though it was ashes merely that it threw
up, yet by the timely fear with which it filled us, it was our
saviour from utter destruction; for scarcely had we reached
our old halting-place than the hitherto very quiet crater on the<span class="pagenum"><a name="Page_ii_6" id="Page_ii_6">[Pg 6]</a></span>
brink of which we had stood, threw out such a mass of red
hot stones, exactly in the direction of the place where we
had stood, that we should all have been struck down and
overwhelmed by them had we stopped there five minutes longer.
After our daring party had recovered from the terror
which had seized upon all, we were compelled to avow our
extreme rashness in having ventured to ascend so high despite
the warnings of our guides.</p>

<p>We now once more bivouaked upon our warm place, and
recruited our spirits with the provisions we had brought with
us. But with night drawing on, far away from every living
creature, and surrounded on all sides by desolation, it was a
fearful reflexion to think that we sat here suspended as it
were over a sea of fire, upon a perhaps not very thick crust,
which sooner or later might give way beneath us. Several
of our party made the observation, that it was indeed a mad
piece of folly to have risked life upon chances so eminently
possible, for the mere gratification of an idle curiosity. But
these reflexions nevertheless did not prevent us from enjoying
with much relish the eggs our guides had brought with them
and cooked in the hot ashes, and which we washed down with
a draught of delicious <i>Lacrymæ Christi</i>.</p>

<p>We here awaited the approach of night; saw the sun sink
below the sea, and the full moon rise behind the craters, her
yellow light forming a beautiful contrast with the red flames
that issued from them. On our right we saw at the same
time the reflexion from the burning lava which poured from
an opening in the side of the mountain, which however it was
impossible to approach without the greatest danger.</p>

<p>About seven o’clock we set out upon our return, which
at first, from our being obliged to descend on the shaded side
of the mountain was on account of the darkness both very
difficult and dangerous. But when we arrived at the precipitous
places, our guides led back us by another way, where
we slid down with giant steps over deep ashes. Below we
found our asses, upon which we rode to Portici by a magni<span class="pagenum"><a name="Page_ii_7" id="Page_ii_7">[Pg 7]</a></span>ficent
moonlight. At ten o’clock at night we arrived once more
at Naples, highly gratified with the extremely interesting day’s
adventures.</p>

<p>
February 7.
</p>

<p>During the constant fine spring weather we daily take a
walk to see the immediate environs of the city. The favorite
walk of the children is to the quay, on which is the light-house,
partly because the busy life in the port itself, as well
as the sight of the different kinds of vessels, from the ship of
war mounting a hundred guns down to the fisherman’s boat,
affords them immense pleasure, and partly because the way
leading to it presents the most lively picture of the habits and
occupations of the lower classes. From the St. Carlo theatre
to the harbour there is, next to the Toledo-street, always the
greatest crowd; at a short distance from which are all the small
hole-and-corner theatres, where performances take place all the
day long and where, upon a platform outside, a couple of fiddlers
and a merry-Andrew constantly invite the passers-by to
enter. Between these are the booths of the itinerant vendors,
who, perched upon a table, recommend their medicaments to
their numerous listeners and purchasers. Upon the quay, where
there is no noise from the carts and carriages, the puppet-show
players pitch their portative theatres, and the <i>Improvisatori</i>
entertain the Neapolitans with the heroic feats of their
ancestors. Sometimes one of these reads aloud to his auditory
and then explains what he has been reading. But here also
swarm the most impudent and disgusting beggars, and the
most expert pick-pockets; so that one cannot be too careful
how one gets mixed up with them. On my first walks into
that quarter I lost my pocket handkerchief each time. If one
waits here till the evening the Vesuvius, with its red fire, presents
a singular and magnificent contrast with the white lights
of the Pharos.</p>

<p>The Royal garden on the Chiaja is also another very interesting
walk. It extends for a considerable length close to the<span class="pagenum"><a name="Page_ii_8" id="Page_ii_8">[Pg 8]</a></span>
sea, and consists of three very broad alleys with small flower-beds
laid out in the English style. It is ornamented with several
fine statues and groups in marble; in the centre stands
the celebrated Farnesian Bull, a splendid antique by a Greek
master; on both sides are several fine copies of ancient works
of art, such as that of the Apollo of Belvedere, the rape of
the Sabines, &amp;c. &amp;c. From eleven in the forenoon on fine days,
the <i>beau monde</i> assembles here to look and to be looked at.
If one proceeds still farther along the Chiaja, one soon comes
to the road that leads through the Grotto of Pausilippo to
Puzzuoli. This long gallery, extending at least for a thousand
paces right through a mountain of considerable height,
is very remarkable of its kind, for the galleries cut through
the rocks in the road over the Simplon are but child’s play
compared to this work. The entrance on this side between
towering rocks is exceedingly romantic; at a great distance
off the noise of the carriages driving through resembles thunder,
and it is said that at night, when all is quiet here,
the sound of the vehicles in the streets of Naples, is echoed
through this rocky gallery like that of distant thunder. The
interior is lighted day and night with numerous lamps. At
the entrance and in the middle are little chapels, at which
the passengers are solicited for alms. Above the entrance high
up on the rocks, a small grotto is pointed out, where the immortal
poet Virgil lies buried.</p>

<p>A few days ago we visited also Fort St. Elmo, from which
one has an extensive view over the whole city and of the expansive
bay.</p>

<p>
February 12.
</p>

<p>Last evening we returned from a delightful excursion to
the islands. On Sunday at noon, in company with our three
Silesian countryman, we went across to Ischia in a hired boat.
We were at first obliged to sail round the promontary of Pausilippo:
Nisida and Procida lay quite close to us, Cape Micen
somewhat in the background, and Ischia at a greater distance,<span class="pagenum"><a name="Page_ii_9" id="Page_ii_9">[Pg 9]</a></span>
in a direct line before us. These islands and promontories
with their steep, and towering rocks close to the sea, and the
rich fertility of their interior, present every moment and on
every side on which they are beheld new aspects of varying
interest, now of a beautiful and now of a bolder and grander
character. Procida, in particular, one of the most populated
spots of the whole world, presents a magnificent view from
the sea, the whole island having the appearance of a large
city. As the wind blew tolerably fresh and against us, night
came on before we could reach Ischia. But the beauty of the
evening would not permit us to regret our having been delayed.
The stars shone with a brightness such as in Germany
at least they are never seen to shine with; and Venus in particular
was resplendent with so clear a light that its beams
were reflected in the sea like those of the moon, and one could
plainly discern a shadow from any intervening object. The sea,
also, at every stroke of the oar shone as with the light of
myriads of glowworms. About eight o’clock we at length landed
at the north shore of the island and found a comfortable
night-lodging in the handsome house of a clergyman.</p>

<p>On the next morning we soon set out upon our way to
see the interior of the island and to ascend the Epomeo. As
at Ischia there are neither vehicles nor roads to travel on, we
all mounted upon asses, which carried us more conveniently
and safely over the rocky and uneven ground. After passing
through several level tracts in the highest cultivation we came
to the small but lively town of Ischia, on the sea-shore, and
onward to the foot of the Epomeo between vineyards to the
opposite side of the mountain, where it is more convenient to
climb. After we had ascended about half-way by very bad
roads, we halted for an hour to rest and refresh the animals,
and then completed the other still more toilsome part of the
ascent. Meanwhile the sky had unfortunately become overcast
with clouds, and upon reaching the summit of the mountain
we were enveloped in a thick mist. We then entered a hermitage
of some size, consisting of several rooms and<span class="pagenum"><a name="Page_ii_10" id="Page_ii_10">[Pg 10]</a></span>
passages, and of a chapel. It resembles that at Freiburg in
Switzerland, and like that also is hewn out of the solid rock,
by two industrians recluses. We waited here some time in
the hope that the weather would clear up, and several times
also we had a glimpse between the clouds over the level parts
of the island, which lay like a map outspread in the distance
before us; but Naples, Capri, and Sorrento were veiled from
our sight. We were at length obliged to set out on our way
once more, without having had the pleasure of enjoying the
fine view from here, which is perhaps one of the finest in the
world, and had already considered our toilsome journey as a
labour in vain, when on a sudden, after we had descended
somewhat lower and stood under the stratum of clouds, the
magnificent view of the whole of the islands, promontories and
bay, with Vesuvius smoking in the background, displayed itself
to our enraptured eyes. Long we stood lost in admiration of
the singular beauty of the scene, and at length, when the setting
sun gave token of departure, we returned by the shortest
but steepest road, where we could make no use of the asses,
to our quarter of the previous night. The Epomeo, which
450 years ago was a volcano, exhibits on this side, which is
much more wild and barren than the other, numerous traces
of former eruptions. The road led now almost continually
over weather-worn lava. Upon the rocks we saw at very
frequent intervals the stock-gilliflower in bloom, which here
and in the neighbourhood of Naples grows wild. On the way-side
violets and other plants, several of which are not indigenous
with us, were in full flower, and in the gardens, the
almond tree. At length we came to a place where there are
warm baths, which in summer are much frequented by the
Neapolitans. At the house of our host we found a plentifully
spread table awaiting us, which after all the fatigue of the day
was exceedingly acceptable. A fiery white Ischian wine of the
year 1811 we found especially agreeable to the palate.</p>

<p>We re-embarked the next morning at eight o’clock and
landed first at Cape Micenus, where we visited the large sub<span class="pagenum"><a name="Page_ii_11" id="Page_ii_11">[Pg 11]</a></span>terranean
reservoirs of soft water from which the Roman fleets
were supplied, and the <i>cento camere</i> of Nero, which were probably
prisons for the detention of prisoners of war. We then
sailed right across the bay to Puzzuoli, and there made another
pilgrimage to some antiquities. On running into the harbour
we sailed past the still standing piers and arches of the
bridge of <i>Caligula</i>, which that Emperor designed throwing
across the bay. Although built of bricks merely, such is the
excellence of the cement used in their construction, that their
remains, after the lapse of so many centuries, still bid defiance
to the unceasing action of the waves.</p>

<p>Our cicerone led us first to the Solfatara, a round level
field-like space enclosed on all sides with rocks, apparently a
crater which at some remote period had fallen in. The subterranean
fire still burns beneath, nevertheless, for in many
places smoke issues out of the earth, and as on Mount Vesuvius,
deposits sulphur. At those places the ground is burning
hot, and the foot-tread sounds hollow. Our guide flung a large
stone upon the ground, which made it vibrate for a considerable
distance round us, and produced a very loud, hollow
sound. Thence we proceeded to another subterranean reservoir
of water similar to that at Cape Micenus; inspected the
ruins of an amphitheatre and several temples, and at last reached
the most interesting antiquity in the whole neighbourhood&mdash;the
ruins of the temple of Serapis, close to the sea-shore. So
much has been written respecting all these antiquities, that it
would be superfluous to dwell upon them here, but the remains
of the temple of Serapis are so remarkable, and afford such
evidence of its former size and grandeur that to see them alone
amply repays a journey here. Towards the evening we drove
back to Naples through the grotto of Pausilippo.</p>

<p>
February 15.
</p>

<p>As I have now been several times to the St. Carlo theatre,
I can with confidence put my judgment to paper respecting it.
On the first visit I experienced the same feeling as in the church<span class="pagenum"><a name="Page_ii_12" id="Page_ii_12">[Pg 12]</a></span>
of St. Peter: it did not appear to me so large as it really is,
and it was not until I had been frequently told that it is four
feet wider and I know not how many longer than the theatre
at Milan, that I could believe it. But when the curtain drew
up and I could compare the size of the human beings with
the painted objects of the decorations, I readily observed that
here also I had been deceived by the correct proportions of
each gigantic object. Here for the first time the horses introduced
on the stage did not appear out of proportion with the
rest, and the people one saw at the extreme depth of the theatre,
were still in just proportion with objects which surrounded
them. For ballet and pantomine I know of no better adapted
locality, and military evolutions of infantry and cavalry, battles,
storms at sea, and such things can be produced without falling
into the ridiculous and the paltry; but for operas the house
is too large. Although the singers, Madame <i>Colbran</i> and Signori
<i>Nozzari</i>, <i>Benedetti</i>, and others, have very powerful voices,
yet one hears only the highest notes given out with the full
strain of the voice; but all tender pathos in song is wholly
lost. This is said not to have been the case before the fire,
and the theatre was then quite as sonorous as <i>Della Scala</i> at
Milan. This prejudicial change is ascribed to three causes first,
the proscenium has been widened by several feet; secondly, the
ceiling is not so concave as formerly; and thirdly, the high
projecting decorations in stucco obstruct the sound and do not
send it back. If the house was in reality so sonorous formerly,
then they have greatly deadened that faculty in the new building,
and they would do very wisely to eject (the sooner the
better) all the unnecessary trumpery of ornament and gildings,
which besides is exceedingly heavy and not in the best taste,
and so regain the former advantages.</p>

<p>The first opera I saw was “<i>Gabriele de Vergi</i>,” by Count
<i>Caraffa</i>, who formerly was a dilettant merely, but now as a
younger son without means, is become an artiste, and as such
strives to earn a subsistence. The opera pleased me very much,
but without being altogether particularly attractive for me. The<span class="pagenum"><a name="Page_ii_13" id="Page_ii_13">[Pg 13]</a></span>
style is even and dignified, but the orchestra is too much overladen,
and the voice parts are too much obscured. The execution
was very precise, both on the part of the singers and of the
orchestra. The latter, under the correct and spirited but somewhat
too loud direction of Signor <i>Festa</i>, had studied it well,
but were somewhat wanting in <i>nuances</i> of <i>piano</i> and <i>forte</i>;
the wind instruments in particular are always too loud in the
<i>piano</i>. Of the singers nothing further can be said than that
they have good and powerful voices. Whether they have a
good execution cannot be ascertained in this theatre; for one
hears them either singing at the top of their voices, or one cannot
hear them at all. After the opera <i>Duport’s</i> ballet of “Cinderella”
was given, the decorations, costumes, &amp;c., of which
were of a very expensive character. Besides <i>Duport</i> and his
wife, the dancer <i>Vestris</i> attracted much notice. The music was
nearly the same as that we heard in Vienna in that ballet; a
polonaise newly introduced by Count <i>Gallenberg</i>, the ballet-composer
here, pleased greatly from its originality and sweetness.</p>

<p>Another opera, also by a dilettant, Signor <i>Carlo Saccenti</i>,
was given a week ago, after a three months’ study and rehearsal.
The king, who is a great patron of the composer, had
fixed on it for the opening of the San Carlo theatre, and <i>Mayer</i>,
who had been sent for here by the impresario, to write a new
opera for the occasion, was obliged to keep his back. But as
it was afterwards found that it would be impossible to be perfect
in it by the day appointed for the opening, <i>Mayer</i> was
permitted to write a Cantata in all haste, with which on the
12th January the theatre was at length opened. This cantata,
though written with great despatch, is said nevertheless,
according to the opinion of connoisseurs to contain a good deal
of fine music; but as the text or subject was the burning of
the theatre, one little calculated for composition, it could not
well have been other than a somewhat tame production. Nor
could it be expected, with the little attention given to it by
the public, more occupied with the brilliant illumination of
the house and the splendour and Spanish etiquette which the<span class="pagenum"><a name="Page_ii_14" id="Page_ii_14">[Pg 14]</a></span>
court displayed at the opening of the theatre, that the reception
given by the public to the cantata should have been other
than a very cold one. Nevertheless, it was not properly speaking
a failure. After this had been brought out, the study of
<i>Saccenti’s</i> opera was again resumed. All that reached the public
concerning these rehearsals was very unfavourable. His
friends said he had composed a work which from its originality
and excellence would produce a complete reform in operatic
compositions: the singers and musicians, on the other hand,
said that in all their lives they had never sung or played anything
more villanous, tedious and incorrect than that unfortunate
opera. The impartial conjectured that, as is usual with
such conflicting opinions, the truth would lie in the mean;
but I soon satisfied myself, after a few rehearsals which I
attended, that the musicians were perfectly right in the judgment
they had formed of it. It would indeed be scarcely possible
to put together a more outrageous piece of music, even
if one strove expressly, and with the greatest industry to act
contrary to all the most approved rules of rhythm, structure
of the periods, harmony and instrumentation. There was no
trace of song or sensible carrying out of an idea; every third
bar was something else, with the most incorrect modulations.
In the very beginning of the introduction three ugly quints
follow each other in quick succession. One of the musicians
from recollection said that the composer justified it very ingeniously
with the example of the English sailor who was brought
before a magistrate for having married three wives, but whom
the law could not reach as it forbade bigamy only, and made
no mention of trigamy; in the same manner, said the composer,
it is forbidden to have <i>two</i> quints in succession, but by
having <i>three</i> the penalty contemplated by the law was evaded.</p>

<p>After rehearsals innumerable, the representation took
place in the presence of the court and with a crowded house.
Notwithstanding the here prevailing formal Spanish etiquette,
which commands that the curtain shall be drawn up immediately
the king enters the box and which constrains the poor<span class="pagenum"><a name="Page_ii_15" id="Page_ii_15">[Pg 15]</a></span>
singers to exhibit themselves on the stage during the whole duration
of the overture, without being able to move in the
spirit of the characters they impersonate; and which moreover
forbids every demonstration of applause or of disapprobation;
despite this constraint, which impedes free judgment, the opera
was hissed in <i>optima forma</i>. On the following night it had the
same fate, without a single friend of the composer’s daring to
clap a hand. With this second representation, at which I was
present, the opera was for ever consigned to the tomb. It is
called “Aganadeca;” its author is Signor <i>Vincenzio de Ritis</i>.
The subject, from <i>Ossian</i>, is said not to be without merit, and
it is regretted that it did not fall into the hands of a better
composer. The latter, however is not sensible of his own deficiency;
he ascribes its failure to the little musical judgment of
the Neapolitan public, and intends sending his work to Germany.
May Apollo and the muses bestow their blessings upon it!</p>

<p>
February 20.
</p>

<p>The Carneval came to a close yesterday, and the fasts have
begun. After the noise of the last day of the carneval, the
quiet which has now succeeded does one really good, although
the evenings are somewhat dull, as all the theatres are closed
for four days. At the St. Carlo theatre instead of the customary
oratorios this year operas will be given as usual, but
without ballets, which are wholly forbidden at this season. At
the <i>Fiorentino</i> theatre we saw an opera of <i>Guglielmi</i> (son),
“<i>Paolo e Virgina</i>,” which met with some success. But the music
of the third act is quite Italian for insipidity, in which
<i>Paul</i>, during a storm at sea, sings an air in the usual form,
and with the usual insipid intermediate acting, exhausting himself
in shakes and passages, when he would act much more
sensibly if he hastened to the assistance of his loved one. This
sea-storm without an appropriate music was therefore the most
ridiculous thing I ever saw at a theatre, and solicited no sympathy
for the whole affair from the spectators. It is true the
machinery also at this theatre was most mean and childish.<span class="pagenum"><a name="Page_ii_16" id="Page_ii_16">[Pg 16]</a></span>
Among the singers Mesdames <i>Chabran</i> and <i>Canonici</i> distinguished
themselves greatly. The former has a fine soprano voice, great
ease of execution and a good school; the latter the same qualifications
with a powerful contralto voice. They had particularly
well studied their duets. In this theatre we found for
the first time in Italy, with a full house and a frequently repeated
performance, a quiet and sympathetic audience. The
house is roomy and prettily decorated, but the stage very small
and narrow.</p>

<p>I had expected the end of the carneval to have been far
more gay than I found it. The whole amusement consisted
in the crowding together of half Naples, masked and unmasked,
in vehicles and on foot in the street of Toledo, where they
moved up and down and pelted each other with little balls of
gypsum. The masks of the carriages were provided for the
purpose with whole baskets full of these little bullets, and with
shovels, so as to enable them to throw them up to the balconies.
They carried tin shields on the left arm, with which
to ward off the missiles of other maskers. As these were frequently
of a tolerable size and were thrown with full force,
the fun frequently proved somewhat rough for those persons
who were not masked, and many a lady must doubtless have
taken home with her a few blue marks on her neck and arm.
Nevertheless all was borne with good humour and without dispute,
as the liberty conferred by the mask serves to excuse
all impoliteness. The masqued balls at the San Carlo theatre
are said to have been somewhat wearisome affairs; although
there was no want of masks in character, yet there was very
little wit and ability to personate the characters in accordance
with the costume and manners of the period.</p>

<p>
February 26.
</p>

<p>I have been twice to the conservatory of music. The first
time I was present at a practice concert of the pupils, in which
several overtures, or first themes of symphony composed by
one of them, who at the same is first violin also, were tried.<span class="pagenum"><a name="Page_ii_17" id="Page_ii_17">[Pg 17]</a></span>
They were not devoid of fancy, but in form and instrumentation
complete imitations of the overtures of <i>Rossini</i>, which certainly
are not calculated to serve as models. The execution
was but tolerable; the young folks, particularly the violinists,
have no school at all; they know neither how they should hold
the violin nor the bow, and play neither purely nor distinctly.
Nor can it be otherwise with the bad instruction they receive.
<i>Festa</i>, the only violinist here of a good school, is not employed
in the conservatory of music. It is highly reprehensible that
the young people are permitted to give their practise-concerts
without the superintendence and guidance of their instructors;
their first violin and director, who is himself still a pupil, is
wholly wanting in self possession and judgment. He bungles
the allegro tempi in such a manner that all distinctness is out
of the question. Among the wind instruments, a hornist, a lad
of eleven years of age, is very remarkable. On the occasion
of the second concert at which I was present, two singers made
their appearance, who had neither good voices nor a good method.
All that I have yet heard, is far inferior to what the
Milan musical students can perform. Signor <i>Zingarelli</i>, director
of the conservatory here, and teacher of the theory of music
and singing may possess many qualifications as a composer
of operas; but it is generally said that since his appointment
the conservatory has very much declined. That he at least
does not know how an orchestra should be conducted or a
symphony executed, he proves by allowing so quietly these
things to take place in his presence. Of the merits of our
German composers he has some very erroneous notions. One
day, when I paid him a visit, he spoke for a long time of
<i>Haydn</i> and other of our composers with great respect, but
without even once mentioning <i>Mozart</i>; I therefore turned the
conversation upon the latter, upon which he said: “Yes, he
also was not deficient in talent, but he lived too short a time to
cultivate it in a proper manner; if he could only have continued
to study ten years longer, he would then have been
able to write something good.”!</p>

<p><span class="pagenum"><a name="Page_ii_18" id="Page_ii_18">[Pg 18]</a></span></p>

<p>
March 3.
</p>

<p>An opera has been again put on the stage written by
<i>Mayer</i> several years ago. It is called “<i>Cora</i>” and is founded
on the same subject as <i>Kotzebue’s</i> “<span lang="de" xml:lang="de">Sonnenjungfrau</span>” (Virgin of
the Sun). There are certainly some fine passages in the music,
but taken as a whole it has not satisfied my expectations
of <i>Mayer’s</i> music. He is after all deeply tinctured with the
Italian manner and almost wholly an apostate from the German.
His method of carrying out the vocalisation and his instrumentation
are thoroughly Italian. This certainly is not to
be wondered at, for since the age of fourteen he has lived in
Italy, and never wrote for any other than Italian audiences.
I think, that apart from his natural talent, he has raised himself
above the others alone by having always endeavoured to
procure all the best German works, which he studied, and
made use of, the latter indeed sometimes a little too much.
Throughout Italy, and here in particular, he is very much admired
and liked: he merits it also in every respect, and as a
man is ever the upright, smooth-spoken unassuming German.
He is much attached to his fatherland, and seems only to regret
that it was not his fate to pursue his career as a composer
in Germany. In Bergamo, where he is director of the
orchestra, he now only desires to live in retirement, and write
solely for his church. He assured me that nothing but the
honour of writing for the reopening of the San Carlo theatre
could have induced him to leave his retreat once more, but
that the opera “<span lang="it" xml:lang="it">La vendetta di Junone</span>,” which he had now
completed, should certainly be his last work for the theatre.
In “Cora” the favorite piece with the public is the finale, consisting
of a theme in three variations in the old style of <i>Pleyel</i>;
one of the singers sings the theme, <i>Davide</i> the first variation
in quavers, then <i>Nozzari</i> the second in triplets, and in conclusion
la <i>Colbran</i> the third in semiquavers. As it is well sung,
it greatly pleases the public, and critics therefore must be
silent.</p>

<p><span class="pagenum"><a name="Page_ii_19" id="Page_ii_19">[Pg 19]</a></span></p>

<p>
March 6.
</p>

<p>Last evening Signor <i>Pio Chianchettino</i> gave a concert in
the <i>Fondo</i> theatre. He is a nephew and pupil of <i>Dussek</i>, and
played two concertos of that master in his manner. Although
his play was pure, distinct and even full of expression, yet
here again, as every-where else, the piano-forte as concert-instrument
proved itself insufficient to awaken the enthusiasm
of an audience; and the more so is this the greater the size of
the place. For that reason also upon this occasion, the song-pieces
pleased far more than the concertos, although no one
could find fault with his play. I myself felt this also; for although
I am very fond of the piano, when a composer rich in
ideas improvises upon it, yet as concert-instrument I am wholly
unmoved by it; and a piano-forte-concerto in my opinion is only
effective when written like those of <i>Mozart</i>, in which the piano
is not much more thought of than any other orchestral instrument.
The singers, Madame <i>Chabran</i> and the Signori <i>Davide</i>,
<i>Nozzari</i> and <i>Benedetti</i>, all distinguished themselves, and
were loudly applauded. One becomes more sensible of their
merits when one hears them in a smaller place than the San
Carlo theatre. <i>Davide</i> and <i>Nozzari</i> may be called almost perfect
singers, they both have very fine voices; the former a
very high tenor, the latter a high baritone, remarkable fluency
of execution and much true expression. <i>Benedetti</i> has a very
fine bass voice, but sings rather coldly.</p>

<p>
March 7.
</p>

<p>We have again taken some rather more distant and highly
interesting walks. The object of one was the Camaldula convent,
which is situated upon a hill above two hours’ drive from
the centre of the city. We rode as far as the foot of the
mountain, where as the carriage road terminated, we were
obliged to make the ascent on foot. The view from the convent
garden is perhaps one of the most extensive and beautiful in
the world. On one side are seen Ischia, Capri, Procida, Nisida
and the promontories which we had visited in our previous<span class="pagenum"><a name="Page_ii_20" id="Page_ii_20">[Pg 20]</a></span>
excursion, accompanied by the blue mirror of the sea; on the
opposite side Capua, Caserta, and in the back-ground the snow-covered
mountains; on the side of Naples a part of the city itself,
the whole bay with the opposite coast, and on the left
the smoke-emitting Vesuvius; lastly, on the fourth side, the
shores and salient promontories near Gaëta, as far as Terracina.
As the weather was very propitious for us, this was one
of the most magnificent days we ever passed in the enjoyment
of the beauties of nature. The monks, some of whom we
caught sight of, did not appear in the same humour as we
were; for they all wore a gloomy aspect.</p>

<p>We took a shorter but not less interesting walk on the
new road to Rome, which was begun under <i>Murat</i>, but has remained
unfinished since his dethronement. It leads over a
mountain from which one has the most admirable view of the
city, and it is much to be regretted that it is not complete;
for then the traveller would be able to form a more worthy
conception of the city before his entry into Naples, while now
by the old road, which winds through a narrow mountain ravine,
he sees nothing of Naples until he has entered the most
dirty and least attractive part of the city; which leaves him
long in doubt whether he actually is in the world-famed
Naples.</p>

<p>We passed a very pleasant day at the villa of the banker
<i>Heigelin</i>, which is situated also upon a mountain near the
<i>Strada Nuova</i>, whence one has a beautiful view. Old <i>Heigelin</i>,
an amiable, open-hearted German, has ornamented this place of
his own creation with so many fine things, such as grottoes, ruins,
temples, fountains, &amp;c. &amp;c., that it would be actually impossible
to crowd any thing more together in so small a space. Although
perhaps the whole is somewhat frivolous as regards the
manner in which it is laid out, it has nevertheless many individual
things worthy of attention. For us Northerns, for instance,
the vast number of exotic plants, which were for the
most part in full bloom, were objects of great interest.</p>

<p><span class="pagenum"><a name="Page_ii_21" id="Page_ii_21">[Pg 21]</a></span></p>

<p>
March 11.
</p>

<p>Last evening our concert took place. As the impressario
of the court theatres, <i>Barbaja</i>, an extremely selfish man, asked
me too much money for the hire of the theatres, for the <i>Fondo</i>
for instance 100 Neapolitan ducats and for the <i>San Carlo</i> 200
even, I adopted his proposal rather to give my concert in the
assembly-room of the San Carlo theatre, which he offered me lit
up for nothing. This apparently disinterested offer was nevertheless
calculated also for his advantage, for the assembly-room
and the adjoining rooms were the places for the hazard-tables,
which he had rented, and to which by means of my concert
he hoped to attract the most fashionable and wealthiest company
of the city. This use of my concert, which could in no
way prejudice me, I could readily allow him. As the saloon
is not very spacious, I fixed the price of admission, as at Rome,
at one piaster, and although I had not a more numerous, yet
I had a more susceptible public than there. Encouraged by
this and supported most efficiently by the very accurate accompaniment
under <i>Festa’s</i> direction, as well as by the room itself,
which was so advantageous for my instrument, I played
better than I had done in many other towns in Italy. Besides
my compositions a duet by <i>Mayer</i> and a terzet of <i>Cherubini</i>
were sung by Signore <i>Davide</i>, <i>Nozzari</i> and <i>Benedetti</i>. Even
during the evening I was solicited on all sides to give a second
concert in the theatre.</p>

<p>
March 18.
</p>

<p>This morning early we visited the “Studii,” <i>i. e.</i> the building
in which the treasures of art from Pompeii and Herculaneum
are preserved, together with the collections previously
made of statues and paintings. The library is situated also in
the same building. As it is impossible to see all in one day,
we chose for to-day the statues and the library. Among the
former are some very celebrated statues from the Farnese collection,
of which numerous excellent casts have been made,
and two equestrian statues found in Pompeii, of great ar<span class="pagenum"><a name="Page_ii_22" id="Page_ii_22">[Pg 22]</a></span>tistic
worth. In one room are two glazed cases, full of antique
bronzes, also from Pompeii and Herculaneum, consisting
of lamps, small penates and all kinds of domestic utensils.
These things, as well as the statues in marble are in the most
perfect preservation, and appear scarcely so many days old as
they are years; but every thing of iron is much eaten by rust,
as for instance the handles and rings of various vessels of bronze.</p>

<p>The library is contained in a fine handsome and spacious
apartment and several adjoining rooms. On the floor of the
grand room the line of the meridian is drawn, on which, through
a small hole pierced in the wall for that purpose, the sun’s rays
fall at noon. When a person claps his hands at a particular
spot in this apartment, an echo repeats it more than thirty
times in rapid succession. This arises probably from the position
of the window-recesses, which are high up, near the ceiling.</p>

<p>Lastly we visited the room where the rolls of papyrus
are preserved and unrolled. They have all the appearance of
charcoal, and one might mistake them for that, were it not
that one can easily distinguish the edges of the leaves. A
manuscript fully unrolled, mounted upon linen, framed and
glazed, hangs against the wall. As the paper is burnt quite
black the letters are scarcely to be distinguished, and one
cannot but admire the patience, the penetration, and the
knowledge of languages of those who have known how to unravel
its sense. It is a treatise on music: each side is divided
into three columns. In the first is seen an engraved,
accurate copy of the unrolled papyrus, with all its defects,
and rents; in the second, the contents in modern Greek
characters, in which the letters and words that are wanting
in the original are filled in with red letters, and in the
third, a Latin translation. They are now unrolling another
manuscript, but do not appear to be hurrying themselves
much, for we found one person only thus occupied. The method
pursued is a very simple one. Small strips of fine parchment
are stuck with gum close to each other or rather somewhat
lapping over each other, upon the charred rolls, after<span class="pagenum"><a name="Page_ii_23" id="Page_ii_23">[Pg 23]</a></span>
which the paper is gradually and carefully released and removed.
The process is of a necessity a slow one, but considerably more
might have been unrolled by this time. If these precious remains
of ancient learning were in the possession of a German
sovereign, they would all have been deciphered long since.</p>

<p>
March 22.
</p>

<p>As I did not like the trouble of making the arrangement
for a second concert, I readily accepted the proposal of the
impressario to play twice at the San Carlo theatre between
the acts of the opera for the sum of 300 ducats. This I did
the evening before last for the first time. I was very much
afraid that the violin would not fill the immense house, but I
was soon set at rest on that point on being told at the rehearsal
that every note was distinctly heard in the most distant
parts of the house. But of a necessity nevertheless I was
obliged to forego every finer <i>nuance</i> in my play. Although the
house was very full, yet the greatest silence prevailed whilst I was
playing, and after the second piece of music I was called forward.</p>

<p>Last evening I played at the <i>Casino mobile</i>, in a very
fine saloon, my concerto in the form of a scena, and a pot-pourri
with pianoforte accompaniment. As the room is very
favourable for music, both of these had a very sensible effect
upon the audience. The remainder of the concert, consisting
of symphonies and <i>pièces d’harmonie</i>, was not of importance.</p>

<p>I forgot to mention a concert given by Signora <i>Paravicini</i>
at which we were present, at the <i>Teatro nuovo</i>, on Wednesday
last. She played, between the acts of a comedy, the first violin-concerto
of <i>Rode</i> in D minor, a pot-pourri by <i>Kreutzer</i>,
and at the end an <i>Adagio</i> and <i>Rondo</i> of the same composer.
I have been accustomed to hear my instrument ill used by
women, but I never saw it used so badly as by Signora <i>Paravicini</i>.
I was the more surprised at this, as she has acquired
some fame, and has a vast deal of pretension; as an instance
of this, she told people here that she had heard <i>Rode</i> in
Vienna, but that he had excited no other sentiment in her<span class="pagenum"><a name="Page_ii_24" id="Page_ii_24">[Pg 24]</a></span>
than pity. Her turn had now come to excite pity if one can
feel it at all for arrogance and unskilfulness. She has a very
excellent violin, a <i>Stradivari</i>, and in the cantabile draws from
it a tolerable tone; but that is her only merit. In other respects
she plays in bad taste, with a profusion of meaningless
ornamentations, and the passages indistinctly: her intonation
is not pure and her bow stroke extremely bungling. The
applause was very lukewarm and was elicited only when Prince
Leopold her patron began to clap his hands. Much more interesting
than <i>Paravicini’s</i> play, was the comedy, which was
capitally performed. Signor <i>de Marini</i> played remarkably well,
and he is altogether one of the best actors of the day. The
theatre, certainly, is smaller than the Fiorentino and Fondo,
but quite as pretty.</p>

<p>At private-parties I have played my quartetts and quintetts
a few times, which were exceedingly well accompanied
by Messieurs <i>Dauner</i> and son, the young and talented violinist
<i>Onario</i>, whom I have practised in some of my things, and
by the accomplished violoncellist <i>Fenzi</i>, who lived formerly in
Cassel. They afforded great pleasure, and <i>Mayer</i> assured me
he had never enjoyed a greater musical treat. On the second
occasion we played them at the house of Lady <i>Douglas</i>, who
herself plays the piano very well and is said to have sung
exceedingly well some years ago. She and her husband are
the first English in whom I have found a real taste for music.</p>

<p>
March 23.
</p>

<p>On looking through this diary I observe that I have forgotten
to mention the performance of two masses given at the
expense of Prince <i>Esterhazy</i> of Vienna. The first by old <i>Umlauf</i>
of Vienna, was remarkable for nothing in particular; but
the second by <i>Haydn</i>, in D minor, which was performed with
great solemnity and military pomp on the emperor’s birthday,
afforded much gratification. Mesdames <i>Chabran</i> and <i>Canonici</i>,
and Signori <i>Nozzari</i> and <i>Benedetti</i> sang the solo parts very
beautifully; the chorus and orchestra were also admirable.<span class="pagenum"><a name="Page_ii_25" id="Page_ii_25">[Pg 25]</a></span>
Unfortunately, at the express desire of the Prince, almost all
the <i>tempi</i> were taken too quick, and thereby much spoiled.</p>

<p>
<i>Milan</i>, April 22.
</p>

<p>Prevented from writing by the great press of business in
the last days of our residence in Naples, and the hurry of our
return journey, which was almost unbroken by a day of rest,
I have got greatly in arrears, and have therefore much to fetch
up, even respecting Naples.</p>

<p><i>Mayer’s</i> new opera was at length brought out a fortnight
before Easter, after it had been once more re-christened, but
it was a total failure, so that it lived through two and a
half representations only, and probably is for ever at rest. On
the third evening, in fact, the first act alone was given, with
one act of <i>Paer’s</i> “Sargino.” Both the subject and the music
of <i>Mayer’s</i> opera are equally uninteresting and tedious.
The latter especially is wanting in life and spirit; it is so
common-place and so spun out, that one can hardly hear it
without falling asleep. This actually occurred to me, to Count
<i>Gallenberg</i>, and to several others, at the grand rehearsal. <i>Mayer</i>
seems to have exhausted himself, which is no wonder with the
enormous quantity of operas which he has written. It is certainly
high time for him to retire as a composer of operas,
that he may not entirely forfeit the repute he had acquired,
and he would have done well if he had not accepted the last
invitation to Naples. The evening after the first representation
of his opera he set out on his return to Bergamo.</p>

<div>About this time the arrival of Madame <i>Catalani</i> set all
the lovers of music in Naples in great commotion. She immediately
took advantage of this enthusiasm and announced
a few days afterwards a concert in the Fiorentino theatre, the
prices of admission being seven-fold the usual ones. On the
day before the concert, it was with difficulty that I got two
pit tickets, and that because I had previously bespoken them,
at 22 Carlini each. Never perhaps were the expectations of
an audience at a higher pitch of tension, than were those of<span class="pagenum"><a name="Page_ii_26" id="Page_ii_26">[Pg 26]</a></span>
the Neapolitan public on that evening. My wife and I, who
for years had longed to hear this celebrated singer, could
scarcely repress our impatience for the moment of her appearance.
At length she did appear, and a deathlike silence
pervaded the whole house. She came forward with a cold and
pretentious air, and saluted neither the Court nor the public,
which created an obvious unpleasant sensation. Perhaps she
had expected to have been received with a burst of applause,
which however is not the custom in Naples, and this perhaps
put her out of humour. But when after her first song she
was greeted with a storm of applause, she became more friendly,
and remained so for the rest of the evening. She sang four
times, two airs by <i>Pucitta</i>, <i lang="it" xml:lang="it">Ombra adorata</i> of <i>Zingarelli</i> (or, as
the Neapolitans insist, of <i>Crescentini</i>, whose name also was
down on the bills) and variations on the thousand times varied
“<i lang="it" xml:lang="it">Nel cor non più mi sento</i>.” The airs by <i>Pucitta</i> were extremely
poor; the famed <i lang="it" xml:lang="it">Ombra adorata</i> can only be considered
fine, when all thoughts of the text are banished from the mind;
the variations were common place, but become piquante from
her manner of execution. She pleased us greatly, by the constantly
pure intonation and the perfect finish with which she
executes every kind of vocal ornamentation and of passages,
and by her quite peculiar and characteristic style of singing;
but she does not come up to that ideal of a perfectly accomplished
singer, which we had expected to find her. Her voice
which has the extensive range of

<div class="figinline" style="width: 99px;">
<img src="images/zill_d026a.png" width="99" height="78" alt="" />
</div>

to

<div class="figinline" style="width: 99px;">
<img src="images/zill_d026b.png" width="99" height="78" alt="" />
</div>

is both full and powerful in the low and middle notes, but the
transition to the <i lang="it" xml:lang="it">voce di testa</i> at

<div class="figinline" style="width: 130px;">
<img src="images/zill_d026c.png" width="130" height="78" alt="" />
</div>

very observable,
and from three to four notes in that region are much weaker,
than the deeper and highest; for which reason she gives all<span class="pagenum"><a name="Page_ii_27" id="Page_ii_27">[Pg 27]</a></span>
passages which occur in those notes, with half-voice, only in
order to conceal the inequality. Her voice is wanting also in
the youthful freshness, which, however, in a female singer of
forty years of age, is not to be wondered at. Her shake is
wonderfully beautiful; and equally pure whether in the half
or whole notes. A peculiar style of run through the half notes,
properly speaking the enharmonic scales, since every note
was produced twice, is greatly admired as something quite her
own. To me, nevertheless, it was more remarkable than beautiful;
for it sounded to me like the howling of the storm in
the chimney. Another kind of vocal ornamentation, which in
itself is common enough, she gives, however, in a manner that
imparts great charm to it. It would be expressed in notes
somewhat in this manner:

<div class="figinline" style="width: 500px;">
<img src="images/zill_d027.png" width="500" height="91" alt="" />
</div>

but at the same time it must be observed, that she took breath
at every sixteenth-pause, which gave to this part a very impassioned
character. Among the variations was one with syncopated
notes, which from her peculiar style of execution derives
also a very characteristic and interesting charm; and
another in triplets <i>legato</i> she gives in perfection. But what I
most missed in her singing, was <i>soul</i>. She sings recitative without
expression&mdash;I might say with carelessness, and in <i>Adagio</i>
she remains cold. Neither were we even <i>once</i> deeply moved,
but experienced merely that sense of pleasure one always feels
when one sees and hears mechanical difficulties overcome with
ease. This, also, was the sentiment of all those who sat in
our immediate neighbourhood. Some unpleasant and prejudicial
habits, which she is not likely now to correct, I must yet
advert to. To these belong firstly, that in certain passages,
particularly those which she gives with force, every note is delivered
with a sort of see-saw movement of the lower jaw, as<span class="pagenum"><a name="Page_ii_28" id="Page_ii_28">[Pg 28]</a></span>
in mastication, so that a dumb person, if he <i>saw her sing</i>,
would have no great difficulty in distinguishing crochets from
quavers and up and down running passages from one another.
In the shake, more especially, the movement of the lower jaw
by which every note might be counted, is very striking and disfiguring.
Secondly, in impassioned passages her whole body
partakes of a southern but highly unbecoming mobility, from
which a deaf man would likewise of a certainty easily guess
the subject.</div>

<p>A few days afterwards we heard her again in the rehearsal
to her second concert, in which she sang five times, and
exhibited the same qualifications, but also impressed no one
at any time by a show of feeling in her execution. She seemed
to me much less pretentious here and more amiable; and she
was very polite to the orchestra and the persons who had
gathered to hear her, so that I can readily believe what I
was told&mdash;that her pretentious air when appearing in public,
arose more from embarrassement than pride, and was assumed
by her to conceal her fears. A young man who stood behind
the side-scenes during her concert assured me, that upon first
stepping forward on the stage she trembled in every limb, and
could scarcely breathe for nervousness. It is said that here
in Milan she did not give general satisfaction; and her last
concerts were much less numerously attended than the first.
One part of the public was in favour of <i>Grassini</i>, whom we
have now heard here also, but of whom I shall speak later.
The admirers of the latter had played <i>Catalani</i> a malicious
trick by distributing for sale at the entrance of the theatre at her
first concert an Italian translation of the unfavourable opinions
respecting her that had appeared in the Hamburg and Leipsic
musical journals. <i>Catalani</i>, herself, expecting to find in it a sonnet
or something of the kind in her praise, purchased a copy.</p>

<p>The day after <i>Catalani’s</i> first concert in Naples took place,
<i>Rossini’s</i> “Elisabetta” was given at the San Carlo theatre, in
which <i>Colbran</i> played the first part. As every body knew
that it was her intention to compete with <i>Catalani</i>, the house<span class="pagenum"><a name="Page_ii_29" id="Page_ii_29">[Pg 29]</a></span>
was more than usually crowded, both by partizans and antagonists
of <i>Colbran</i>. The latter on the previous evening called
<i>Catalani’s</i> concert the exequies of <i>Colbran</i>, and people were
therefore extremely curious to learn what would be the result
of the evening. Immediately upon her appearance she was received
with a concert of hisses, but simultaneously also with
vehement applause. As, however, this time she really sang
and played exceedingly well, the applauders increased in number
and the hissers grew less, so that at last she was called forward
almost unanimously by the audience. She is far behind
<i>Catalani</i> in voice and every mechanical point of excellence,
but she sings with true feeling and plays with considerable
passion. The composition of this opera is one of <i>Rossini’s</i>
best, but with all the merits, it has also all the weak points
of the others.&mdash;In the theatre, a ridiculous trait of pretentious
magnanimity on the part of <i>Catalani</i> furnished subject
of amusement. A few evenings before, when she first went to
the theatre, she sent her secretary behind the scenes to express
to <i>Colbran</i> and the other singers that “she was perfectly satisfied
with their performances.”</p>

<p>
<i>Freiburg in Breisgau</i>, June 20. 1817.
</p>

<p>Previous to our leaving Naples, we devoted one whole
day more to a visit to Pompeii. We were so fortunate as to
have a clear and tolerably warm day, a real wonder throughout
the whole of the month of March! While from the
middle of January to the end of February the weather was
almost without interruption the most beautiful spring weather,
with the beginning of March winter suddenly returned. A
cold and stormy rain fell in the vallies, and snow in the mountains
to such a depth, that they were no longer accessible.
On Vesuvius it was said to be from three to four feet deep.
But March is generally very cold and the real winter month
of the Neapolitans.</p>

<p>The ruins of Pompeii, which from having lain covered for
nearly 2000 years with a light crust of dry ashes, are in far<span class="pagenum"><a name="Page_ii_30" id="Page_ii_30">[Pg 30]</a></span>
better preservation than all the remains of that period which
have been exposed to the air, made a deep and really solemn
impression upon us. The ruins of the Colosseum and other
ancient buildings in Rome, impress one with an idea of the
artistic taste, the wealth, and love of grandeur of the ancients;
but here the sight of simple small private dwelling-houses,
which are as entire as on the day of the fearful catastrophe,
makes one acquainted with the habits and ways of their civic
life, and, by ocular evidence, with many customs unknown to
our mode of living, and described to us by ancient writers.</p>

<p>On entering one of these houses, which may have belonged
to a well-to-do individual in the middle class of society, one
finds a row of small, neat rooms all painted <i>al fresco</i>, like
the paintings cut out of the walls from Herculaneum, which are
preserved at Portici. These chambers have rarely any window,
and but one door to admit light and air, which opens
upon a court yard, round which runs a covered gallery. In the
centre of the court is a fountain, near this a circular marble
table round which stand marble benches to recline upon at meal
time, furnished with a somewhat higher projection to support
the elbows; and on one side of the court is one or more tastefully
decorated baths. All these houses had but one floor or
story and were much smaller than our dwelling houses. It is
greatly to be regretted that the domestic utensils which were
found there could not be left in their place! One would then
have had a perfect conception of the habits and mode of life
of the former inhabitants of this remarkable city. The pavement
of the streets is still in the same condition as it then was,
and the impression of the wheels of the vehicles as also of
the feet of the foot-passengers are still to be seen in the streets.
Over the shops one still sees expressed in Greek characters
painted on walls, the wares which were sold in each, and at
the corner of a street an advertisement of that period. In the
shops where oil was sold huge earthen-ware jars, let into the
masonry of the front wall, are still to be seen, from which that<span class="pagenum"><a name="Page_ii_31" id="Page_ii_31">[Pg 31]</a></span>
article was dipped out for sale. In many cellars in good preservation,
similar tall jars, but with very narrow necks are
to be seen, in which wine was kept. In one of these cellars
the skeleton of a woman was found, and so completely imbedded
in the ashes, that the form of her body could be distinguished
as in a mould. A part of this form in which the
impress of her breast is left, is preserved at Portici. In her
hand was found a large leathern bag with coins in it.</p>

<p>The street which is in the best preservation is the street
of the tombs, in which on both sides scarcely any thing is to
be seen but tombs, some of which are built in the Egyptian
pyramidal-form, and others in the Roman style. In these
tombs, urns have been found in which the ashes and bones
of the burned dead were preserved. The inscriptions upon
these tombs are sometimes Greek, sometimes Latin, and begin
very frequently with the exclamation: “<i lang="la" xml:lang="la">Siste viator!</i>” “Stop
passer-by!” &amp;c., which mode of arresting the attention of the
way farer here in a frequented and busy street was much more
in place than it is in our generally very retired churchyards,
in which it has been imitated in a somewhat inappropriate
manner.</p>

<p>The public buildings, theatres, temples, &amp;c., which attract
attention in Pompeii, are certainly neither so vast nor so grand
and beautiful as those of Rome, Puzzuoli and other places; but
they nevertheless exceed in importance everything that a modern
provincial town can offer to the visitor. Where, for instance,
would one find in any of these, a vast circus for public
games, and two large theatres! Of the latter, one was roofed
over, and served probably for the performance of comedies;
the other, with a stage, an orchestra, and a circular, very lofty
amphitheatre gives us an idea of the sort of place in which
the Roman actors, provided with a mask to increase the volume
of sound, performed their tragedies before an audience of
from 10,000 to 15,000 spectators. But the temples also, the
finest of which is now being dug out of the ashes, afford ocular<span class="pagenum"><a name="Page_ii_32" id="Page_ii_32">[Pg 32]</a></span>
demonstration of the love of grandeur and of the good taste
of the ancients in architecture.</p>

<p>The vineyards and cultivated land which lie above the
yet unexcavated part of the city, have been already long purchased
by the former king of Naples; hence if the work had
been carried on with energy, which, however, is not to be expected
from the present government, which prosecutes all such
things very indolently, the whole of this highly interesting
city would be laid bare in a few years, and from the high
ground which surrounds it might all be surveyed at one
glance. At present the different parts which have been excavated
are still separated from each other by long strips of
land under cultivation, which one is obliged to ascend like so
many hills; and one is greatly surprised after having traversed
one of this sort of fields to see beneath one another part of
the city, which contrasts so strangely with the vines, trees, fields
and peasant’s huts upon the high ground.</p>

<p>The day before our departure from Naples we once more
paid a visit to the Studii, and inspected the large collection
of Etrurian vases of every imaginable form. We were greatly
pleased also, with the fine collection of paintings, among which
the pictures by <i>Raphael</i> recently brought back from Sicily
were special objects of our admiration.</p>

<p>On the 29th March we set out on our return journey to
Rome. The morning of our leaving was very stormy and unpleasant
for me; for in the first place I had a dispute with the
vetturino, who wanted to thrust a fifth person into the interior
of the vehicle, in the shape of a dirty and ill-smelling Capucin
friar, till at length after much desultory disputation we consented
to his being accommodated in the cabriolet, and as a further incident
of annoyance, my family was at first not permitted
to pass out of the gate, because they had not been mentioned
in the new Neapolitan passports which it is requisite to take
upon leaving the country. It was in vain that I shewed my
old passport, in which my wife and children were mentioned;
and it was not until I had pledged my word to go back and<span class="pagenum"><a name="Page_ii_33" id="Page_ii_33">[Pg 33]</a></span>
procure another passport that I was allowed to move from the
spot. I therefore went back to the minister, while my wife
and children proceeded without further hindrance on their way.
Arrived at the minister’s, I there found all still buried in sleep;
but with fair words and that which with Italians is far more
effectual, money, I at length succeeded in procuring a new passport.
Furnished with this I jumped into a hired carriage, and
drove with all speed to overtake my family, which I did about
half-way to Capua and thus relieved them of a great anxiety
respecting me. Among the annoyances with which travellers
in Italy are almost worried to death, is the excessive strictness
in regard to passports, which is frequently carried to a ridiculous
extreme. We subsequently saw an instance in which a
traveller who had already got beyond Parma on the Lombard
frontier was sent all the way back to Leghorn because his
passport had not been signed by the Austrian consul at that
place.</p>

<p>In a second vehicle which accompanied us travelled an
Englishman, who was possessed of an extraordinary skill in
taking the fine views in a few minutes. For this purpose he
made use of a machine which transmitted the landscape on a
reduced scale to the paper. Between Velletri and Albano,
where we went part of the way on foot in order better to
enjoy the magnificent landscape and the mild air, we saw the
whole method of his proceeding, which afforded infinite pleasure
to the children. He shewed us afterwards his collection
of views, of which he had upwards of two hundred of Naples
and its neighbourhood alone. He gave me his address: Major
<i>Cockburn</i>, Woolwich, nine miles from London.</p>

<p>Our re-entry into Rome filled us anew with wonder and
admiration of the remains of the old Roman architecture, which
we had not seen for three months. We were much amused
also with the simple remarks of the Capucin friar, whose first
visit this was to the mainland, and who was totally inexperienced
in every thing. Apart from his dirt, he was really
a good-tempered, simple sort of man, and quite endurable. He<span class="pagenum"><a name="Page_ii_34" id="Page_ii_34">[Pg 34]</a></span>
was full of restless impatience to see the pope officiate. How
various are the wishes and inclinations of men! He perhaps
felt as we did the day before the concert given by the celebrated
<i>Catalani</i>! I wish with all my heart that he may return
to his convent, better satisfied then we returned home
from that concert.</p>

<p>With great difficulty we procured a miserable apartment
in a private house, for which nevertheless we were obliged to
pay half a piaster per diem. Strangers from every part of Italy
had poured into Rome to be present during the Holy Week,
in addition to whom also, pilgrims, and the devout gathered
together from all parts of the world, were now here to receive
remission of their sins. The streets were thronged to that
degree that we were frequently obliged to pull up as we drove
through.</p>

<p>Our apartments had a look-out upon the Tiber from a
wooden balcony; from here we could follow the course of the
Tiber from the Porta Romana to the bridge in front of the
castle of St. Angelo. The stillness of the quarter of the city
beyond the Tiber, lit up by the ruddy evening sky and the moonlight,
contrasted in a remarkable manner with the dense throng
which poured to and fro across the bridge and then disappeared
in the streets leading from the castle of St. Angelo to
the church of St. Peter. High above all the houses and palaces
which lay between us and the church of St. Peter, rose
the latter, proudly and majestically, filling us with wonder and
admiration of its gigantic proportions. Tired as we were, it
was long before we could tear ourselves away from this magnificent
sight, and we remained till a late hour in the mild
evening air upon our balcony. When we at length lay down
to rest, we called to each other once more: “To-morrow, to-morrow,
then we shall hear the famous Miserere!”</p>

<p><span class="pagenum"><a name="Page_ii_35" id="Page_ii_35">[Pg 35]</a></span></p>

<p>
<i>Aix la Chapelle</i>, Aug. 10. 1817.
</p>

<p>Here at length, I find once more a few moments leisure
to continue my narrative of our return journey from Italy.</p>

<p>On the 3rd April we at last heard the-long-wished-for
Miserere in the Sixtine chapel. We had been told that females
were admitted by tickets, and that men were required
to appear in shoes. But a ticket for <i>Dorette</i> was now not to
be had, and I was therefore obliged to make up my mind
to go alone. But when I recognised among the Swiss guard
at the entrance of the church one whom I knew and whose
good will I had won upon a former occasion by a present
for accompanying us up to the dome of St. Peter’s church; I
enquired of him whether he could not assist to procure me an
admission into the chapel for my wife without a ticket; and
upon his assurance that he would do his best, I hastened
home to fetch her. After some discussion with the other Swiss
guards we were so fortunate as to be admitted, although several
English ladies of rank who came unprovided with tickets
were refused admittance and turned back. The Swiss cannot
bear the English nor the French, and favour the Germans upon
such occasions much more, particularly if one can talk to them
in a few words of “<i lang="de" xml:lang="de">Schwizerdütsch</i>.”</p>

<p>We yet arrived in good time, and only regretted that we
were not allowed to remain together, so as to interchange at
the moment the impression which the music would make upon us.</p>

<p>Before the commencement of the singing, nineteen psalms
were chaunted alternately by high and low voices, in the same
manner <i>unisono</i>, and in the form of prayer, as we had already
found so tedious at Christmas; and we had to bear with
the last eight or nine of these: after every one, which lasted
for five long minutes, one of the tapers is extinguished that
burns upon a gigantic pyramidal-shaped candelabra in front
of the high altar. How one wishes that the last of them also
was extinguished! At length the wished-for moment comes,
and by degrees a silence ensues which not a little increases
the expectation of that which now follows. To this sentiment<span class="pagenum"><a name="Page_ii_36" id="Page_ii_36">[Pg 36]</a></span>
of expectation, the solemn twilight which now prevails in the
church faintly illumined with the last gleam of the rosy tints
of evening, and the repose felt at length by the ear after the
hoarse bellowing of the psalms may be ascribed the delicious
impression that I experienced from the first long-drawn chord
of <i>C flat</i>, and which seemed to me like music from another
world. But one was too soon reminded that it was an earthly
music that fell upon the ear, and one indeed sung by Italians;
for immediately after the second bar, the ear was rent by a
horrid succession of quints! The theme was doubtless after
this manner:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_d036a.png" width="500" height="235" alt="" />
</div>

<p>but was given by the singers in the following barbarous manner:</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_d036b.png" width="500" height="261" alt="" />
</div>

<p>I could not have believed even my own ears, much more those
of others, that they sing <i>in such wise</i> in the Sixtine chapel, had
I not heard it subsequently repeated. Is this perhaps the mysterious
method of executing these old compositions, of which it
is related that it is known alone to this choir, and has been
handed down traditionally? Impossible! <i>Modern</i> Italians only
can sing in so barbarous a style, who may perhaps possess a
feeling for melody, but who in all that is called harmony are
grossly ignorant.</p>

<p><span class="pagenum"><a name="Page_ii_37" id="Page_ii_37">[Pg 37]</a></span></p>

<p>When however this first Miserere had been endured, I
was soon attracted by something else. These simple sequences
of harmony, consisting almost wholly of triads, this mixing
and sustaining of the voices, at one time increasing to the
most tumultuous <i>forte</i>, at another dying away into the softest
<i>pianissimo</i>; the continual and lengthened sustaining of
single tones to a degree attainable only by the lungs of a
castrated person, and then especially the soft introduction of
a chord, while that of other voices is still faintly sustained,
give to this music, in spite of all its deficiencies, something so
peculiar, that one feels irresistibly attracted by it. I can now
therefore readily understand that in former times, when the
choir was much better, this must have made an immense
impression upon foreigners who had never heard pure vocal
music and the voices of castrated persons. It might even now
be made most charmingly effective, if the singers of the choir
had only a director of more extensive knowledge. But as it
is, they do not generally sing even with purity.</p>

<p>On this first day, two compositions of <i>Allegri</i> and <i>Baini</i>
were given, and each of them repeated once. Between each
of these ten not very long divisions a prayer was recited in
a low tone by the cardinals, bishops, and other clergy, which
from its resemblance to the roll of distant thunder had a good
effect. At the conclusion of the ceremony however, the servants,
scraping and treading upon the foot-boards, made a very
unpleasant noise for musical ears, which greatly disturbed and
then obliterated the impression made by the music, to which
one would willingly have abandoned oneself a little longer.
This noise they tell me is to represent an earthquake!</p>

<p>On the second evening I managed things in such a manner
as to arrive at the chapel just at the commencement of
the real singing, and on the extinguishing of the last taper.
The crowd was so great, that I was obliged to remain standing
some time at the entrance surrounded by Englishmen, who
during the whole time of the music spoke to each other in a very
loud tone of voice, and would not even allow themselves to be<span class="pagenum"><a name="Page_ii_38" id="Page_ii_38">[Pg 38]</a></span>
restrained from it by any signs to keep silence. Besides this,
the singers sang much more carelessly than the day before,
and frequently very false, so that I was very glad when the
earthquake came to put an end to the ceremony. Three new
compositions were added to the two of yesterday, for which
reason each required to be sung but once. In other respects
everything was exactly the same as the first time.</p>

<p>At a later period I had an opportunity of seeing the Miserere
collection published by <i>Kühnel</i> of Leipsic, but did not
find a single one of those which we heard in Rome. The
library of the Sixtine chapel must however be so rich in such
compositions, that they are enabled to select different ones for
many years in succession.</p>

<p>Both evenings after the Miserere we saw the illumination
of the cross in the church of St. Peter. Upon entering by
the grand entrance, whence one sees the illuminated cross at
the farthest distance, it makes an imposing impression, but so
soon as one approaches nearer, it loses greatly. The effect
would be far greater if all the other lights in the church were
extinguished. But as it is, not only hundreds of lamps burn
round the entrance to the subterranean chapel, but innumerable
other lights besides in every part of the church. The brilliant
illumination in the cross casts therefore no prominent shadow.
The Pantheon was also illuminated this evening, which must
have had a magnificent effect. Unfortunately we arrived just
as the lights were being extinguished.</p>

<p>On the previous evening prince <i>Frederick</i> took me to a
party, at which the fiftieth psalm, or the Miserere of <i>Marcello</i>,
was exceedingly well sung by dilettanti. But as the orchestral
accompaniment was, as is usual in Rome, very bad, and the
composition throughout monotonous, I soon got tired of it and
was glad when it came to an end.</p>

<p>On Saturday forenoon we took a long walk to St. Paul to
see the magnificent ancient pillars in that otherwise very ugly
church. On our way back, we saw the pyramid of <i>Cestius</i> and
the so-called mount of pot-sherds. At noon we met at the eating-house<span class="pagenum"><a name="Page_ii_39" id="Page_ii_39">[Pg 39]</a></span>
at the sign of “The Ermine” a German drawer, Herr <i>Rösel</i>,
who easily persuaded us to take another walk in his company.
He first pointed out to us an arched, old Roman subterranean
canal, the <i>Cloaca maxima</i>, I think; we then went to a small,
insignificant church, but which contains many fine antiquities, in
order to see the divine service of the Greek church, which is
celebrated on this day only; but the crowd was so great, that
we could not obtain an entrance. Upon this we went to see
the temple of Vesta, and lastly ascended the mount Aventino,
where our companion led us before the door of a garden and
shewed us through the key-hole one of the most startling
sights imaginable. Through a long arched gallery overgrown
with wild shrubs and verdure the dome of the church of St. Peters
is seen magnificently lit up and gilded by the rays of the
setting sun. We had then the door of the garden opened for
us, in order to admire closely, a very large and beautiful palm
tree which was just then in full bloom.</p>

<p>On the following morning the ringing of bells and salves
of artillery from the castle of St. Angelo reminded us that it
was Easter Sunday, and of the necessity of a speedy toilet if
we would not lose the sight of the great ceremony in the church
of St. Peter’s. But the fearful crush of the crowd upon the
bridge almost compelled us to turn back. Completely carried
along by the throng, we at length arrived on the other side
of the Tiber, and then hastened to get into a less crowded
side street, which also led to the grand square in front of the
church. We there found many thousand persons assembled,
and among them many pilgrims, with their hats ornamented
with shells collected from every quarter of the world, who were
impatiently awaiting the moment when the Holy father should
give his benediction from the balcony. But some time was to
elapse before that would take place, and we therefore first
took a turn through the church, where we found every part
decorated just the same as at Christmas, and as we could hope
to see very little of the ceremony, we preferred taking a walk
in the open air as the weather was so fine. We got back again<span class="pagenum"><a name="Page_ii_40" id="Page_ii_40">[Pg 40]</a></span>
about 12 o’clock, and found the populace still in a state of acute
suspense. The balcony over the grand entrance to the church
was decorated with crimson velvet, and to shield it from the
rays of the sun a gigantic tent was stretched over it. In the
gallery above the pillars on the left-hand side a box had been
erected for the accommodation of the most distinguished foreign
visitors. A number of pages bearing tapers first made their
appearance on the balcony, then followed the cardinals, and
lastly the Pope, borne upon a sedan, and having on each side
of him the white fans of ostrich feathers. As soon as he appeared,
all the people fell upon their knees and a solemn stillness
took the place of the wild tumult which had previously
prevailed. There was something exceedingly imposing in the
reverential awe impressed by this moment upon the feelings.
The pale old man then arose, and with a slow and dignified
movement of the hands, blessed the assembled multitude. In
the mean-time, two folded papers were thrown down from the
balcony, one of which, as I was told, contained the damnation
of all heretics, and the other the papal indulgence for all good
believers then present. The damnatory-bull did not however
reach the ground, but flew driven by the wind into a window
that stood open, while the bull of indulgence was caught by
the people who struggled for its possession.</p>

<p>On our way to the eating-house, we were joined by Herr
<i>Kelle</i> of Stuttgard, whose acquaintance we had previously made
in Dresden. He asked us among other things whether we were
satisfied with our tour in Italy and with what we had seen.
Upon which I complained that we had found many things which
did not realise the expectation that had been raised in our
minds by previous travellers. He found that very natural, and
considered that it arose from the circumstance that not one of
the travellers upon his return would confess, that he also had
been made an April-fool of by his predecessors. It reminds
me, he continued, of the well-known anecdote of a man who
advertised that he had a horse in his stable which had its head
where other horses had their tails. But the curious who went<span class="pagenum"><a name="Page_ii_41" id="Page_ii_41">[Pg 41]</a></span>
to see it found nothing more than a horse fastened to the crib
by the tail, yet took good care to conceal it from the others
who were waiting outside the door&mdash;because they were ashamed.
The application of the story is easy!</p>

<p>After dinner we took another walk in the villa Borghese,
and then made our preparations for our departure, which was
fixed for the next morning.</p>

<p>In company of two persons from Stuttgard and one from
Munich, with whom we had collectively hired a vetturino,
we this time performed the far more interesting return-journey
by the way of Perugia to Florence, in six days. On the
evening of the second day we arrived at Terni, and hastened
before the sun had set, to visit the celebrated waterfall,
about two hours’ walk from that place. We proceeded
as far as the foot of the mountain and then hired some asses
already saddled for the purpose in the very romantically situated
village, to which half Terni attracted by the mildness
of the Sunday evening had repaired as a pleasant promenade.
These soon and safely carried us up the ascent to the waterfall.
The view from the mountain, before one turns into the
valley into which the waterfall precipitates itself, is very varied
and charming. The scene then, as one approaches nearer to it,
becomes more and more wild and romantic. As the sun was now
about to set, we did not tarry long but made all possible haste
to reach the waterfall before nightfall, in part to see the imposing
spectacle in a proper light, and partly for security’s sake,
as the country hereabouts has not a very good reputation.
With the last declining rays of the sun we reached the rock
which rises out of the dark foaming abyss opposite the fall,
and where for the convenience of visitors a pavillon furnished
with benches has been erected. The view of the majestic
spectacle from this point of sight is beyond the power of
language to describe. We were all riveted as it were to the
spot with admiration and wonder. Certainly at no former period
of my life did any of the beauties of nature, not even
the first sight of the Alps, make so deep an impression upon<span class="pagenum"><a name="Page_ii_42" id="Page_ii_42">[Pg 42]</a></span>
me. After we had stood here for full ten minutes and fully
feasted our eyes with the magnificent sight, we returned to
Terni without accident, on one of the mildest and finest evenings
of spring, exceedingly delighted with our charming excursion.</p>

<p>On the fourth day of the journey it became suddenly very
cold, so much so that towards evening snow even began to fall,
and lay upon the ground till the morning. But when we entered
the deep valley in which Florence lies, we found everything
in bloom.</p>

<p>We remained one day only in Florence, which we nevertheless
turned to good account. In the forenoon we visited
the cathedral, the baptistery and the Boboli gardens. Unfortunately,
as it was a holiday, we could not get admittance to
see the tomb of the Medici and the Pitti Palace. In the afternoon
we took a walk to the Cascini.</p>

<p>Next morning, the 14th April, we resumed our journey,
to Bologna without our previous companions, who remained
some time longer in Florence. We found a great deal of snow
in the Apennines, and once more got into complete winter.
In dismal Bologna we stopped one day only. The host of the
“Pellegrino” had made out a somewhat shamefully long bill
against us, in abatement of which I resorted to a means I had
frequently put in practice; that is, I deducted a third from
the account, which after some discursive wrangling, he was
obliged to submit to. Subsequently I always resorted to this
expedient, and found it answer better than the previous plan
of pre-arrangement, which I had hitherto followed, but in which
after all I always found that I was cheated.</p>

<p>We now proceeded by way of Modena, Reggio, Parma and
Piacenza, to Milan. As we did not stop long any where, I can
say nothing more of those cities than that we everywhere
found similar crowds of ragged beggars, the same system of
cheating among the hotel keepers, and the same dirt. On the
market place of Piacenza, we saw the two gigantic bronze
statues. Whether they have any artistic merit, I cannot take<span class="pagenum"><a name="Page_ii_43" id="Page_ii_43">[Pg 43]</a></span>
upon me to say, as we saw them only in the evening twilight.</p>

<p>In Milan we put up at the <i>Pension Suisse</i>, which I recommend
to all travellers for cleanliness and cheapness. We
were again struck on our first going out by the magnificence
and beauty of the exterior of the cathedral. It is without
doubt the finest building that we ever saw, more noble and
richer than the <i>façade</i> of the church of St. Peter’s.</p>

<p>The celebrated <i>Grassini</i>, to the imitation of whose singing
<i>Rode</i> is said to be indebted for his peculiar method of play,
which differs from the school of <i>Viotti</i>, had announced six representations
in the theatre <i>della Scala</i>. As they were however
but thinly attended, three only took place, at the last of
which we were present. It consisted of unconnected scenas
from “the Horatii and Curatii” of <i>Cimarosa</i>, and some other
airs, among which also <i lang="it" xml:lang="it">Ombra adorata</i>. <i>Grassini</i>, who in the
flower of her age was without doubt a distinguished vocalist, is
now somewhat <i>passée</i>. In that however which time could not
steal from her she still stands alone; that is, she has a good
style, and plays and sings with much intensity of feeling&mdash;in
truth with far more feeling and expression than <i>Catalani</i>, but
she is nevertheless greatly behind the latter in brilliancy of
execution and as regards voice.&mdash;Hence whenever the production
of a brilliant effect alone, was the desideratum, she
did not altogether give satisfaction, but in impassioned recitative
she charmed the audience by her truthful force of expression.</p>

<p>I found this time also, the della Scala theatre admirably
adapted to give effect to music. I know of no place in which
the voices as well as the orchestra sound so grandly, and so
distinctly at the same time; it is therefore immeasurably preferable
in an acoustic point of view to the San Carlo theatre.</p>

<p>As upon our first appearance at the theatre our speculation
had been so unprofitable, we tried this time the music
hall of the conservatorium, fixed the price of entrance at three
francs, and on account of the theatre gave our concert in the<span class="pagenum"><a name="Page_ii_44" id="Page_ii_44">[Pg 44]</a></span>
forenoon. Whether attributable to the unusual hour or to the
already too advanced season of the year&mdash;suffice to say, it
was again very thinly attended, and did not return much more
than the expenses.</p>

<p>In the company of two Englishmen, the younger of whom
was tolerably amiable, we set out from Milan on the 2nd of
May, slept in Arona, and on the following morning were anew
enraptured by the heavenly scenery round the <i>Lago maggiore</i>,
which we now again found in the garb of spring, and arrived
towards evening at the village of Simplon, at the foot of the
Simplon pass. Here, upon taking leave of Italy, we were again
cheated in real Italian style, being compelled, for instance, to
pay two francs for each cup of coffee.</p>

<p>The next morning we commenced the at this season of
the year somewhat difficult journey over the mountain pass,
and reached the snow region one hour after leaving Simplon.
Here it was necessary to take the carriage to pieces; the body
was placed upon one sledge, the wheels upon another, and our
luggage upon a third; and in this manner the caravan proceeded
with several additional horses at a slow rate. In the higher
regions of the pass, where the snow remained hard, there were
not many stoppages, but further down, where the warmth was
already considerable, and the snow not very deep, we came
every moment to a standstill. Sometimes the horses sank in up
to their bellies, at others the carriage would get jammed fast
between walls of snow as high as a house, when it became necessary
to clear a passage for it; and then again the road had to
be cleared of the fallen avalanches that encumbered it and obstructed
our progress. We therefore went on before, and arrived
two hours earlier at the fourth refuge station, wet through up to
the knees, it is true. At this place the snow had disappeared,
and here we refreshed ourselves with a simple breakfast, and
rested from the fatigues of our toilsome promenade. We heard
many avalanches come thundering down, and were in constant
fear that it might fare with us as with some travellers who
had passed the day before. These, arrived near to one of<span class="pagenum"><a name="Page_ii_45" id="Page_ii_45">[Pg 45]</a></span>
the galleries pierced through the rock, saw a fearful avalanche
sweeping down upon them, and had but just time sufficient
to take refuge in the gallery. To their horror, however, they
found both exits had been blocked up by the snow, so that
for three fearfully anxious hours they were shut in, until the
inspector of the road had worked his way through to them.</p>

<p>When at length the carriage arrived, we drove on to Brieg,
where we passed the third night, and for the first time again
heard our mother-tongue spoken, which sounded right welcome
to our ears. Our fourth day’s journey brought us to Sion,
where French is spoken. In the Valais we found the spring
much less forward than on the other side. Here, the cherry-trees
were scarcely in bloom, while in Lombardy and on the
<i>Lago maggiore</i> they had long passed their bloom. We thus
once more found ourselves in spring, in which we had constantly
been since the beginning of February.</p>

<p>On our fifth day’s journey we came to the celebrated Pissevache,
which is close to the road. But our expectations were
not altogether satisfied; for in comparison with the waterfall at
Terni, this looked very insignificant in our eyes. We slept at
Bex, a charmingly situated little village, which the inhabitants
call not without reason <i>un paradis terrestre</i>. The inn here may
compete with the largest hotels of many capitals.</p>

<p>On the sixth day we travelled continuously along the lake
of Geneva through Vevay to Lausanne. This place, so much
lauded, and also much resorted to in summer by the English,
is not so beautiful as I expected. The views on the lake
of Thun, and still more on the lake of Zurich, are far more
varied; but all the Swiss lakes are in my opinion far behind
the <i>Lago maggiore</i>. On the seventh day we arrived at length
at Geneva.</p>

<hr class="tb" />

<p>In consequence of a severe cold I was confined for some
days to my bed. During this time Herr <i>Dupont</i> and the Rev.
Pastor <i>Gerlach</i>, with some other musical friends, took some pains<span class="pagenum"><a name="Page_ii_46" id="Page_ii_46">[Pg 46]</a></span>
to make arrangements for a concert. But it was easy to see
beforehand that it would not be a very brilliant affair, for in
part the prevailing distress and dearness of provision were
still too great; and partly because several concerts had taken
place shortly before for the benefit of the poor. The season
was also too far advanced, and the majority of the wealthy
families had already retired to their country-seats. In fact it
did not much more than cover the expenses. We also permitted
ourselves to be persuaded to play at Herr <i>Piclet Rochemont’s</i>
and Herr <i>Dupont’s</i> private parties; and the very numerous
company assembled at both their tea-parties then
thought it no longer worth while coming to our concert. The
brothers <i>Bohrer</i>, who had been there a month before we came,
did not meet with better success. Taken as a whole the Genevese
have very little taste for art, and are always speculating
how they can best squeeze the numerous foreigners who
reside there summer and winter. At any rate they know very
little of <i>German art</i> and <i>German artists</i>, and do not know
our classical composers even by name. The foreign language,
and the long French rule to which they were subjected, explains
all this sufficiently.</p>

<p>Of all towns of Switzerland Geneva may boast the greatest
number of distinguished artists, but who here, as almost
everywhere else, are split into two or more parties, and live a
regular cat-and-dog life among themselves. Of these the brothers
<i>Hensel</i> and <i>Wolf</i> and Herr <i>Berger</i> (properly <i>Münzberger</i>) are
the most prominent. I was so fortunate as to bring these gentlemen
together at my concert, who otherwise never played together,
and had thus for a Swiss town a really good orchestra.
The Rev. Pastor <i>Gerlach</i> received us in the most friendly manner,
and rendered us even many obliging services; he even gave
up to us the Lutheran church for our concert, in which music
has a very good effect. Without that we should been compelled
to give it in the dark and cheerless theatre, which would
have occasioned considerable expense (300 Francs).</p>

<p>In Geneva I had the unexpected pleasure of meeting once<span class="pagenum"><a name="Page_ii_47" id="Page_ii_47">[Pg 47]</a></span>
more my old teacher <i>Kunisch</i> of Brunswick. This worthy man
had experienced every possible caprice of fortune. When a
young man he was a first-rate hornist, but from its inducing
at last a spitting of blood, he was obliged to abandon that
instrument to save his life. By the most untiring application
he then in three years attained to a considerable skill on the
violin, and subsequently procured an appointment as first violin
at the national theatre in Berlin. When after the battle of
Jena the Prussian court was obliged to fly from Berlin and
the royal orchestra was dispersed, he was driven from Berlin
by the intrigues of Herr <i>Schick</i>, who much wanted to obtain
his place. He then first went to Switzerland, when already
advanced in years he learned the French language, and, afterwards
went to Lyons, where he again procured an appointment
as first violin at the theatre. Well pleased with his situation
here, he had just begun to feel comfortably settled down, when by
an unluckly fall he dislocated his left hand, which soon became
perfectly rigid, so that he could no longer play the violin, and
consequently was obliged to give up his situation. He was
now for a third time compelled to learn another instrument,
and thenceforth earned a scanty subsistence as a teacher of
the piano-forte. He was exceedingly pleased to meet me again,
and seemed very proud to be able to call me his pupil.</p>

<hr class="tb" />

<p>Upon perusing the here intercalated diary of the Italian
journey I miss some incidents which even now (in 1847) are
so vividly impressed on my memory that I cannot forbear appending
them here in continuation.</p>

<p>Mention has already been made of the circumstance that
I had alone to thank the exertions of the Austrian ambassador
Count <i>Apponyi</i> for being enabled to give a concert in Rome during
Advent, at which time all public music is forbidden. Count
<i>Apponyi</i> undertook to represent my request for permission to
the governor of Rome, but advised me nevertheless not to wait
for the reply, but to make arrangements as quickly as possible<span class="pagenum"><a name="Page_ii_48" id="Page_ii_48">[Pg 48]</a></span>
for the concert, while he would procure for me the necessary
subscribers. I went to work immediately, but found my efforts
impeded by very considerable difficulties. The salon in the
Ruspoli Palace, which Count <i>Apponyi</i> had procured for me, was
like every other part of that fine uninhabited building, in a very
ruinous condition. It was necessary to re-glaze the windows
in many places, to fill up the holes in the marble pavement
with bricks, and to hire the necessary furniture, chandeliers,
seats, music desks, &amp;c. &amp;c. But it was first of all especially
necessary to cleanse the palace, from the entrance to the saloon,
from the filth with which the esplanade and the handsome flight
of marble steps ornamented with statues were filled in such a
manner, that whole cart-loads of it required to be carried away.
I was also first obliged to find one by one singers and musicians
in the immense city, and to engage them for my concert,
all of which occupied a great deal of time. Until the day of
the concert, and even on that itself till the evening, I was in
continual anxiety lest a refusal of my request should arrive
and overthrow every thing I had done. But the police were
so humane, that they did not forward this to me till the day
<i>after</i> the concert when I had already in hand a satisfactory
return in the shape of receipts. I was hereby relieved of great
uneasiness and one which until then had greatly embittered
my stay in Rome. My travelling funds had come to so low
an ebb, from the hitherto scanty receipts from my concerts in
Italy, that I saw with alarm they would in no manner suffice
for an extension of our journey to Naples, and scarcely even
for a direct return to Germany. To be so near to Naples,
the most desired object of the whole journey, and now to turn
back&mdash;that was a reflexion too fearful for me to bear with
calmness! I therefore conceived the idea of applying to the
<i>Beer</i> family, which had meanwhile arrived from Venice, for a
loan. Intimate as was my friendship with the son <i>Meyer Beer</i>
(afterwards <i>Meyerbeer</i>) I could nevertheless not overcome my
reluctance to express my wish on the subject, and applied therefore
in preference to a rich friend of mine in Alsace, who<span class="pagenum"><a name="Page_ii_49" id="Page_ii_49">[Pg 49]</a></span>
however, as it frequently happens with such applications, paid
no attention to it. But now, thanks to the handsome receipts
which my concert had brought in, all prospect of pecuniary want
was dissipated, and I could venture upon the further journey
to Naples without anxiety. This was nevertheless delayed by
the illness of my children till the latter end of January; and
as <i>Dorette</i>, wholly occupied with attending to them, could now
no longer accompany me in my excursions, I kept frequent
company with the <i>Beer</i> family, and they having arrived later,
I could now serve them as Cicerone. Of an evening, when the
light no longer permitted anything more to be seen (for the
theatres were still closed during Advent), the three sons accompanied
me sometimes to my lodgings, and we then shortened
the long evenings with a game at whist. As it was at that
time, however, very cold in Rome, and there was no means
of heating my room, we used to set ourselves down in my
enormous bed with our backs turned to the four cardinal points,
with the leaf of a table between us, and in that manner played
our rubber in comfortable warmth and in the best humour.</p>

<p>Of my stay in Naples, the following incident is to be
added.</p>

<p>On the day of my first concert, I received in the green-room
of the San Carlo theatre, a visit from the celebrated
singer <i>Crescentini</i>, whom I had already become acquainted
with in Rome. After he had said many very complimentary
things relative to my play and my compositions, he made the
following proposition to me. The present director, <i>Zingarelli</i>,
who, with his religious turn of mind, was very unremitting in
praying with his pupils, but who practised them in music very
little, was to be pensioned off, and he, <i>Crescentini</i> was applying
for the appointment. But as he understood nothing of instrumental
music, the Neapolitan minister contemplated appointing
a second director for that, and had thought of me, as my
play and my compositions had quite enchanted him at my concert
on the previous day. If therefore I felt disposed to make
an application for the place, I was to accompany him imme<span class="pagenum"><a name="Page_ii_50" id="Page_ii_50">[Pg 50]</a></span>diately
to the minister, where further proposals would be made
to me. This took place. I returned to <i>Dorette</i> highly satisfied
with the propositions of the minister, and we were not a little
pleased at the thoughts of taking up our home in such a
paradise as Naples. But week after week passed away, without
any further communication from the minister, and we learned
from <i>Crescentini</i> that the whole project had been abandoned
by reason of the expense it would entail. We dared not therefore
delay any longer the period of our departure, for I again
found that my treasury was so decreased by our numerous
excursions in the environs of Naples, which we had made in
the company of our Silesian friends, and of which I was always
obliged to bear half the expenses, that my means would scarcely
suffice for the return journey to Switzerland.</p>

<p>This calculation proved indeed but too correct; for on our
arrival at Geneva, my funds were completely exhausted. As my
concert there also brought in but very little, and I knew beforehand
that with the then (in the spring of 1817) prevailing
famine in Switzerland, but very little was to be earned in the
other Swiss towns, I for the first time in my life experienced
the bitter anxiety arising from a want of the means of subsistence.
It is true we possessed some valuables which had
been presented to us at several courts; but the bare thought
of being obliged to sell or to pledge these, was still much too
painful to our feelings. Necessity, however, compelled us to
do so. I was just on the point of looking for a place where
money was advanced upon pledges, when <i>Dorette</i> suggested
that it would be preferable to reveal our position to the most
friendly of all our acquaintances there, the Pastor <i>Gerlach</i>, and
offered to go to him herself, as I had not the courage to do
so. She took with her her handsomest ornament, a diadem of
brilliants, a present from the Queen of Bavaria, and proceeded
to the reverend gentleman’s house. Never in all my life did
I pass such painful moments as those which elapsed during
her absence. At length, after a seemingly never-ending half
hour, she returned, and brought back the pledge&mdash;but with<span class="pagenum"><a name="Page_ii_51" id="Page_ii_51">[Pg 51]</a></span>
it the sum necessary for the prosecution of our further journey.
She was still in a state of excitement from a fright she had
experienced there. While, with the greatest embarrassment and
with faltering lips, she disclosed to the Pastor our momentary
necessities, and made a request for a loan upon the pledge she
proferred, he had suddenly burst into a loud fit of laughter
and vanished into an adjoining room. But before she had time
to reflect upon the meaning of this outburst of hilarity, which
seemed to her so greatly out of place, he returned bringing
the required sum, and said to her in the kindest manner: “I
am delighted that the worthy pair of artists have afforded me
so great a pleasure as to render them a service; but how could
you think that a clergyman would lend upon pledges like a
jew?”</p>

<p>Thus, then, our immediate wants were relieved and we
could resume our journey. We now first went to Thierachern
to fetch our carriage and the harp, which we had left there
the previous autumn. As <i>Dorette</i> required a little time to get
her hand again into play upon her instrument, and we did not
moreover require to hurry, as the favorable period for concert-giving
was passed, we stayed there a fortnight, practised again
each forenoon our duets for harp and violin, and in the afternoons,
favoured by the most beautiful spring weather, visited
once more all our former favorite spots. At length, however,
we were obliged to make up our minds to leave the paradise
of Thierachern and proceed further upon our artistic tour. In
Switzerland we met with very little success, for the permission to
give public concerts was everywhere refused on account of the
prevailing famine, and it was permitted in Zurich only because
we there offered to hand over a part of the proceeds to the poor.
I there played for the first time since my return to Germany
my vocal <i>scena</i> and a solo-quartet (Op. 43) that I had begun
in Italy and finished in Thierachern; both compositions were
received with very great applause. But with that I was obliged
to content myself; for the receipts from this concert were
far below those of the previous year. I could not therefore<span class="pagenum"><a name="Page_ii_52" id="Page_ii_52">[Pg 52]</a></span>
keep my promise as to time, in the repayment of the sum borrowed
in Geneva, which gave me much uneasiness. But the
Pastor <i>Gerlach</i>, upon my communicating to him the reason, in
excuse for my failure, returned the most satisfactory reply,
and I could thus proceed on my journey with a mind more
at ease.</p>

<p>But even in Germany also, where we gave concerts in
Freiburg, Carlsruhe, Wiesbaden, Ems, and Aix-la-Chapelle, the
receipts were but middling, on account of the generally prevailing
distress, so that they scarcely covered our travelling expenses;
and not until we reached the last-named town, where
our play produced a great sensation and enabled us to give
three very numerously attended concerts, did sufficient remain
to enable us to liquidate my debt to <i>Gerlach</i>.</p>

<p>From Naples to Aix-la-chapelle we had now travelled
for four months continually in the direction from south to
north, without stopping very long anywhere. We had therefore
found everywhere beyond and on this side of the Alps, the
trees in bloom, and thus enjoyed an extension of the spring
season in a degree such as it has never since been our lot to
know. At Aix-la-Chapelle we arrived in the height of summer,
and in the middle of the bathing season. For our farther
journey to Holland this was the most unfavourable time for
concert-giving, and I therefore resolved to stop some weeks
in Aix-la-Chapelle. We had there become acquainted with several
zealous musical amateurs, at whose houses music parties
were frequently given. I had also found some good quartet-accompaniers
with whom I practised my Vienna quartets and
quintets; and as they were greatly admired by all who heard
them, I gave them frequently.</p>

<p>We thus passed the time of our stay in Aix-la-Chapelle
in a very pleasant manner, equally divided between work and
pleasure. The instruction of the children, which indeed had
never entirely ceased during the whole journey, for we used
to give them instruction even in the carriage as we travelled
along, was now resumed with more earnestness and regularity.<span class="pagenum"><a name="Page_ii_53" id="Page_ii_53">[Pg 53]</a></span>
I also began to compose again, and wrote there the first number
of my four-voice songs for men’s voices (Op. 44) of which
<i>Gœthe’s</i> “<span lang="de" xml:lang="de">Dem Schnee, dem Regen</span>” became afterwards a favorite
table song.</p>

<p>Towards autumn we continued our journey to Holland,
and on our way thither first gave some concerts at Cologne
and Dusseldorf which were very well attended. Thence we
proceeded to Cleves, where we made the acquaintance of the
notary, Mr. <i>Thomae</i>, a zealous friend of art and a distinguished
dilettante, who played several instruments. In his house we had
music very frequently, and the two families, inclusive of the
children, soon became so attached that they formed a life-enduring
friendship. Through this circumstance our stay in
Cleves became so attractive that we took leave of the friendly
little town and its charming environs with much reluctance.</p>

<p>The fame of the <i>Spohr</i> artist-couple had however not yet
reached Holland, and we were therefore first obliged to break
ground there. In this however we soon succeeded. In that
wealthy land, favourably disposed towards German art and German
artists, we made a great sensation, and consequent thereon
also a flourishing business. We had already played at Rotterdam
and the Hague, and had just arrived at Amsterdam, where
we had also already made our appearance in <i>Felix meritis</i>
and had afterwards given a concert upon our own account,
when I received a letter from Mr. <i>Ihlée</i>, director of the theatre
at Frankfort on the Main, in which, on the part of the
shareholders of that theatre, he offered me the appointment
of director of the opera and music, and in case of my acceptance
thereof, added the request that I would enter upon it
with all possible despatch. The terms, it is true, were not so
brilliant as those of my Vienna appointment, but sufficient
nevertheless to maintain a family. Certainly I should have
liked to have continued my artistic tour, in which I took great
pleasure, at least till the spring; but they were very pressing
in Frankfort, and <i>Dorette</i> longed once more for domestic repose.
I therefore consented without further hesitation and set<span class="pagenum"><a name="Page_ii_54" id="Page_ii_54">[Pg 54]</a></span>
out immediately upon the return journey. At Cleves, where
we alighted at the friendly house of the <i>Thomae</i> family, we
were forced, despite the pressing urgency to accelerate our
journey, to stop a few days. Although it was now mid-winter,
every thing was again done to make our stay agreeable. Music
parties, sledge excursions and other amusements succeeded each
other alternately. On the evening before our departure, as we
sat at the supper-table, cracking nuts and thinking regretfully
of the approaching parting, my friend <i>Thomae</i> made the proposal
that the <i>Spohr</i> family, as a memorial of their presence
there, should plant one of the nuts in the garden. This proposition
was received with general acclamation. Upon a spade
being brought, both families, wrapped in warm cloaks, repaired
in procession to the garden, in the very centre of which,
after I had cleared away the snow, I dug a hole, in which
the children planted the nut. In the following spring the
appearance of the germ above ground was announced to us
at Frankfort. This, carefully protected by a circular fence,
grew by degrees to a fine tree, and even now (1852) the <i>Thomae</i>
family, as one of the sons not long since informed me,
thinks with pleasurable feelings of that evening and the absent
friends.</p>

<p>In Frankfort I was received by the shareholders of the
theatre and by the whole company of the theatre and orchestra
in the most friendly manner. A dinner was given in my honour
in the saloon of the “<i>Weidenbusch</i>,” at which the
usual toasts were given and speeches made in due form. The
orchestra, which, under the able direction of its previous leader
Mr. <i>Schmitt</i>, had acquired the reputation of being one of the
best in Germany, I found somewhat deteriorated, from his
long illness. But as a ready disposition was shewn by all to
meet my wishes and arrangements, and as they soon accustomed
themselves to my method of directing, the former <i>ensemble</i>
was soon re-established. My predecessor had led with
the violin, and by the wish of the singers I began also in the
same manner, indicating the time with the bow, and keeping<span class="pagenum"><a name="Page_ii_55" id="Page_ii_55">[Pg 55]</a></span>
the violin ready at hand, in order to assist with that when
necessary. But I soon accustomed them to so precise a practise
of their parts that such assistance as that was soon no
longer necessary. I now laid the violin aside and directed in
the French style, with the bâton.</p>

<p>The routine of business on the Frankfort stage was at
that time as follows: the managers chosen by the shareholders,
met every week the technical directors (Mr. <i>Ihlée</i> for the
drama and I for the opera) at a sitting at which the programme
for the week was agreed upon and everything concerning
the management arranged. The <i>præses</i>, or <i>senior</i>
of this directory, was a merchant of the name of <i>Leers</i>,
who liked the office and therefore always managed to be re-elected.
In the course of time he had acquired a certain
tact in the routine of managing the theatre, and spoke usually
therefore in a very decided tone. His whole endeavour
was directed to economy, in order to diminish the yearly recurring
deficit of from 14 to 17,000 florins, which the shareholders
were obliged to cover. He liked best the singers, performers
and musicians, who engaged at the lowest salaries,
and in the choice of the operas and plays which were to be
given he always decided upon those which would entail the
least expense. <i>Ihlée</i> and I had also an especial interest in
getting rid of the deficit, as we had a share in any overplus
secured to us by agreement: but we thought this would be
much more surely attained if an endeavour was made to raise
the character of the theatre by engaging distinguished talent
and the representation of classical works. We were therefore
frequently in opposition to Mr. <i>Leers</i> and his colleagues, and
one of them only, Mr. <i>Clement Brentano</i>, entertained the same
opinion as ourselves. But he seldom succeeded in obtaining
the victory for it, as it was always his custom to defend it
merely with light sallies of wit and sarcasm. The animosity
which sprung out of this difference of opinion between Mr.
<i>Leers</i> and myself was not perceptible, however, till a later
period, for at first we agreed very well. It was therefore not<span class="pagenum"><a name="Page_ii_56" id="Page_ii_56">[Pg 56]</a></span>
very difficult for me to obtain the consent of the managers
to bring out my opera “Faust.” I was very desirous of at
length hearing this work, which I had written five years before
at Vienna, and I hastened all the preparations as much
as possible. As there was no baritone among the singers of
the theatre who could satisfactorily take the part of Faust,
I was obliged to give it to the tenor, Mr. <i>Schelble</i>, afterwards
the founder and director of the society of St. Cecilia, who
possessed in his <i>mezzo-tenore</i>, the necessary compass as also
the requisite skill in execution. After the rehearsals had commenced,
<i>Schelble</i> expressed the wish that I would write another
air for him which would shew his voice off to more advantage
than those which were in the opera. As I found a suitable place
for its introduction immediately after the duet at the commencement,
and Mr. <i>George Döring</i> (hautboy of the orchestra
and subsequently a much admired romance writer) furnished
me with appropriate words for it, I was very pleased to be
enabled to satisfy <i>Schelble’s</i> wish. This air: “<span lang="de" xml:lang="de">Liebe ist die
zarte Blüthe</span>” (Love is the tender blossom), which was afterwards
so frequently sung at concerts, and innumerable times
in London by <i>Pischek</i>, is therefore the first thing I composed
in Frankfort. Meanwhile the study of the opera had proceeded
so well that it could be announced and performed for the first
time in March (1818). At first, it is true, it pleased the great
majority less than the connoisseurs, but with each representation
gained more admirers; so that from that time it has remained
almost constantly in the repertorium of the Frankfort
stage, and has been studied anew after short intervals.</p>

<p>This success encouraged me to new dramatic compositions.
I therefore looked about me for the materials for a work of
the kind, and found one that suited me in <i>Appel’s</i> book of
ghost stories, in the tale called “<span lang="de" xml:lang="de">Der schwarze Jäger</span>” (the
black huntsman). <i>Döring</i>, with whom I spoke upon the subject,
offered to work it out as an opera. We devised together
a plot which differed chiefly from <i>Kind’s</i> text-book (which was
at that time as yet unknown to us) in this, that we retained<span class="pagenum"><a name="Page_ii_57" id="Page_ii_57">[Pg 57]</a></span>
the tragical conclusion of the story. As soon as <i>Döring</i> had
written the first scenes, I immediately set about the composition.
The introduction was already for the most part sketched
out, when the celebrated tragedian Madame <i>Schröder</i>, and her
daughter, the afterwards more celebrated <i>Schröder-Devrient</i>,
came to Frankfort, and during her visit saw the work I was
engaged upon on the piano. They then informed that <i>C. M.
von Weber</i> was composing music for the same subject as an
opera, and had already finished the first act. This induced
me to lay my work aside, as I had reason to fear <i>Weber</i> would
come forward with his opera much earlier than I. As it afterwards
proved, however, such was not the case; for the “Freischütz”
appeared first in 1820, and my opera “Zelmira and
Azor,” which I began almost a year later, was already given
on the 4th April 1819. Nevertheless I have not regretted
that I abandoned the materials of <i>Appel’s</i> story, for with my
music, which is not adapted to please the multitude and excite
the popular enthusiasm, I should never have met with the unexampled
success that the “Freischütz” met with.</p>

<p>As I was now again obliged to look about me for a libretto,
I began meanwhile to write quartets. The chief reason
for this was the solicitation of some lovers of that kind of
music to institute public-quartet performances, which had not
hitherto been given in Frankfort. At these I wished also to be
enabled to bring forward some new compositions, and for that
purpose I wrote in the course of the summer the three quartets
(Op. 45). When I played the first of these at a musical
soirée at <i>Schelble’s</i>, <i>Jean Paul</i> was one of the audience. He
appeared to interest himself very much for this new composition
and ascribed to it a highly poetical signification, of which
while composing it I certainly never thought, but which recurred
in a very striking manner to my mind at every subsequent
performance of the quartet.</p>

<p>On the 29th July 1818 my family was again increased by
the birth of a little daughter, who was christened by the name
of Theresa after her godmother Mrs. <i>Thomae</i> of Cleves, and<span class="pagenum"><a name="Page_ii_58" id="Page_ii_58">[Pg 58]</a></span>
was held over the font by my friend <i>Speyer</i>. <i>Dorette</i> now felt
very happy at having a permanent-dwelling place, so as to be
able to devote herself wholly to the care of the new visitor.</p>

<p>In the autumn began the first set of the public quartets
in the little saloon of the “<span lang="de" xml:lang="de">Rothes Haus</span>.” The assistants
were: second violin the concertmaster Mr. <i>Hofmann</i>, viol
Mr. <i>Bayer</i>, violoncello Mr. <i>Hasemann</i>, at that time bass-trumpet
of the orchestra, and afterwards first violincellist of the
Cassel orchestra. I brought forward some quartets of <i>Haydn</i>,
<i>Mozart</i>, <i>Beethoven</i>, and some of my own, which we had practised
in the most careful manner in two rehearsals. They made
therefore a great sensation by the precision of their execution,
and were so well received that in the course of the winter
another set could be given.</p>

<p>In September 1818 I began also the composition of the
new opera. Mr. <i>Ihlée</i> had proposed as subject the text of the
formerly very much admired opera “<i lang="fr" xml:lang="fr">La Belle et la Bête</i>,” by
<i>Gretry</i>. As this at that time had wholly disappeared from the
German repertory, and was wholly unknown to the younger
generation, I readily assented to the proposition; for from
my earliest youth I had a predeliction for this tale, and even
remembered an air of <i>Gretry’s</i> opera, that namely of <i>Zelmira</i>
with the echo, which as a boy I had frequently heard my
mother sing, and also sung myself. Herr <i>Ihlée</i> offered to alter
the text to the style of the modern opera, which, as he well
understood stage business, he did greatly to my satisfaction.&mdash;At
that time <i>Rossini’s</i> music became then first known in
Germany, and “Tancred” in particular brought down a very
storm of applause in Frankfort. Almost at every sitting of
the theatre I was obliged to hear from Mr. <i>Leers</i> the words:
“That is an opera that pleases and attracts the public, you
must bring out more of that kind!”&mdash;Little as I was an admirer
of <i>Rossini’s</i> music, as the severe criticism thereof in the
diary of the Italian journey shews, yet the applause which
“Tancred” had met with in Frankfort was not wholly without
influence on the style of my new opera. I was further<span class="pagenum"><a name="Page_ii_59" id="Page_ii_59">[Pg 59]</a></span>more
induced to this by the considerable power of execution
possessed by four singers (Miss <i>Friedel</i>, the sisters <i>Campagnoli</i>,
and Mr. <i>Schelble</i>) who were at my command. This explains
why the music to “Zelmira and Azor” has so much colouring
and vocal ornamentation in the parts sustained by the three
sisters, and that of Azor. The opera was studied most attentively
by the singers and the orchestra, and met with great
success at the very first representation, indeed a more general
one than “Faust,” which however, at a later period, both in
Frankfort and the rest of Germany, reassumed the place in
public estimation which its real merits as an opera more properly
justified.</p>

<p>During the course of the winter I gave another concert
with my wife, for which I had written a new sonata for harp
and violin. As, since I had once more a fixed residence, pupils
again presented themselves, both native and foreign, I
was overburdened with work the whole winter. When spring at
length came I was therefore very desirous of a little rest and I
was well pleased when four of my earlier musical friends of
Rudolstadt, Messrs. <i>von Holleben</i>, <i>Müller</i>, <i>Sommer</i> and <i>Methfessel</i>,
came to Frankfort and urged me to accompany them to Mannheim,
where a musical festival was to take place. I managed
to get leave of absence for eight days, and joined the party.
From Darmstadt, where the charming mountain-road begins,
we went on foot to Heidelberg, and carried our necessary
luggage in knapsacks, on our backs. Three of the Rudolstädter,
<i>Müller</i>, <i>Sommer</i> and <i>von Holleben</i>, who were first-rate
harmonists, had strapped their horns upon their knapsacks, and
<i>Methfessel</i>, who accompanied our four-part songs with the guitar,
carried his instrument slung by a band over his shoulders. In
this manner our travelling-party, notwithstanding their respectable
exterior, had completely the appearance of an itinerant
music-band, and as, in high and jocund spirits, we always entered
all the villages and small towns either playing or singing,
we had always a long train of jovial listeners, and numerous
applications to “strike up,” which, to the great regret of the<span class="pagenum"><a name="Page_ii_60" id="Page_ii_60">[Pg 60]</a></span>
applicants, were of course not complied with. We made short
stages, and ascended the ruins of several castles which lay
near our road. There we partook of the meal brought with
us from the neighbouring inn and seasoned it with horn-music,
song and mirthful jest. On the third day we arrived at Heidelberg,
where we visited the castle. A flourish of horns soon
brought a number of hearers around us, who were highly delighted
with our four-part songs and <i>Methfessel’s</i> comic lyrics.
As we had inscribed our names in the visitors’ book, it soon
became known in the town that I and some musical friends
were on our way to the festival at Mannheim, and in the
evening a deputation from the Heidelberg musical society made
its appearance at our inn with an invitation to make the passage
to Mannheim the next morning on board the society’s
vessel. We consented with very great pleasure.</p>

<p>This voyage was the most brilliant episode in the whole
journey. When I and my companions set foot on board the
vessel, which was dressed out with festoons of flowers up to
the top of the mast, we were welcomed in the most friendly
manner by the already assembled male and female singers,
with a choral-song. While the boat was passing directly afterwards
between high rocky banks on either side, which threw
back the echo, the Rudolstädter first returned the compliment
with their horns, which had a fine effect there. Then followed
our songs, and <i>Methfessel</i> again distinguished himself in particular
by the execution of his humorous songs, which he accompanied
in a masterly manner on the guitar. These put
the whole company in the merriest mood. As we drew near
the end of our journey we were met and welcomed by the
Mannheim musical society on board several boats decorated
with flags and flowers. My presence on board the Heidelberg
boat was already known. The committee of the festival therefore
saluted me and my companions, and presented us with
tickets of admission to the rehearsals and performances. To
me even apartments were offered in a private house, which I
was however obliged to decline, as it would separate me from<span class="pagenum"><a name="Page_ii_61" id="Page_ii_61">[Pg 61]</a></span>
my companions. As soon as we had landed, therefore, we
sought for an inn. Unfortunately, however, we found it already
so full of visitors that we were obliged all five to accommodate
ourselves in one room, and the next day the crowd
of applicants for lodging was so great that we had great difficulty
in protecting our room from the invasion of yet more
guests. In the evening, since, as may be readily supposed, beds
were not to be had, we lay down contented beside each other
on some clean straw, nor was our good humour in the least
disturbed thereby.</p>

<p>As regards the musical performances, I now only recollect
that I and my companions, who, together with me, had assisted
at the festival at Frankenhausen, were not so satisfied with
the effect of the music here as there, which can alone be
accounted for by the circumstance that the performance at
Frankenhausen took place in the church, a place sonorous and
well adapted on account of its excellent acoustic qualities, while
at Mannheim they were given in the theatre.</p>

<p>On the third day we set out upon our return journey.
As the road from Mannheim to Mayence would have been too
uninteresting to travel on foot, we hired a boat with two vigorous
rowers, and went by water. But in this way also the
journey was rather tedious. We had, moreover, passed the
previous night at a ball, and felt very tired; it was therefore
no wonder that we sought to make up for the lost night’s rest,
and passed the greater part of the time in sleep. On our
arrival at Mayence we nevertheless met with a little adventure
which put us in the merriest mood during the last hours
of our being together. Evening was drawing in when, after
our landing, we proceeded to look for the best inn in the town.
Just as we were about to enter it, in the already described
dress of travelling musicians, the host, who was looking out of
the window, called out to us in an angry tone of voice: “Be off
with you! we don’t take in such people as you!” This style
of address amused me amazingly, as I had frequently joked
my companions upon their dress, and laughing, I called out to<span class="pagenum"><a name="Page_ii_62" id="Page_ii_62">[Pg 62]</a></span>
Mr. <i>von Holleben</i>: “High warden of forests, did you hear
that? they will not take us in here; we must look for another
inn!” But the host, startled at hearing my friend addressed
by such a grand title, darted down-stairs in a minute and made
his appearance immediately in the street, and with bows innumerable
entreated the gentlemen to walk in and graciously
pardon his silly mistake! As we followed him into the house
and were all ushered by him into the well-lighted dining room,
his embarrassment was ludicrous in the extreme: our highly
respectable appearance seemed now to allay all his fears, when
the unlucky horns strapped upon the knapsacks, and <i>Methfessel’s</i>
guitar suspended from his neck, excited new doubts as
to whether we were guests worthy of entertainement in his
house. But when we ordered three rooms with wax lights
(which latter I purposely mentioned), five beds and a good
supper, all uttered in the curt imperative tone of persons of
importance, his last lingering scruples vanished, and his whole
demeanour became thenceforth cringingly servile. This specimen
of the mean vulgarity of innkeeper-nature amused us long,
and was subject of mirth up to the last moment of our being
together. The next morning, as my leave of absence was expired,
I returned to Frankfort and the Rudolstädter continued
their journey down the Rhine, as they had proposed.</p>

<p>As I entered my house, the children ran joyfully to meet
me, but my wife, who had been in very low spirits at our
parting the week before, was now suffering extremely from the
shock sustained from a fright. In order that the reader may
understand the cause of this, I must advert to some previous
incidents that had occurred while in Frankfort.</p>

<p>In the latter part of the autumn of 1818 <i>Turner</i>, a player
on the hautboy, came to Frankfort. I had previously known
him in Brunswick, where we were both members of the orchestra.
Already at that time <i>Turner</i> distinguished himself
greatly by his skill upon that instrument, as also by his talent
for composition. Upon his subsequent travels, particularly
while in Vienna, where he lived some time, he had acquired<span class="pagenum"><a name="Page_ii_63" id="Page_ii_63">[Pg 63]</a></span>
the reputation of being the first of living hautboyists. At the
same time, however, many strange stories were current of his
residence there; of a <i>liaison</i> with a lady of rank, whom he
afterwards accused of having given him poison in a cup of
coffee. A criminal inquiry was instituted, whereat it was
elicited that he had periodical fits of insanity, at which times
he was possessed with the fixed idea of being poisoned. These
relations concerning him, which passed from mouth to mouth,
imparted to him a certain interest, and his concerts were on
that account most numerously attended. I found him on his
arrival in Frankfort&mdash;for he immediately paid me a visit&mdash;more
earnest and reserved, it is true, than when I was previously
acquainted with him in Brunswick, but otherwise remarked
nothing whatever peculiar in him. As his play pleased
very much, and as I knew moreover that his orchestral skill
was very great, and as from <i>George Döring’s</i> retirement from
the orchestra (he had now thought of devoting himself entirely
to authorship), a vacancy had occurred for a hautboy player&mdash;I
proposed at the next sitting of the theatrical committee
that <i>Turner</i> should be engaged as first hautboy. The salary he
asked was not unusually high, and therefore the proposition met
with no opposition, even Mr. <i>Leers</i> himself making no objection.
<i>Turner</i> took his place therefore in the orchestra, and
proved a real acquisition by the tasteful execution of his soli
and by his fine tone. After some time, however, a remarkable
melancholy was observed in him, which gradually increased
so much, that at length not a word above a whisper was to be
got from him. Nevertheless he always performed his orchestral
duties with punctuality, so that I hoped these periods
of sadness would pass off without further results. Soon however
they assumed the character of complete aberration of
mind, in which the fixed idea of the Vienna poisoning again
evinced itself. It was now full time to remove him from the
orchestra, to prevent the possibility of some unpleasant occurrence.
<i>Döring</i>, a near relation of <i>Turner’s</i>, undertook to provide
for him and get him cured, and engaged also to temporarily<span class="pagenum"><a name="Page_ii_64" id="Page_ii_64">[Pg 64]</a></span>
fill his place. The malady now soon increased with such violence,
that it was necessary to have him constantly watched
by keepers. One evening, nevertheless, he succeeded in escaping
from them scarcely half-clothed. During a violent snow-storm
he wandered about in the open fields half the night,
nor did he return home till towards morning, covered with a
thick crust of snow and ice. As he had immediately gone to
bed in this condition, the doctor found him in the morning
bathed in perspiration and in a violent fever. This perhaps,
however, brought about a crisis, for from that day he got
better, and he was soon enabled to resume his duties in the
orchestra with fully restored sanity of mind. I remarked,
nevertheless, that for about eight days in every month, and always
with the moon’s increase, he was visited by a slight return
of his melancholy madness, which announced itself beforehand
by a fixed look and a certain feverish restlessness. I then, with
<i>Döring’s</i> assistance, managed to keep him away from the orchestra
for a few days, until his more cheerful look bespoke
anew his recovery. In this manner <i>Turner</i> performed his duties
up to the summer and it was hoped that by degrees he
would also be cured of these slighter attacks also. In the
latter part of this time he again, as formerly, called upon me
now and then, and even spent the evening with me, and demeaned
himself in a friendly manner towards my wife, and
shewed much interest in the children. When therefore I went
to Mannheim with my Rudolstädt friends, it did not at first
appear at all strange to <i>Dorette</i> to see him walk one morning
into the room; but as, without any salutation or uttering
a word, he sat down opposite to her and gazed upon her with
his eyes fixed, she began to feel uneasy, and was at length
seized with fear. As she was quite alone with him (the children
being at school) she was about to call in a needlewoman, who
was sewing in the adjoining room; but scarcely had she risen
than he also sprang up and clasped her in his arms. With a
shriek of terror she tore herself from his grasp, rushed into
the adjoining room, the door of which the sempstress had then<span class="pagenum"><a name="Page_ii_65" id="Page_ii_65">[Pg 65]</a></span>
just opened, and she succeeded in closing and bolting the door
before <i>Turner</i> could follow her. There was, however, unfortunately
no further issue from this room, and the two terrified
women found themselves besieged by the madman. His endeavours
to force the lock they met by pressing against the
door with their whole weight, and all the strength which terror
imparted to them; and succeeded, for after a few vain efforts
he abandoned his purpose, ran down the stairs and out of
the house. <i>Dorette</i> now felt about to faint, was obliged to
send for the doctor, and kept her bed for some days. After
my return, her pleasure thereat and the assurance of again
being under my protection, soon restored her, and thus this
circumstance was fortunately attended by no worse results.
For the unfortunate young man this last violent outbreak of his
malady entailed his discharge by the directors of the theatre.
After again recovering, he went to Holland, and at first gave
there several concerts in which he was greatly applauded, and
which were also very remunerative; but upon a fresh attack
was put into a mad house, where he soon afterwards died.
The world lost in him a very great musical genius, the full
development of which was barred by the sad affliction that befel
him.</p>

<p>Meanwhile the acrimony of feeling that existed between
Mr. <i>Leers</i> and myself became constantly more apparent, and
a sitting of the directors seldom passed over without a regular
dispute. He asserted that I required too much time for the
study and production of new pieces because I was too fastidious
in the matter. He expressed the opinion, that a new
opera ought to be studied every fortnight, or at least an
old one completed in those parts that required to be newly
filled up. In vain I represented to him, that it was impossible
for an opera that was carelessly studied to go off well,
and therefore that it never could give satisfaction; that once
brought into discredit, it would draw no audience, and then
the time and money expended upon it would be sheer waste.
With this self-willed, obstinate man, who, moreover, before<span class="pagenum"><a name="Page_ii_66" id="Page_ii_66">[Pg 66]</a></span>
my appointment had never met with any opposition in the
management, every sensible representation was ineffectual; and
as I would not allow any opera to be brought out until it
had been studied thoroughly as far as the means and strength
of the company allowed, our contest never ceased. This, together
with an intimation made by Mr. <i>Leers</i> at a general
meeting of the shareholders, “that for their theatre they did
not require a musical artist of eminence, but merely a good indefatigable
workman, who would devote his whole time and
energies to the theatre,” induced me to give in my resignation
at the next meeting of the committee, to date from the
end of September (1819). The news of this soon spread through
the town, and excited general regret among the lovers of
music. <i>Börne</i>, in his journal “The Balance” gave expression to
his sentiments on the subject, and indeed in a by no means
gentle manner towards the theatrical-committee of management.
I left Frankfort with a light heart, for my summons
to that town had only been an interruption to the gratification
of my love of travelling; but my good wife was very
grieved at it&mdash;she who looked forward to the consequent separation
from the children, as these, from requiring now a regular
school education, could no longer be taken with us on
our artistic tours. But I consoled her nevertheless with the
promise that she should always pass the summer months with
her children, and only travel with me during a period of from
four to five months in the winter. Before my departure from
Frankfort I had accepted an engagement from the Philharmonic
Society of London for the next season of the sitting of Parliament,
which engagement was offered me by <i>Ferdinand Ries</i>,
the celebrated pianist and composer, in the name of the society.
This had been instituted but a few years before by
from twelve to sixteen of the most eminent musical artists in
London: <i>Clementi</i>, the two <i>Cramers</i>, <i>Moscheles</i>, <i>Ries</i>, <i>Potter</i>,
<i>Smart</i>, and others, with the object of giving every year eight
grand concerts during the season. Notwithstanding the very
high price of admission, the number of subscribers was so<span class="pagenum"><a name="Page_ii_67" id="Page_ii_67">[Pg 67]</a></span>
great, that many hundreds of those who had inscribed their
names could not obtain seats at the commencement of the
season, and could obtain them only by degrees in the course
of the summer. The funds of the society were therefore so
great, that they could not only engage the first artists and
singers in London for the soli in their concerts, but the most
reputed musicians on the Continent.&mdash;In this manner I was
also engaged for the season of 1820, and for a considerable
remuneration, which secured to me the expenses of the journey
thither and return, and the expenses of a four months’ residence
in London, I undertook the performance of a fourfold
duty. I was required, namely, to direct some of the eight
concerts, to play soli in some, to assist in all of them as orchestra
violinist, and lastly to leave in the hands of the society
as their own property one of my orchestral compositions.
At the same time a benefit concert was also insured to me in the
rooms of the society, with the joint assistance of the orchestra.
Although my wife was not included in this engagement, yet I
could not make up my mind to leave her behind me for four
long months. It was therefore resolved, on consulting with my
family, that my wife should accompany me and make her appearance
as artiste in London at least in my own concerts. As the
season commenced in the middle of February, and therefore the
sea-passage would be made at the roughest time of the year, we
resolved, in order to shorten it as much as possible, to go by
way of Calais; and in order to be enabled to give concerts on
the journey in the Belgian and French towns, to set out six
or eight weeks earlier. We first proceeded to Gandersheim to
my parents, who had undertaken the care and education of
the children during the winter, and then set out upon an
artistic tour to Hamburg, where we gave two concerts with
very great success. I played there, before highly respectable
audiences, my new quartets, which had been previously published
there: they were exceedingly well accompanied, and as
violinist upon those occasions I made the most sensation with<span class="pagenum"><a name="Page_ii_68" id="Page_ii_68">[Pg 68]</a></span>
my two solo-quartets. I played likewise a few times the two
quintets, and I found the passion for this kind of music to
be greater here than anywhere else, except perhaps in Vienna.
In the catalogue of my compositions, <i>Goethe’s</i> ballad “<span lang="de" xml:lang="de">Wenn
die Reben blühen</span>” is enumerated as composed by me in Hamburg,
but I do not now recollect the reason of its being so
designated.</p>

<p>We then proceeded to Berlin, Dresden, Leipsic, Cassel,
and other places, in all of which we gave concerts, but respecting
all of them I now no longer remember anything particular.
Of our performances in Berlin one of the newspapers
gave a most favourable notice.</p>

<p>In Brussels we found another travelling artist-couple who,
like ourselves, gave performances on the harp and violin.
They were Monsieur <i>Alexandre Boucher</i> and wife from Paris.
I had already heard a good deal about him and was therefore
very desirous of making his personal acquaintance. <i>Boucher</i>
had the reputation of being a distinguished violinist, but
a great charlatan also. He bore a striking resemblance to
<i>Napoleon</i>, both in the features of his face and in his figure,
and did his best to turn this resemblance to account. He had
acquired by study the deportment of the exiled emperor, his
way of wearing his hat, and of taking a pinch of snuff
with the greatest possible exactitude. When on his artistic
tours he arrived in a town where he was unknown, he immediately
presented himself with these acquired arts on the public
promenade or in the theatre, in order to attract the notice
of the public and to be talked about; he even endeavoured
to spread the report that he was persecuted by the present
sovereign and driven from France on account of his resemblance
to <i>Napoleon</i>, because it brought back the recollection
of the beloved exile to the mind of the people. In Lille, at
least, as I there afterwards learned, he had announced his
concert in the following manner: “<span lang="fr" xml:lang="fr">Une malheureuse ressemblance
me force de m’expatrier; je donnerai donc, avant de
quitter ma belle patrie, un concert d’adieux</span>,” etc. That an<span class="pagenum"><a name="Page_ii_69" id="Page_ii_69">[Pg 69]</a></span>nouncement
had contained also some similar charlatanerie, as
follows: “<span lang="fr" xml:lang="fr">Je jouerai ce fameux concerto de <i>Viotti</i> en mi-mineur,
dont l’éxécution à Paris m’a gagné le surnom: <i>l’Alexandre</i>
des violons</span>.”</p>

<p>I was just on the point of calling upon Monsieur <i>Boucher</i>,
when he anticipated me by paying me a visit. He offered in a
most friendly manner to assist me in the arrangements for my
concert, and shewed himself in every respect, deduction made
of his self-glorification, a very amiable man. He introduced
us to several families who were lovers of music, who then by
inviting us to their musical parties, procured for us the opportunity
of hearing the <i>Boucher</i>-couple. Both shewed in their
joint performances great skill; but all the compositions they
played were poor and barren, and of those of Monsieur <i>Boucher</i>
himself I no longer recollect anything. At first Monsieur
<i>Boucher</i> played a quartet of <i>Haydn</i>, but introduced so
many irrelevant and tasteless ornaments, that it was impossible
for me to feel any pleasure in it. The manner in which
<i>Boucher</i> allowed himself to be waited upon by his wife on
these occasions was remarkable. When he had taken his
seat at the quartet desk, she would ask him for the key of
the violin-case, open it, bring him his violin, then the bow,
which she had previously resined; she then laid the music
before him and lastly seated herself near him, to turn over
the pages. When we were then invited to play, the whole of
this process was inverted; for I not only fetched my own instrument,
but took my wife’s harp out of the case also, led
her to the seat where she was to play and then tuned up,
all of which in the previous performance had been the business
of Madame <i>Boucher</i>. But I took upon me the tuning of
the harp upon every appearance in public, not only to save
my wife the trouble, but also to bring the instrument to a
perfectly pure and tempered pitch, which, as is well known, is
not so easy a matter. We played one of our brillant duets,
and met with great applause. <i>Boucher</i> in particular seemed
charmed with my play, and he may perhaps have meant it<span class="pagenum"><a name="Page_ii_70" id="Page_ii_70">[Pg 70]</a></span>
with some sincerity; for in a letter of recommendation which
he gave me to Baron <i>d’Assignies</i> in Lille, and which the latter
shewed to me as a curiosity, after describing the characteristics
of my play; he said: “<span lang="fr" xml:lang="fr">Enfin, si je suis, comme on le prétend,
le <i>Napoléon</i> des violons, Mr. <i>Spohr</i> est bien le Moreau!</span>”</p>

<p>My concert took place in the new large theatre and met
with marked approbation; but the receipts, after deduction of
the very considerable expenses, were but small, for our fame
had not yet reached Brussels. It is true we were invited by
lovers of music and the public journals to give a second concert;
but as a favourable day did not immediately offer, and
our stay at the chief hotel where we had stopped was very
expensive, we preferred setting out immediately on our journey
to Lille.</p>

<p>Arrived there, my first visit was to Monsieur <i>Vogel</i>, who had
been mentioned to me as the best violinist in the town and as
director of the dilettanti-concerts. I did not find him at home,
but Madame <i>Vogel</i>, who received me in a very cordial manner.
When I told her my name, her face became animated, and
she anxiously inquired whether I was the composer of the
nonette, the theme of which she sang to me. As I smiling
replied yes, with an outburst of French vivacity she threw
her arms round my neck, and exclaimed: “Oh how delighted
my husband well be, <i lang="fr" xml:lang="fr">car il est fou de votre Nonetto!</i>” I had
scarcely returned to the inn, when Monsieur <i>Vogel</i> appeared
with a countenance lit up with pleasure, and welcomed me
with the warmth of an old friend. In the house of this amiable
couple we passed some very happy hours, and gave a concert
in the saloon of the dilettanti society, the arrangements
for which were made by Monsieur <i>Vogel</i>, the whole of the
members of the society being desirous to hear the composer
of the so frequently performed nonette play in person. The
joint play of my wife and self was especially received with
such enthusiastic acclamation, that the day was immediately
fixed for a second concert. Some lovers of music from the
neighbouring town of Douay, who had come over to the con<span class="pagenum"><a name="Page_ii_71" id="Page_ii_71">[Pg 71]</a></span>cert,
invited us in the name of the musical society of that
place to give a concert in Douay also, and insured to us the
sale of 400 tickets at five francs each. I had therefore the
finest prospect of carrying from Lille plenty of money, when
an unexpected occurrence quashed all my hopes. The carriage
was already packed and we were on the point of starting for
Douay, when the report was spread in the town that the telegraph
had just announced from Paris the assassination of the
Duke <i>de Berri</i>. It was not long before placards were posted
at the corners of the streets by order of the mayoralty, announcing
officially this mournful intelligence to the inhabitants
of Lille. As all concert-giving was now necessarily suspended
throughout France, but the period of my engagement in London
not yet arrived, I was easily induced by Messrs. <i>Vogel</i>,
<i>d’Assignies</i>, and other lovers of music, to remain yet longer
in Lille. Private musical parties now took place almost daily,
and I had thus an opportunity of performing all my quartets,
quintets, and compositions for the harp to this circle
of enthusiastic lovers of music. I found on these occasions
a very sympathetic and graceful auditory, and therefore still
recall with infinite pleasure the remembrance of those musical
soirées. At these many other interesting things were
related to me concerning <i>Boucher</i>. Among others, upon one
occasion, in the midst of his play, when according to his idea
something had gone wrong, he suddenly ceased playing, and
without paying any regard to those who accompanied him,
he again repeated the unlucky passage, addressing himself aloud
with the words: “<span lang="fr" xml:lang="fr">Cela n’a pas réussi; allons, <i>Boucher</i>, encore
une fois!</span>” The termination of his second and last concert
was also of a highly comic character. As his concluding subject
he played a rondo of his own composition which had at
the end an impromptu cadence. At the rehearsal he had begged
the gentlemen dilettanti to fall in right vigorously with their
final tutti immediately after the shake of his cadence, and
added that he would give them the signal by stamping with
his foot. In the evening, when this concluding piece began,<span class="pagenum"><a name="Page_ii_72" id="Page_ii_72">[Pg 72]</a></span>
it was already very late, and the dilettanti were growing
impatient to get home to supper. But when the cadence in
which <i>Boucher</i> as usual exhibited all his artistic <i>tours de
force</i> seemed never likely to end, some of the gentlemen put
their instruments into their cases and slipped out. This was
so infectious, that in a few minutes the whole orchestra had
disappeared. <i>Boucher</i>, who in the enthusiasm of his play
had observed nothing of this, lifted his foot already at the
commencement of his concluding shake, in order to draw
the attention of the orchestra beforehand to the agreed signal.
When he had now concluded the shake he was fully
satisfied of what would follow, namely the most vigorous entry
of the orchestra and the burst of applause it was to bring
down from the enraptured audience. His astonishment may
therefore be imagined when all that fell upon his ear was
the loud stamp of his own foot. Horrified he stared aghast
around him, and beheld all the music desks abandoned. But
the public, who had already prepared themselves to see this
moment arrive, burst out into an uproarious laughter, in which
<i>Boucher</i>, with the best stomach he could, was obliged to join.</p>

<p>The time for our departure for London had now arrived.
As I was desirous of purchasing in London a new <i>Erard</i> harp
with the improved <i>double movement</i> for my wife, we left the
old instrument in the care of Monsieur <i>Vogel</i>. The family
were very pleased at this, as they now reckoned with certainty
upon seeing us again on our return journey.</p>

<p>Arrived in Calais, I immediately went to the packet-boat
office to take our berth for the passage. Thence I took a
walk to the port, to look at the vessel in which we were to
sail in the afternoon. As I now, however, remarked that the
sea, even in the inside of the harbour, was very rough, and
ran so high outside that the waves broke high over the pier
head, I lost all inclination to cross with the sea so stormy, and
hastened back to the office, to have the berths taken transferred
for the following day. In the afternoon while taking a
walk in the town I took good care not to take my wife near<span class="pagenum"><a name="Page_ii_73" id="Page_ii_73">[Pg 73]</a></span>
the sea, so that, dreading the passage as she already did, she
might not observe how rough it was. The thoughts of being
obliged to cross at so stormy a season of the year with my
delicate and nervous wife disturbed my rest throughout the
night; as soon as day broke I hastened therefore again down
to the harbour to see whether the storm had not abated. It
appeared to me to have done so, and I therefore fetched <i>Dorette</i>,
brought her on board, and advised her to lie down in
the cabin. A good-natured German who served as seaman
on board this English packet-boat, promised me to take every
care of her and bring her all she might require. This enabled
me to go upon deck, where in the open air I hoped to be
somewhat enabled to resist sea-sickness. Meanwhile the preparations
were made for departure, and the vessel was towed
out with long ropes close along the left-hand side jetty of
the harbour by from sixty to eighty men. Scarcely, however,
had she reached this, when a gigantic wave seized her and in
a moment hurled her to the opposite side of the harbour, so
that she was almost thrown against the extreme point of the
right-hand pier. Immediately upon this the waves broke over
the deck, and the hatches and cabin doors were obliged to
be closed. Of all the passengers I was the only one who remained
on deck, and had seated myself on a bench near the
mast, round the foot of which was piled a high coil of cable.
Here I hoped to be protected from the water that poured in
torrents over the deck; but the waves soon broke in over the
bows to such a height, that to prevent being completely drenched
by them I was compelled to stand up upon the bench. I had
not done this many times, before I found my strength fail me
to repeat it; and in a short time therefore in spite of my thick
cloak I found myself wet through to the skin, which made my
already wretched condition but more distressing. In addition
to this I was then seized with such violent cramp in the stomach
from the straining which follows when the stomach has
nothing more to yield, that I thought I should expire under
it. Fortunately, however, favoured by the storm, the passage<span class="pagenum"><a name="Page_ii_74" id="Page_ii_74">[Pg 74]</a></span>
was an unusually quick one. Nevertheless, the three hours of
its duration seemed to me an eternity;&mdash;at length we arrived
at Dover, but another misfortune awaited us here; for on
account of the tide being at ebb, we could not enter the harbour,
and were constrained to disembark the passengers in open boats
in the offing. For this purpose as soon as we
had cast anchor, the boats were lowered, and we were called
to get into them to be put on shore in the harbour. I now
saw my suffering fellow-passengers come from below, pale and
trembling like ghosts from the grave, and it was very evident
that they had not fared better in the cabin than I upon deck.
At length, supported by the kind sailor, my poor wife appeared
also, in a most suffering condition. I was just about to hasten
to her, when a young and beautiful girl, whom I had already
remarked, it is true, when we came on board, but who then
did not think me worthy of a look, suddenly threw her arms
round my neck, and without uttering a word, clung close to
me. I readily guessed the motive of this extraordinary conduct.
The poor, terrified creature had been a joint spectator
of the manner in which the first passengers had been put on
board the boat, and how when it had been lifted by the still
surging waves as high as the deck of the vessel, it then sank
as it were into an abyss, and was again lifted up, which was
the moment seized by the sailors to thrust another passenger
or pitch another object of luggage into it. This rough method
of proceeding had so terrified her, that she left the arm of
the female who accompanied her, and clung to me, whom she
may have considered the strongest of the passengers. There
was no time for explanation; I bore her therefore in my arms
into the boat, and then hastened back to my wife, to put her
also into it. Scarcely had I effected this without accident,
when the still terrified fair one clung close to me anew, and
indeed so as to excite <i>Dorette’s</i> extreme surprise. But the
danger of the passage was too absorbing to permit of any remark
on the subject, and upon landing the young girl had
scarcely felt the firm ground under her feet than she left hold<span class="pagenum"><a name="Page_ii_75" id="Page_ii_75">[Pg 75]</a></span>
of me without a word of thanks, and taking the arm of her
companion walked away. That she was some young lady of
rank accompanied by her governess, may be readily imagined
from this truly English behaviour.</p>

<p>Arrived at the inn, I exchanged my thoroughly wet clothes
for dry ones, and having satisfied our re-awakened appetite at
the <i>table d’hôte</i>, and gained strength for the further journey, we
immediately took places in the coach, which was to leave in the
afternoon for London. The greater part of this journey was
made at night, and when on the following morning we were set
down in the yard of the coach-office with our luggage, I found
myself in very great difficulty. In spite of every endeavour, I
could not succeed in finding any one either there or in the office
to whom I could explain myself, for I knew not a word of English,
and none of all whom I addressed, understood either German
or French. Nothing therefore remained for me but to hunt
up some interpreter in the public street while my wife watched
the luggage. But it was yet early in the morning, and I saw
therefore none but people of the lower class, from whom I could
hope nothing. At length a better dressed man approached,
whom I first addressed in German, then, as he shook his head,
expressed to him my wants in French; but the man shrugged
his shoulders and went on his way. A second person, however,
who had witnessed this scene, approached me, and asked me in
good French what it was I wanted? He was one who hired
himself out as day-interpreter, and out-door servant at hotels,
and at my request immediately fetched a hackney-coach for
me, to drive to Mr. <i>Ries</i>, whose address I fortunately remembered.
We were now soon taken to the lodgings that had
been engaged for us, where we could at length repose from
the fatigues of our voyage and night journey.</p>

<p>The next morning, on which a meeting of the directors
of the Philharmonic society was to assemble, I was to be introduced
to them by Mr. <i>Ries</i>. I therefore made a careful
toilette, and expressly for the occasion put on a bright red
Turkish shawl-pattern waistcoat forming part of my ward-robe,<span class="pagenum"><a name="Page_ii_76" id="Page_ii_76">[Pg 76]</a></span>
and which was considered on the Continent as a most elegant
article and of the newest fashion. Scarcely had I appeared
in it in the street than I attracted the general attention of
all who passed. The grown-up people contented themselves
with gazing at me with looks of surprise, and then passed on
their way; but the young urchins of the street, were loud in
their remarks, which unfortunately I did not understand, and
therefore could not imagine what it was in me that so much
displeased them. By degrees, however, they formed a regular
tail behind me, which grew constantly louder in speech and more
and more unruly. A passer-by addressed me and probably gave
me some explanation of its meaning; but as it was in English,
I could derive no benefit from it. Fortunately Mr. <i>Ries</i>’ house
was not very distant, and I reached it shortly after. His wife,
a young amiable English woman, and who spoke French fluently,
now soon solved for me the problem of my adventure.
The death of George III. had but recently taken place and a
general mourning had been officially ordered, and according
to English custom no person durst appear in public otherwise
than in a black suit. In all other respects it is true my dress
was black, and therefore in accordance with the requisition,
but the unfortunate red waistcoat contrasted with it but the
more prominently. Mrs. <i>Ries</i> observed to me that I had doubtless
to thank my imposing height and my earnest expression
of countenance for having escaped from the rude licence of
the boys in the street, and from their resort to its more open
exhibition of pelting me with mud. In order to avoid all
further offence, <i>Ries</i> then first drove with me to my lodgings,
in order to exchange my red waistcoat for a black one.</p>

<p>After I had been welcomed in a friendly manner by the
directors of the Philharmonic Society, some of whom spoke
German and others French, a council was held respecting the
programme of the first concert. At this I was required to
play solo twice and to lead as first violin. To this I replied
that I was quite ready to perform the first, but must beg
that I might be permitted to lead in one of the subsequent<span class="pagenum"><a name="Page_ii_77" id="Page_ii_77">[Pg 77]</a></span>
concerts, as my solo play would appear to less advantage if
both were required of me on one and the same evening. Clear
as this was acknowledged to be by some of the gentlemen
who were themselves solo-players, yet it gave rise at first to
a long and earnest discussion, as it was contrary to the custom
of the society, but at length it was complied with. Still
greater subject of offence, however, was my request to be permitted
on this my first appearance to play my own compositions
only. The Philharmonic Society, in order to exclude from
their programmes all shallow and worthless virtuosi-concerti,
had laid down the law, that with the exception of the pianoforte
concerti of <i>Mozart</i> and <i>Beethoven</i> no similar musical pieces
should be played, and that solo players had only to perform that
which they should select. Nevertheless, after <i>Ries</i> had continued
the discussion in English, and therefore unintelligibly to
me, and represented to the gentlemen that my violin-concerts
in Germany would therefore become excluded by their bann,
they at length yielded in this also. I therefore at the first
Philharmonic concert, came forward with my cantabile scena,
and in the second part with a solo quartet in E major, and
met with great and general applause. As a composer it afforded
me an especial gratification that the whole of the directors
now shared the opinion of Mr. <i>Ries</i>, and as a violinist
the greatest pleasure, that old <i>Viotti</i>, who had always been
my pattern, and was to have been my instructor in my youth,
was among the auditory and spoke to me in great praise of
my play. As I had thus so successfully passed through the
ordeal of my first appearance in London, I devoted the next
day to the delivery of my letters of recommendation. Not
knowing a word of English this was for me by no means a
pleasant business, and brought me into frequent perplexity.
Not having been told that in London people announced themselves
by knocking at the street doors, and gentlemen always
by giving a succession of loud rapid knocks; I, in German
fashion, rang very gently at the bell, which is done in London
only by those who have business with the kitchen, and I<span class="pagenum"><a name="Page_ii_78" id="Page_ii_78">[Pg 78]</a></span>
could not imagine why the servants who opened the door always
looked at me with an expression of astonishment, and
could not at all imagine that I wished my name to be announced
to their masters. As those also for whom my visit
was intended frequently understood as little as their servants
either German or French, the most perplexing scenes were of
frequent occurrence. I was however exceedingly amused by
one at <i>Rothschild’s</i>, to whom I brought a letter of recommendation
from his brother at Frankfort, and a letter of credit
from <i>Speyer</i>. After <i>Rothschild</i> had taken both letters from
me and glanced hastily over them, he said to me in a more
subdued tone of voice: “I have just read (pointing to the
“Times”) that you managed your business very efficiently. But
I understand nothing of music; this is my music (slapping his
purse), they understand that on the exchange!” Upon which,
with a nod of the head, he terminated the audience.&mdash;But
just as I had reached the door, he called after me: “You can
come and dine with me, too, out at my country-house!” A
few days afterwards also Madame <i>Rothschild</i> invited me to
dinner; but I did not go, although she repeated the invitation.
Nevertheless, the letter of recommendation to <i>Rothschild</i>
was not wholly useless, for he took a whole box at my benefit
concert.</p>

<p>As immediately on our arrival in London I was obliged
to prepare for my appearance in public; and my wife was
engrossed with our domestic arrangements, we had unfortunately
delayed writing to apprise my parents at Gandersheim
of our safe arrival, by which the old folks were thrown into a
state of alarm from which they did not recover for a long
time. The vessel in which we had designed to cross the channel
on the day of our arrival in Calais, and for which I had
at first paid the passage money, and had the tickets transferred
for the next day’s packet, on account of the roughness
of the weather, had been driven completely down channel and
was given up for lost, until it at length turned up again somewhere
on the coast of Spain. A French newspaper had cited<span class="pagenum"><a name="Page_ii_79" id="Page_ii_79">[Pg 79]</a></span>
our names among the passengers on board. What therefore
could be natural, than that the French papers should collectively
announce: “The artist-couple <i>Spohr</i> and wife have
perished on the passage to England.” This was soon copied
into German papers, and to wit into the country paper taken
in by my parents. Unfortunately, this first fell into the hands
of my mother, who was already in a state of anxiety from the
long delay of letters from England. A shriek of anguish
and an immediate fainting of it were the result of this. The
whole family was thrown into confusion, and when at length
my mother recovered her senses, there began a general outburst
of tears and mourning. My sister first recovered some
calmness of mind, and urged as subject of hope and consideration
how frequently newspaper reports were wholly false.
She also entreated that no one should speak on the subject
in the presence of my children, who were now seen returning
from school, which request was faithfully promised. But my
mother could not refrain from embracing those she believed to
be now orphans with more than usual tenderness. This circumstance,
together with the yet swollen eyes of the mourners,
excited no small astonishment in the children, and when no
reply was made to the inquiries they made respecting these
incidents, and no one would sit down to supper, they also
began to weep, without knowing wherefore.</p>

<p>At length the arrival of the postman put an end to
this painful scene. All sprang up delighted, with the expectation
of a letter from England. But the joy was but of short
duration, for when they recognised the “Frankfort” post-mark
and <i>Speyer’s</i> hand writing on the address, they now indeed believed
that they were about to read nothing else than the
corroboration of the sad newspaper report. No one, therefore,
had the courage to open the letter, until at length my sister
summoned the resolution. Scarcely had she glanced her eyes
over a few words than she exclaimed with joy: “They have
arrived safe,” and then handed the letter to my father, who
read it aloud to them with great emotion. <i>Speyer</i> informed<span class="pagenum"><a name="Page_ii_80" id="Page_ii_80">[Pg 80]</a></span>
them that he had just received the announcement from the
house of <i>Rothschild</i> in London, that they had there made me
a payment of money, and that therefore the newspaper report
of the loss of Herr <i>Spohr</i> and his wife was unfounded, which
he had therewith immediately communicated to allay all their
alarm. A general exclamation of joy was now uttered by all,
and the previously neglected evening meal was turned into
a very feast of delight. Immediately after supper my father
seated himself at his writing table, to thank Mr. <i>Speyer</i> for his
kind attention, and to give the editor of the country paper a
sound rating for having thrown a family into such grief by the
heedless insertion of an unauthenticated report in his columns.</p>

<p>The following day my letter arrived also from London,
and increased yet more by its good intelligence the joy of my
family.</p>

<p>At the house of Mr. <i>Ries</i> I had made the acquaintance
of Mr. <i>Erard</i>, the head of the London firm <i>Erard Brothers</i>,
and accompanied by my wife had already visited his show
rooms of finished harps. We could not however immediately
make up our minds in the choice of one, as <i>Dorette</i> wished
first to try which size would suit her best, and in particular
whether she could be able to accustom herself to the new
mechanism. Mr. <i>Erard</i> removed all hesitation from her mind
in that respect, by kindly offering to lend her a harp for trial
and choice, during our stay in London, which if it did not
suit her, she could change for another or wholly return.
This offer she thankfully accepted, and began immediately to
practise on the new instrument; but at first she could not
well succeed upon it. The new harp, though of the smallest
pattern, was nevertheless considerably larger, as well as much
more strongly strung, than her own, and therefore required
a greater exertion of strength, and it was very difficult for
her to acquire a mastery of the new mechanism <i lang="fr" xml:lang="fr">à double
movement</i>, from being accustomed from her childhood to the
single movement. She therefore soon felt convinced that it
would require several months’ practice on this harp before<span class="pagenum"><a name="Page_ii_81" id="Page_ii_81">[Pg 81]</a></span>
she could play upon it in public, and I accordingly resolved to
allow her to appear once only, at my benefit-concert, in order
that she might give an additional attraction to it. Meanwhile
my turn had come to direct one of the Philharmonic concerts,
and I had created no less sensation than with my solo
play. It was at that time still the custom there that when symphonies
and overtures were performed, the pianist had the
score before him, not exactly to conduct from it, but only to
read after and to play in with the orchestra at pleasure, which
when it was heard, had a very bad effect. The real conductor
was the first violin, who gave the <i>tempi</i>, and now and then
when the orchestra began to falter gave the beat with the bow
of his violin. So numerous an orchestra, standing so far apart
from each other as that of the Philharmonic, could not possibly
go exactly together, and in spite of the excellence of the
individual members, the <i>ensemble</i> was much worse than we
are accustomed to in Germany. I had therefore resolved when
my turn came to direct, to make an attempt to remedy this
defective system. Fortunately at the morning rehearsal on the
day when I was to conduct the concert, Mr. <i>Ries</i> took the
place at the Piano, and he readily assented to give up the
score to me and to remain wholly excluded from all participation
in the performance. I then took my stand with the
score at a separate music desk in front of the orchestra, drew
my directing baton from my coat pocket and gave the signal
to begin. Quite alarmed at such a novel procedure, some
of the directors would have protested against it; but when
I besought them to grant me at least one trial, they became
pacified. The symphonies and overtures that were to be rehearsed
were well known to me, and in Germany I had already
directed at their performance. I therefore could not only
give the tempi in a very decisive manner, but indicated also to
the wind instruments and horns all their entries, which ensured
to them a confidence such as hitherto they had not
known there. I also took the liberty, when the execution did
not satisfy me, to stop, and in a very polite but earnest<span class="pagenum"><a name="Page_ii_82" id="Page_ii_82">[Pg 82]</a></span>
manner to remark upon the manner of execution, which remarks
Mr. <i>Ries</i> at my request interpreted to the orchestra. Incited
thereby to more than usual attention, and conducted
with certainty by the <i>visible</i> manner of giving the time, they
played with a spirit and a correctness such as till then they
had never been heard to play with. Surprised and inspired
by this result the orchestra immediately after the first part
of the symphony, expressed aloud its collective assent to the
new mode of conducting, and thereby overruled all further
opposition on the part of the directors. In the vocal pieces
also, the conducting of which I assumed at the request of
Mr. <i>Ries</i>, particularly in the recitative, the leading with the
baton, after I had explained the meaning of my movements,
was completely successful, and the singers repeatedly expressed
to me their satisfaction for the precision with which the orchestra
now followed them.</p>

<p>The result in the evening was still more brillant than
I could have hoped for. It is true, the audience were at first
startled by the novelty, and were seen whispering together;
but when the music began and the orchestra executed the
well-known symphony with unusual power and precision, the
general approbation was shewn immediately on the conclusion
of the first part by a long-sustained clapping of hands. The
triumph of the baton as a time-giver was decisive, and no
one was seen any more seated at the piano during the performance
of symphonies and overtures. On this evening also
the concert overture which I had composed before I left Frankfort
was given for the first time. As it pleased very much
the Philharmonic society accepted it as the composition which
according to my contract I was to leave in their hands. I
kept no copy of it and soon forgot it entirely, so that a few
years afterwards when preparing a thematic catalogue of my
compositions I could not recal to mind the beginning of it, for
which reason the theme of it is wholly wanting in the text.</p>

<p>During the delivery of my letters of introduction in London,
as also upon many other occasions, I had so much felt<span class="pagenum"><a name="Page_ii_83" id="Page_ii_83">[Pg 83]</a></span>
the want of some one to serve me as interpreter that I was
continually making inquiries for a person to accompany me who
could speak German and English. At length Mr. <i>Ries</i> bethought
him of an old servant of the deceased <i>Salomon</i><a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> of the name
of <i>Johanning</i>, who would be competent to fill that office. It
is true, that he had retired from service, and as heir to his
late master had bought a small country-house in the neighbourhood
of London. Mr. <i>Ries</i> hoped nevertheless that the yet
vigorous old man would consent to take the situation, for which
purpose he sent for him to town, and the offer on my part
was made to him. When he learned that it was to enter the
service of a German and a musician, and furthermore of a
violinist, as his deceased master had been, he immediately
expressed his readiness, and even left it to my option what remuneration
I should give him at the close of the season. Thenceforth
he came every morning into town, and having first interpreted
the wishes of my wife to the landlady respecting the
dinner, he then accompanied me on my rounds of business.
From his long residence in London, however, he had forgotten
a great deal of his German, and his English doubtless was not
very classic; for in his interpreting frequent misunderstandings
would take place. When I had thus presented the remainder
of my letters of introduction with less difficulty than before,
I again found time and leisure for new compositions. I
first wrote a symphony (the second D flat, Op. 49) and played
it for the first time at one of the Philharmonic concerts, which
I had to conduct, April 10. 1820. At its rehearsal, it met
with very great approbation both from the orchestra and the
numerous persons who were present; but in the evening it was
received with real enthusiasm. I had in part to thank the numerous
and particularly excellent stringed instruments of the<span class="pagenum"><a name="Page_ii_84" id="Page_ii_84">[Pg 84]</a></span>
orchestra for this brillant success, and in this composition I had
given them a special opportunity of exhibiting their skill in playing
with purity and precision of <i>ensemble</i>. In fact, as regards
the stringed instruments, I have never since heard that symphony
given with so much effect as on that evening. The
next morning all the London newspapers contained reports
respecting the new symphony that had been composed in their
town, and vied with each other in their praise of it. Similar
favourable notices of my play upon every occasion of my
appearance soon spread my fame throughout the town, and
pupils readily presented themselves to receive instruction from
me on the violin, as well as ladies who were desirous of being
accompanied on the piano. As all expressed their willingness
to pay a guinea for each hour’s instruction, I readily accepted
their offers, as I considered that I owed it to my family to
turn the good fortune I had met with in London as a musician
to my pecuniary advantage. In this manner, after having
first devoted a few hours to composition at home or to
music with my wife, I was running or driving about all day
in huge London, and frequently right weary of it; for the greater
part of my pupils had neither talent nor application, and took
lessons of me merely to be enabled to say that they were pupils
of <i>Spohr</i>. I nevertheless call to mind with some pleasure
several originals who amused me with their singularities, and
therewith somewhat relieved the bitter trouble I had with
them. One was an old general on half-pay, but who always
made his appearance in full uniform, decorated with all his
orders, and with the extreme of high military bearing. He, as
an exception, came always to my house, but, nevertheless, required
to play for three quarters of an hour only, as according
to the custom there deduction was made of the quarter
of an hour for the drive. He came every morning, Sundays
excepted, in his old state carriage, precisely at 12 o’clock, ordered
one of his belaced and powdered footmen to bring up
his violin-case, and after a dumb greeting sat himself down
immediately to his music desk. But previous to that he took out<span class="pagenum"><a name="Page_ii_85" id="Page_ii_85">[Pg 85]</a></span>
his watch to see at what o’clock the lesson would commence,
and then set it down close to him. He would bring
easy duets with him, chiefly of <i>Pleyel</i>, in which I played
second violin. Although there were many things in his play
that indicated the unpractised pupil, I soon saw that it would
not be wise to point them out to him; I contented myself therefore
with accommodating my tones as much as possible to
those of the old gentleman, and so we played one duet after
the other in the best concord. As soon, however, as we had
played the three quarters of an hour, the general would stop,
though in the middle of the piece, take from his waistcoat
pocket a one-pound note in which a shilling was wrapped up,
and put it upon the table. He would then take up his watch,
and take leave in the same taciturn manner as he had entered.</p>

<p>The other original was an old lady whom I accompanied
on the piano. She was a passionate admirer of <i>Beethoven</i>,
against which I had nothing to say, but she had the whim,
moreover, never to play any other music than that of her favorite.
She had all <i>Beethoven’s</i> pianoforte-compositions, as also
his orchestral works arranged for the piano. Her apartment
was also hung with every portrait of him that she had been
able to procure. As many of these differed greatly in resemblance
to each other, she urged me to inform her which most
resembled him of the whole. She possessed also some relics
of him which had been brought to her from Vienna by English
travellers, among others a button of his dressing-gown
and a piece of music paper with some note marks and ink-blots
from his hand. When I apprized her that I had lived
for some time on terms of great intimacy with him, I rose
greatly in her estimation, and she had then so much to ask
that on some days we never played at all. She spoke French
with tolerably fluency, and could even bring out a few words
of German. Her pianoforte play was not at all bad, so that
I was rather pleased to play the sonatas for piano and violin.
But when she subsequently produced the trios also, and played
with me <i>without</i> violoncello, and then even the piano concertos,<span class="pagenum"><a name="Page_ii_86" id="Page_ii_86">[Pg 86]</a></span>
in which, with the exception of first orchestral-violin, which I
played, all else was wanting, it became very clear to me that her
enthusiasm for <i>Beethoven</i> was nothing but affectation, and that she
had not the least perception of the excellence of his compositions.</p>

<p>I became acquainted with a third singular character in
the following manner. One morning a servant in livery brought
a letter to me, which my old <i>Johanning</i> translated in the following
manner: “Mr. <i>Spohr</i> is requested to call at the house
of the undersigned, at 4 o’clock precisely.” As I did not know
the name appended to the note, nor could ascertain from the
servant the purpose for which my attendance was requested,
I replied thereto in an equally laconic manner: “At the hour
indicated I am engaged and cannot come.” The next morning
the servant reappeared with a second much more polite
note: “Mr. <i>Spohr</i> is requested to honour the undersigned
with a visit, and to appoint the time himself.” At the same
time the servant had been ordered to offer his master’s carriage,
and as I had been meanwhile informed that the writer was a
celebrated physician, who frequently attended concerts, and interested
himself especially in violin music, I no longer hesitated
to go, but indicated the appointed hour to the servant and
was duly fetched in the doctor’s carriage. An amiable old gentlemen
with snow white hair received me at the foot of the
stairs, but we now discovered to our mutual regret that
we could not make ourselves intelligible to each other,
for he spoke neither German nor French. We stood
opposite to each other in great embarassment, until he took
me by the arm and led me into a spacious room on the walls
of which a number of violins were hung. Others had been
taken from their cases and placed upon tables. The doctor
handed a bow to me and pointed to the instruments. I now
comprehended that I was to give my opinion of the respective
merits of the violins, and immediately began to try them and
to arrange them in order according to their worth. This was
no easy work to do; for there were a great number of them,
and the old gentleman brought them all in succession, with<span class="pagenum"><a name="Page_ii_87" id="Page_ii_87">[Pg 87]</a></span>out
omitting one. When at length, after the lapse of about
an hour, I had found the best six of them, and still played
on these alternately to discover the very best of them, I observed
that the doctor eyed one of them with looks of particular
fondness, and his face lit up with pleasure every time
I struck the strings. I therefore readily gave the kind old
gentleman the satisfaction of indicating that instrument as the
matador of the whole collection. Quite delighted with this announcement,
he now brought a <i>viola d’amour</i>, and began
to play a fantasia on this long-unused instrument. I listened
to him with pleasure, as I had not heard the instrument
before and the doctor played by no means ill. Thus
terminated the interview to the satisfaction of both, and I had
taken up my hat, to take my leave of him when the old gentleman,
with a kindly expression of countenance and several low
bows, handed to me a five-pound note. Astonished at this, I
looked at the note and the donor, and at first knew not what
he meant; when it struck me that he intended it as a remuneration
for my testing his violins, and shaking my head with
a smile, I laid the note on the table, pressed the doctor’s
hand with warmth, and hastened down stairs. He followed
me out into the street, assisted me into the carriage and
then spoke some words with evident emotion to his coachman.
This had made so much impression on the coachman, that he
immediately told it to old <i>Johanning</i>, who had come with the
carriage, to open the door. He had said to him: “You are
driving there a German who is a perfect gentleman; and I
expect you will take him home to his house with the greatest
care.”&mdash;A few months afterwards, when I gave my benefit
concert, the doctor sent for a ticket and forwarded to me at
the same time a ten-pound note.</p>

<p>Meanwhile my wife had by unflagging industry acquired
great proficiency on the new harp, but in doing so&mdash;on account
of the greater stretch of arm it required and the stronger
tension of the strings&mdash;she had exerted herself over much and
now suffered greatly from the exhaustion it had induced. From<span class="pagenum"><a name="Page_ii_88" id="Page_ii_88">[Pg 88]</a></span>
former experience I had learned that nothing so quickly imparted
fresh strength to her nerves as the frequent enjoyment
of fresh air. I therefore availed myself of every moment of
sunshine in the first days of spring to take gentle walks into
Regent’s Park, which was very near to our dwelling in Charlotte
Street. On Sundays, when all music ceases in London,
and when even without fear of giving offence we could not
play in our own apartments, we used to make more distant
excursions to Hampstead, and to the other parks. Our companion
and guide was alternately the younger <i>Ries</i> and an old
amiable man of the name of <i>Stumpf</i>, an instrument maker.
I soon had the gratification of seeing my wife regain fresh
strength and spirits from the mild influence of the English
spring, but I adhered strictly to my previous resolution that
she should appear once only at my own concert, and declined
with firmness several offers that were made to her. But as for
myself, I played at all concerts where they were willing to pay
the price I asked, and as this according to English notions was
not excessively high, I was in frequent requisition, and saw my
name announced on almost all the concert-programmes of the
season. But I never could make up my mind to play for remuneration
at private parties, for the manner in which musicians were
then treated there, was to me most unbecoming and degrading.
They were not admitted to join the company, but were
shewn into an adjoining room, where they had to wait until
the moment arrived when they were summoned to the apartments
where the company was assembled before whom they
were to play; their performance over, they had to leave the
room again immediately. My wife and I were ourselves once
eyewitnesses of this contemptuous treatment of the first and
most eminent artists in London. We had received letters of
introduction to the king’s brothers the Dukes of <i>Sussex</i> and
<i>Clarence</i>, and as the latter was married to a German, a Princess
of Meiningen, I paid them a visit accompanied by my
wife. The Ducal couple received us in a very kind manner
and invited us to a musical party they were to give in a few<span class="pagenum"><a name="Page_ii_89" id="Page_ii_89">[Pg 89]</a></span>
days and at which we were also asked to assist. I then
thought in what way I could best extricate myself from this
disgusting exclusion from the company, and resolved if I
could not succeed to return home immediately. When therefore
we entered the palace, and a lacquey was on the point
of opening the door of the room where the other musicians
were assembled, I told <i>Johanning</i> to deliver my violin case to
him, and with my wife on my arm, immediately ascended the
staircase before the lacquey had time to recover from his astonishment.
Arrived at the door of the apartments where the
company were assembled, I announced my name to the footman
in waiting, and as he hesitated to open the door I evinced
an intention of opening it myself. Upon this the lacquey instantly
threw open the door and called out the names of the
new-comers. The Duchess, alive to German usages, rose immediately
from her seat, advanced a few steps to meet my wife,
and led her into the circle of ladies. The Duke welcomed
me also with a few friendly words and introduced me to the
gentlemen around him. I now thought I had successfully
achieved all; but I soon observed that the servants notwithstanding
not did consider me as properly belonging to
the company, for they always passed me by with the tea-tray
and other refreshments, without offering me any. At length the
Duke may also have remarked this; for I saw him whisper a few
words in the ear of the steward of the household. After this
the refreshments were also presented to me. When the concert
was to commence the steward of the household sent a servant
to summon the invited artists in the order in which their
names appeared on the programme. They hereupon entered
the apartment with their sheet of music or instrument in hand,
saluted the company with a profound bow, and began their
performances. They were the <i>élite</i> of the most distinguished
singers and musicians in London, and the execution of their
respective pieces was almost without exception charmingly
beautiful. This, however, did not appear to be felt by the
noble and fashionable auditory; for they did not cease their<span class="pagenum"><a name="Page_ii_90" id="Page_ii_90">[Pg 90]</a></span>
conversation one moment. Once only when a very favorite
female singer entered the room they became somewhat more
silent, and a few subdued <i>bravas</i> were heard, for which she
immediately returned thanks with profound curtsies. I was
exceedingly annoyed by this derogation of art and still more
so with the artists who submitted to be so treated, and I had
a great mind not to play at all. When the turn came to
me, therefore, I purposely hesitated so long till the Duke,
probably at a sign made to him by his wife, invited me
himself to play. I then requested one of the servants to
bring up my violin case, and I then began to play the piece
I had proposed to myself without making the customary bows
to the company. All these circumstances excited no doubt the
attention of the company, for during the whole time of my
performance the greatest stillness pervaded the apartment.
When I had concluded the ducal pair and their guests
applauded. Now also I first expressed my thanks by making
a bow. Shortly afterwards the concert terminated, and
the musicians retired. If our having constituted ourselves
part of the company had furnished matter of surprise, this
was still more increased when they saw that we stopped there
also to supper, and during the supper were treated with great
attention by the ducal hosts. The circumstance to which we
doubtless owed this distinction&mdash;one so unheard-of and repugnant
to all English notions of that day&mdash;was the fact that the
Duchess had known us while yet living in her paternal house, and
had there witnessed the friendly reception which, at the time
when we lived at Gotha, we had frequently met with at the court
of Meiningen. The Duke of <i>Sussex</i>, to whom I had brought a
letter of recommendation from the Duke of <i>Cambridge</i>, then
regent of Hanover, received me also with great distinction
and conversed with me a good deal. During a conversation
we had upon the subject of English national songs, the Duke
even sent for his guitar and sang to me some English
and Irish national songs, which afterwards suggested to me
the idea of working up some of the most popular of these<span class="pagenum"><a name="Page_ii_91" id="Page_ii_91">[Pg 91]</a></span>
as a pot-pourri for my instrument, and of introducing the same at
my concert.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> When the company broke up, which was not till
long after midnight, we returned home greatly pleased with
the result of our daring and with the victory we had gained
over the prejudices of London society.</p>

<p>Among those who solicited me to play solo at their concerts
was Sir <i>George Smart</i>, one of the directors of the Philharmonic
Society. During the season he gave a succession of subscription
concerts which he called “sacred concerts,” in which
nevertheless a great deal of the music was “worldly” also.
I played at two of them, in return for which Sir George undertook
the arrangements for my benefit-concert&mdash;a by no
means light task even for a native well versed in the matter,
and which if I had undertaken in person would perhaps have
occupied six weeks of my time, which I could employ in a
much more advantageous manner. My concert took place on
the 18th. June, and was one of the most brillant and well
attended of the whole season. Almost every person to whom
we had brought letters of recommendation&mdash;and among them
also the Dukes of <i>Sussex</i> and <i>Clarence</i>&mdash;had taken either boxes
or reserved seats, and several of those wealthy personages
had forwarded considerable sums for them.</p>

<p>A great number of the subscribers to the Philharmonic
Society also retained their seats, and as the lowest price for
a ticket was half a guinea, and the room held nearly a thousand
people, the receipts were very considerable. I derived a
great additional advantage from the circumstance, that the
expenses which otherwise in London are enormously high, were
greatly reduced on this occasion by the refusal of several of
the members of the orchestra to receive any gratuity, from a
friendly feeling towards me, and from the agreement previously
entered into by me with the Philharmonic Society, that the use
of the rooms should cost me nothing. On the other hand,<span class="pagenum"><a name="Page_ii_92" id="Page_ii_92">[Pg 92]</a></span>
however, I had to pay all the singers, and I yet well remember
that I was obliged to pay Mrs. <i>Salmon</i>, the then
most popular female vocalist in London, and without whose
presence my concert would have been considered not sufficiently
attractive, the sum of thirty pounds sterling for a single
song; and she made it a further condition of agreement, that
she should not sing until towards the end of the concert, as
she had first to sing at a concert in the city, six miles off.
I must here mention also a singular custom which prevailed at
all concerts in London at that time, which now, however, like many
other strange practices of that period, has been discontinued.
Namely, it was required that the party giving the concert
should provide the auditory with refreshments during the pause
between the first and second parts of the concert. These were
accordingly supplied at a buffet in an adjoining room, and
one was obliged to agree beforehand with the confectioner upon
the sum for their purveyance, which at my concert was undertaken
for ten pounds sterling. If the company consisted for the
most part of persons of rank and fashion, with whom it was
not usual to take any refreshments, the confectioner used to make
a good thing of it, but if it was a very numerous and mixed
company, and the heat very great, he might frequently be a
loser. But he never did a better stroke of business than at
my concert.</p>

<p>This took place on the very day that Queen <i>Charlotte</i> of
England made her entry into London on her return from Italy,
to make her defence before Parliament against the charge of
infidelity brought against her by her husband. All London was
divided into two parties, the larger of which, composed of the
middle and lower classes, was on the side of the Queen.
The town was in the greatest commotion, and it was a very
fortunate thing for me that I had already disposed of the whole
of the tickets for my concert, as otherwise by this unfavourable
circumstance I might have incurred a very great loss.
The bills announcing my concert, posted at the corners of the<span class="pagenum"><a name="Page_ii_93" id="Page_ii_93">[Pg 93]</a></span>
streets, were quickly pasted over and covered with large placards
in which in the name of the people a general illumination
of the town was called for to celebrate the day; and
<i>Johanning</i> brought me word that the populace threatened to
smash the windows in every house, where this call was not
complied with. As at that time the police force as well as
the few military were not sufficiently numerous to protect the
royal palaces from the threatened excesses of the populace, the
partisans of the king, who were wholly unable to repress the
tumult, were compelled to abide the worst, and contented
themselves with making the best use of the short notice given
by having their windows nailed up with boards, in order to
save their costly mirrors and furniture. In this manner during
the whole of the day the sound of the carpenter’s
hammer was everywhere heard, particularly in Portland Place,
close adjoining where many of the nobility resided, and these
preparations of defence were subjects of great derision and
amusement to the young vagabonds of the street. While we were
rehearsing at home the pieces to be performed in the evening,
the people poured in crowds through the streets to meet
the Queen upon her entry. As this took place in the direction
of the city, it became perfectly quiet towards evening at
the West-end. We found therefore, as we drove at half-past
eight o’clock to the concert-rooms, the streets almost less
thronged than usual, and met with no obstacle on our way.
But we remarked everywhere active preparations for the illumination,
in order that the sovereign will of the people might
be immediately complied with. My wife, who was somewhat
nervous respecting her first public appearance with the new
harp, was in great trepidation as to what might occur from
this excitement of the populace, and I was greatly afraid that
the agitation in which I saw her would be prejudicial both to
her play and to her health. I therefore endeavoured to soothe
her by argument and persuasion, in which I happily succeeded.
The concert-room filled by degrees with a numerous auditory
and the concert began. I am able to give here the entire<span class="pagenum"><a name="Page_ii_94" id="Page_ii_94">[Pg 94]</a></span>
programme, as Sir <i>G. Smart</i> upon my last visit to London
(in the year 1852) made me a present of a copy of that which
was handed at the time to the audience upon their entry into
the rooms. It runs as follows:</p>

<div class="blockquot">
<p class="center large">
NEW ARGYLL ROOMS.</p>
<p class="center large">
M<sup>R</sup>. SPOHR’S CONCERT.</p>

<p class="center">
Thursday, June 18th. 1820.</p>
<hr class="thin" />



<div class="center">
<table class="left" border="0" cellpadding="4" cellspacing="0" summary="">
<tr><td class="center"><em class="gesperrt">PART I.</em></td></tr>
<tr><td>Grand Sinfonia (M. S.)</td><td><em class="gesperrt">Spohr</em>.</td></tr>
<tr><td>Air, Mr. T. <em class="gesperrt">Welch</em>, “Revenge, revenge, Timotheus cries”</td><td><em class="gesperrt">Haendel</em>.</td></tr>
<tr><td>Grand Duetto (M. S.), Harp and Violin, Mad. <em class="gesperrt">Spohr</em> and Mr. <em class="gesperrt">Spohr</em></td><td><em class="gesperrt">Spohr</em>.</td></tr>
<tr><td>Aria, Miss <em class="gesperrt">Goodall</em>, “<span lang="it" xml:lang="it">Una voce al cor mi parla</span>.” Clarinet obligato, Mr. <em class="gesperrt">Willman</em></td><td><em class="gesperrt">Pær</em>.</td></tr>
<tr><td>Sestetto for Pianoforte, two Violins, Viola, Violincello and Contrabasso, Messrs.: <em class="gesperrt">Ries</em>, <em class="gesperrt">Watts</em>, <em class="gesperrt">Wagstaff</em>, R. <em class="gesperrt">Ashley</em>, <em class="gesperrt">Lindley</em> and <em class="gesperrt">Dragonetti</em></td><td><em class="gesperrt">Ries</em>.</td></tr>
<tr><td>Irish Melodies (M. S.), with Variations for the Violin, Mr. <em class="gesperrt">Spohr</em> (composed expressly for this occasion)</td><td><em class="gesperrt">Spohr</em>.</td></tr>
<tr><td class="center"><em class="gesperrt">PART II.</em></td></tr>
<tr><td>Nonotto for Violin, Viola, Violincello, Contrabasso, Flute, Oboe, Clarinet, Horn and Bassoon, Messrs. <em class="gesperrt">Spohr</em>, <em class="gesperrt">Lindley</em>, <em class="gesperrt">Dragonetti</em>, <em class="gesperrt">Ireland</em>, <em class="gesperrt">Griesbach</em>, <em class="gesperrt">Willman</em>, <em class="gesperrt">Arnull</em> and <em class="gesperrt">Holmes</em></td><td><em class="gesperrt">Spohr</em>.</td></tr>
<tr><td>Scena, Mrs. <em class="gesperrt">Salmon</em> “<span lang="it" xml:lang="it">Fellon, la pena avrai</span>”</td><td><em class="gesperrt">Rossini</em>.</td></tr>
<tr><td>Rondo for the Violin, Mr. <em class="gesperrt">Spohr</em></td><td><em class="gesperrt">Spohr</em>.</td></tr>
<tr><td>Aria, Mr. Vaughan “<span lang="it" xml:lang="it">Rendi’l sereno</span>”</td><td><em class="gesperrt">Haendel</em>.</td></tr>
<tr><td>Overture</td><td><em class="gesperrt">Spohr</em>.</td></tr>

</table></div>
<hr class="thin" />
<div class="center">
<table class="left" border="0" cellpadding="4" cellspacing="0" summary="">
<tr><td>Leader of the Band</td><td>Mr. <em class="gesperrt">Spohr</em>.</td></tr>
<tr><td>At the Pianoforte</td><td>Sir George <em class="gesperrt">Smart</em>.</td></tr>

</table></div>


</div>

<p>The new symphony, though already known to the orchestra,
was again carefully rehearsed through with them, and was ex<span class="pagenum"><a name="Page_ii_95" id="Page_ii_95">[Pg 95]</a></span>ecuted
in a masterly manner, and it met with a more lively applause,
if possible, than on its first performance. While the air
that followed was being sung I tuned my wife’s harp for her
in the adjoining room and spoke some words of encouragement
to her. I then led her into the concert-room and we took
our places to begin the duet. Silent expectation pervaded the
whole auditory, and our first tones were eagerly awaited, when
suddenly a fearful noise was heard in the street, which was
immediately followed by a volley of paving stones against the
unilluminated windows of the adjoining room. Terrified at
the noise of the breaking glass of the windows and chandeliers,
the ladies sprang up from their seats, and a scene of
indescribable confusion and alarm ensued. In order to prevent
a second, volly of missiles, the gas lights in the adjoining
apartment were speedily lighted, and we were not a little
gratified to find that the mob after giving another uproarious
cheer at the success of their demonstration went on their way,
and thus by degrees the previous quiet was restored. But it
was some time before the public resumed their places in the
room and became so far tranquillized that we could at length
begin. I was not a little fearful that the fright and the long
pause would make my wife still more nervous and I listened
therefore to her first accords in the greatest anxiety; but
when I heard these resound with their usual power I became
immediately tranquillized, and gave my attention wholly to
the unity and ensemble of our play. This, which in Germany
had always pleased so much, did not fail to make its effect
upon an English audience also; the applause, indeed, increased
with every theme of the duet, and at its conclusion seemed
as though it never would cease. As we retired highly gratified
with this success, we neither of us thought that it was
the <i>last time</i>, that <i>Dorette</i> would play on the harp. But of
that hereafter!</p>

<p>As regards the other items of the programme in which
I took part, I was particularly pleased with the good reception
which the nonette met with. I had already played it<span class="pagenum"><a name="Page_ii_96" id="Page_ii_96">[Pg 96]</a></span>
with the same artists at one of the Philharmonic concerts, and
was invited on many sides to repeat it at my concert. The
accuracy of our <i>ensemble</i> was this time more complete, and
therefore it could not fail in its effect. The Irish melodies were
generally well received. Thus, in spite of the disturbing intermezzo,
the concert terminated to the general satisfaction
of all. The interval after the first part and the promenade
in the adjoining saloon were this time entirely prevented by
the damage which it had sustained; the confectioner told me
that, having had no demand for his refreshments, he was the
ten pound in pocket, although he had had some things smashed
on the buffet by the volley of stones. When at length, exceedingly
fatigued, we got into our carriage, we were not able to
drive straight home, as the mob in the neighbourhood of Portland
Place still had it all their own way. The coachman was
therefore obliged to take all manner of circuitous turnings,
and it was past one in the morning when we at length drove
up to our own door. With the exception of our floor we
found the whole house lit up, and the landlady was awaiting
our return in the greatest anxiety, in order to light up
our windows also. And indeed it was high time; for the mob
were heard approaching. But as in obedience to their sovereign
will they found the whole of Charlotte-street brilliantly illuminated,
they passed on without committing any excesses. But
it was not safe to extinguish the lights, and not until the lapse
of several hours, when the town had become quite quiet, did
we at length get the rest we so much needed.</p>

<hr class="tb" />

<p>Now comes a sorrowful period in my life, on which I
now still think with grief. My wife felt so ill from the effects
of the great exertions she had made in acquiring the mastery
of the new harp and the alternate impressions upon her nervous
system on the evening of the concert, that I was greatly
afraid she was about to have a third attack of nervous fever.<span class="pagenum"><a name="Page_ii_97" id="Page_ii_97">[Pg 97]</a></span>
It was therefore high time to come to some firm resolve as
regarded her future well-being. Already after her second
attack in Darmstadt, when she had become fully restored to
health, I had endeavoured to persuade her to abandon her
nerve-destroying instrument, but when I saw how much this
proposition distressed her, I again immediately relinquished it.
She was too much heart and soul the artiste, and had acquired
too great a love for the instrument to which she owed so
many triumphs, to be able to give it up readily; and it had
always been a source of happiness to her to think that she
could assist with her talent towards the maintenance of our
family. But now, that she was but too convinced that her
physical powers were not sufficient to conquer the new instrument,
and a return to the old one would not satisfy her
after having made herself intimately acquainted with the advantages
of the new one in tone and mechanism, it became
much easier for me to win her over to my way of thinking,
particularly when I represented to her that as the artiste she
could still be known, and in future appear at my concerts as
pianiste, for which she had all the necessary qualifications.
This tranquillized her very much, although she was obliged
to admit to herself, that she would never be able to achieve
upon the pianoforte the same success as on the harp, upon
which in Germany at least she had not her equal. I moreover
promised her, that in order to give her performances the
charm of novelty, I would write some brilliant concert themes,
and as it was very important for me to try my hand also at
pianoforte compositions, I immediately set to work and finished
before leaving London the first subject of the piano-quintet
Op. 52. In order to remove the harp wholly from her sight,
I sent it to Mr. <i>Erard</i>. When I informed him that my wife
was compelled to abandon the harp entirely on account of
the weak state of her health, he took it back very willingly,
and refused a compensation for the use made of it up to that
time. In a most gallant manner he said, the instrument had
now acquired a real value, from having been played upon<span class="pagenum"><a name="Page_ii_98" id="Page_ii_98">[Pg 98]</a></span>
by so celebrated an artiste, and that too at her last public
performance.</p>

<p>I now again took daily walks into the country with my
wife and had soon the pleasure of seeing that she was gradually
recovering her strength. The thought that she would soon
see her children again contributed no doubt in a very great
measure towards this improvement. I also longed to be home
again with my family, and immediately the last Philharmonic
concert was over, I made preparations for leaving.</p>

<p>I must here by way of appendix speak of the musical
institution of Mr. <i>Logier</i>, which I visited several times with great
interest, and respecting which I sent the following report to
the Leipsic Musical Journal of August 1820: “Mr. <i>Logier</i>, a
German by birth, but resident for the last fifteen years in England,
gives instruction in pianoforte-play and in harmony upon
a method of his own invention, in which he permits all the
children, frequently as many as thirty or forty, to play at the
same time. For this purpose he has written three volumes
of studies, which are all grounded upon perfectly simple themes,
and progress by degrees to the most difficult ones. While
beginners play the theme, the more advanced pupils practise
themselves at the same time in more or less difficult variations:
one might imagine that from this manner of proceeding
great confusion must ensue, out of which the teacher would
be able to distinguish very little; but as the children who
play these studies, sit near each other, one hears, according to
whichever part of the room one may be in, either one or
the other of the studies very distinctly. The teacher also frequently
makes half of the pupils, at times all but one, cease
playing, in order to ascertain their progress individually. In
the last lessons he makes use of his chiroplast, a machine
by means of which the children get accustomed to a good
position of the arms and hands, and which so soon as they
have progressed so far as to know the notes and keys, is removed
first from one hand and then from the other, and then
for the first time they put their fingers to the keys and learn<span class="pagenum"><a name="Page_ii_99" id="Page_ii_99">[Pg 99]</a></span>
to play scales; but all this, in the respective studies, with all
the children at once, and always in the strictest time. When
they have then progressed to a new lesson they do not of
course succeed in bringing out more than a few notes of each
bar, in the quick movement which they hear being played
near or around them; but they soon overcome more and
more of them, and in a shorter time than might well be believed,
the new lesson is played as well as the previous one.
But what is most remarkable in Mr. <i>Logier’s</i> method of teaching
is, that, with the very first lessons in pianoforte playing
he teaches his pupils harmony at the same time. How he
does this, I do not know; and that is his secret, for which
each of the teachers in England who give instruction on his
system pay him one hundred guineas. The results of this
method with his pupils are nevertheless wonderful; for children
between the ages of seven and ten years solve the most difficult
problems. I wrote down on the board a triad, and denoted
the key in which they were to modulate it: one of the
littlest girls immediately ran to the board, and after very
little reflection wrote first the bass, and then the upper notes.
I frequently repeated this test, and indeed with the addition
of all manners of difficulties: I extended it to the most divergent
keys in which enharmonic changes were required, yet
they never became embarrassed. If one could not succeed,
another immediately came forward, whose bass perhaps was
corrected by a third; and for everything they did they were
obliged to assign the reason to the teacher. At length I wrote
upon the table a simple treble&mdash;the first that came into my
head&mdash;and told each of them to put the other three voices
to it, each upon her own slate. At the same time I said to
them that the solution of the theme which the teacher and I
should consider the best, I would inscribe in my musical album
as a souvenir of their performance. All were now full of
life and activity, and in a few minutes one of the littlest of
the girls, who had already distinguished herself by her play
and in working out the first problems, brought me her slate<span class="pagenum"><a name="Page_ii_100" id="Page_ii_100">[Pg 100]</a></span>
to inspect, but in her haste she had omitted an octave in the
third bar between the bass and one of the middle voices. No
sooner had I pointed it out to her, than blushing and with
tears in her eyes she took back the slate and rapidly corrected
her error. As in her performance the bass was indisputably
the best of all, the teacher wrote it in my album, and
I subjoin it here with diplomatic accuracy.</p>

<div class="figcenter" style="width: 500px;">
<img src="images/zill_d100.png" width="500" height="237" alt="" />
</div>

<p>The resolutions of the other children were more or less
good, but all of them correct, and mostly written out in four
different keys. Each also played her own immediately without
any embarrassment on the pianoforte and without “fault,” &amp;c.”</p>

<p>Upon my announcing our approaching departure to my
old <i>Johanning</i>, tears came into the eyes of the kind and affectionate
old man. He had become so fond of us that he would
have even refused all remuneration for the services he had
rendered us, and positively objected to take the sum I had
reserved for him. But upon my insisting on his taking it he
complied, on the condition that I would not refuse him a
favour he wished to ask of me. I asked him what it was, and
he did not keep me long in suspense, but stammered out in
an embarrassed manner the request that I and my wife would
do him the honour to take our dinner, the day before our
departure, at his house. When we consented thereto without
hesitation, his whole countenance immediately brightened up,
and he could not find words to express sufficiently his gra<span class="pagenum"><a name="Page_ii_101" id="Page_ii_101">[Pg 101]</a></span>titude.
On the appointed day he made his appearance dressed
as I had never yet seen him, in a full-dress suit of his deceased
master’s, with hair powdered, and in white silk stockings,
and at our door stood a hackney carriage for four persons, which
was to take us to his country house, and in which a musician
whom he had also invited, and whose acquaintance we had already
made, and who was the most intimate friend of his
late master, was already seated. When we had got in, <i>Johanning</i>
refused to take the fourth seat, saying that it would be unbecoming
of him to do so, although I pointed out to him
that he was now no longer my servant, but for this day my
host and entertainer. But he was not to be persuaded, and
took his usual place by the side of the coachman. On the
way there our companion related to us many particulars highly
creditable to <i>Johanning</i>&mdash;how he had shewn the most ardent
attachment and fidelity to his master, and after his death had
applied the greater part of the money he had left him, to
the erection of a memorial to his master in Westminster Abbey,
so that we felt penetrated with the highest respect for our
recent servant. Upon our arrival he opened the carriage door
and led us into his house. The property consisted of a small
house with a small garden attached, and everywhere the greatest
neatness and cleanliness. He led the way up one flight
of stairs to his reception room, and did not fail to show us
immediately the bell-pull near the mantle-piece, to which he
forthwith gave a tug, although he kept no servant whom he
could summon with it, since he and his wife were their own
servants. We then took a turn through the little garden and
then entered the parlour, where the table was laid for three
persons. <i>Johanning</i> again refused to take a seat near us at
table, and this time for the cogent reason that we should
then have had no one to wait upon us. Upon this he brought
up the dinner and as master of the house waited upon his
guests, during which occupation his whole countenance wore an
expression of the greatest pleasure. The dinner was exceedingly
well dressed and served up on an elegant china dinner-service<span class="pagenum"><a name="Page_ii_102" id="Page_ii_102">[Pg 102]</a></span>
which had belonged to his master, and the excellent
Rhenish wine which he placed before us was no doubt derived
also from the same source. The dessert, strawberries
and cherries, was the produce of his little garden, and this
he did not fail to announce to his guests.&mdash;When dinner was
over he led the way once more to his drawing-room, where
we found Mrs. <i>Johanning</i>, who till then had been engaged in
the kitchen in dressing and sending up the dinner, in full
Sunday attire. There at length, though only after repeated
pressing, the worthy old couple allowed themselves to be persuaded
to take seats at the table, on which coffee had already
been placed. <i>Johanning</i> was now in the height of
happiness, and interpreted with no little satisfaction to his
wife the praises which we had expressed and still reiterated
of the admirable manner in which we had been entertained.
Towards evening the coach again drove up to the door to
take us back to town. But <i>Johanning</i> could not be deterred
from resuming his old place by the side of the coachman, to
accompany us home, and open the carriage door. In fact,
even on the next morning he presented himself again, in order
to be of assistance at our departure. At the coach-office we
found also several friends and acquaintance waiting to bid
us farewell.</p>

<hr class="tb" />

<p>We returned again by way of Dover and Calais, in order
to take our own carriage which we had left at Lille. Our
passage across this time was a very calm one and the weather
fine, so that not any of the passengers were sea-sick. Between
Calais and Lille the diligence stopped at a so charming place
to dine that even now, after so long a time, I recollect it with
a feeling of pleasure. It was at the small town of Cassel,
which is situated upon a high isolated conical hill that rises
in the midst of an extensive plain. The weather being
fine, dinner had been laid for the travellers in the garden of
the inn under a bower of vines, and during the repast, from<span class="pagenum"><a name="Page_ii_103" id="Page_ii_103">[Pg 103]</a></span>
this pleasant, cool situation we enjoyed an extensive view
over the beautiful country round. In Lille we again spent
some pleasant days in the society of the <i>Vogel</i> family and
other of our friends there, and then without longer stay set
out in our own carriage upon our further journey.</p>

<p>As a natural consequence of the painful ordeal of grief
through which my parents had passed on our account, and
after the first long separation from our children, our reception
this time in Gandersheim was beyond measure one of heartfelt
joy, and after our protracted exertions and fatigue we
now indeed felt once more happy and freed from care in the
calm repose of the country. This was just the time for me
to set myself to new labours, and I there first completed the
quintet for pianoforte, flute, clarinet, horn and double-bass
which I had begun in London, and in which I proposed that
my wife should make her appearance in the world of art as
a pianiste on our projected winter tour. Indeed, it was high
time to occupy her in its artistic study; for as she now felt
quite re-established in health, she had the greatest desire to
resume her harp. With the assistance of the new quintet,
however, and supported by the medical counsel of my
father, I soon succeeded in dissuading her from it. She therefore
devoted her attention to the pianoforte with the greatest zeal,
and in a short time had the gratification of finding she had
reacquired her former technical skill upon that instrument.
After the lapse of a few weeks she succeeded therefore in executing
the new and difficult concert-piece to her and my
satisfaction.</p>

<p>About this time we had a visit from two musical Hamburg
friends, Messrs. <i>Fritz Schwenke</i> and <i>Wilhelm Grund</i>, the
latter of whom brought his younger brother <i>Edward</i> with him,
who was already a good violinist, to become my pupil. With
the assistance of these three I now gave our musical friends
of Gandersheim a quartet-party such as they had never heard
before nor have since. In order to have my new quintet heard
upon this occasion also, I quickly rewrote the accompaniment<span class="pagenum"><a name="Page_ii_104" id="Page_ii_104">[Pg 104]</a></span>
of the four wind-instruments, for a stringed-quartet, and in
this shape was highly pleased with its effect, as also with the
brilliant play of my wife. From the great success this had
met with, she felt much encouraged in her new studies and
consoled in some measure for her relinquishment of the harp.
To provide her still with new materials for practice, I rewrote
also two former harp-compositions for the piano, a pot-pourri
and a rondo with violin, which appeared later as Op. 50 and
51. We practised these together also with the greatest care,
and they were destined for performance at private parties on
our next winter tour. After the departure of the Hamburg
visitors I commenced the instruction of my new pupil. By
his talent and amiability he soon won the esteem of the whole
<i>Spohr</i> family, from the old grandfather down to little <i>Theresa</i>,
whom he always called in pure Hamburg dialect: “<span lang="de" xml:lang="de">Du säute
Deren</span>.” As he played well on the piano, he undertook the
musical instruction of <i>Emilia</i> and <i>Ida</i>, and young as he was,
he knew how to keep them assiduous to their studies. Himself
as violinist he soon made so much progress, that I practised
him in and played with him the three extremely difficult
violin-duets which I wrote in Switzerland (Op. 39) and
for which I had never yet been able to meet with a fellow-player.
By the accurate, pure and spirited execution of this
almost always four-voiced duets we made a great sensation,
and musical amateurs from the whole country round came
to hear us play them. We played one of them also with great
success at a concert in Hildesheim, given there by the director
of music <i>Bischoff</i>, the same who undertook the Frankenhaus
musical festivals. Towards autumn, just as I had begun to
compose a new violin concerto (the 9th. D-minor. Op. 55,
published by <i>André</i> of Offenbach) for the winter journey, I
received an invitation from music-director <i>Rose</i> in Quedlinburg
to conduct a musical festival which he was about to hold there.
I very gladly accepted it, and made all haste to complete my
concerto so as to be able to perform it there for the first
time. While practising it I received great assistance from<span class="pagenum"><a name="Page_ii_105" id="Page_ii_105">[Pg 105]</a></span>
<i>Edward Grund</i>, who was able to accompany through the score
on the piano, an assistance, which I had never before experienced.</p>

<p>The musical festival took place on the 13th. and 14th.
October 1820, and went off to the full satisfaction of the originator
and the numerous auditory. Upon my proposition,
<i>Schneider’s</i> “Last Judgement” was given on the first day, at
which the composer himself was present. On the second day,
among other things my London symphony was performed, and,
as well as my new violin concerto, was received with great
approbation. I met in Quedlinburg many of my former friends
and acquaintances from Sondershausen, Gotha, Leipzig, Magdeburg,
Halberstadt and Brunswick, and passed several delightful
days with them. After our return from this pleasant excursion,
upon which my parents and <i>Edward Grund</i>, as well
as my wife, had accompained me, it became full time to set
out upon our winter tour, the terminus of which was to be
Paris. A new parting from the children, my parents, and the
pleasant society of Gandersheim, was therefore necessary; and
<i>Edward Grund</i> returned to Hamburg with the intention of
coming again in the spring to prosecute his studies under my
guidance.</p>

<p>We took Frankfort, Heidelberg, Carlsruhe and Strasburg
on our way to Paris, and gave concerts in all those towns.
In Frankfort, where we lived in the house of my friend <i>Speyer</i>,
we still found a lively remembrance of our artistic talents;
our concert in the salon of the “<i lang="de" xml:lang="de">Weidenbusch</i>” was crowded
to overflowing, although the room could easily accommodate
eight hundred persons. My new violin concerto, excellently
accompanied, made a great sensation; Councillor <i>André</i> himself,
who previously had always some fault to find with my
compositions, seemed quite satisfied with my new work; for
he repeatedly requested me, after the rehearsal even, to let
him have the publishing of it. Although I declined this most
positively, as I was bound by a promise to my then publisher
<i>Peters</i> of Leipsic, to let him have all my new manuscripts, yet<span class="pagenum"><a name="Page_ii_106" id="Page_ii_106">[Pg 106]</a></span>
in the evening at the concert <i>André</i> again pressed me, and so
pertinaciously, that to get rid of him, and to prepare quietly
for my solo-play, I at last called out to him “Yes.” This
precipitancy however cost me dear, for although I immediately
informed <i>Peters</i> of all the circumstances, in order to
exculpate myself with him, I was compelled to endure many
bitter reproaches for my excessive pliancy towards Mr. <i>André</i>.
The new piano quintet with wind-instrument accompaniment,
which was now also performed, made likewise a great sensation,
and <i>Dorette’s</i> purity of piano-forte play, of which until
then the friends of music in Frankfort had known nothing, was
greeted with the loudest applause. I was more particularly
pleased with this result, as of all others it was calculated to
console my wife for the abandonment of her harp.</p>

<p>Of the other towns between Frankfort and Paris, and of
the concerts given there I have forgotten everything; I must
however advert to the acquaintance I made of Councillor <i>Thibaut</i>
at Heidelberg on this occasion. That celebrated jurist
conducted a choral society that he had instituted; but excluding
all modern church music, he permitted <i>ancient</i> Italian
music only to be sung, of which he had made a rich and
rare collection. Until then I knew nothing more of this music
than what I had heard in the Sixtine chapel at Rome, and
was therefore very thankful to the Councillor for the permission
he gave me to be present at the rehearsals of his society,
at which I became better acquainted with several of those old
works, which were carefully practised by them. <i>Thibaut’s</i>
opinion that this music <i>alone</i> represented the true ecclesiastical
style, and surpassed all that had ever been written since, I
cannot coincide with, for to me <i>Mozart’s</i> requiem, incomplete
as it passed from the hands of that master, who died during
its composition, is alone worth more than all I ever heard of
earlier church music; nevertheless, the simple-grandiose style
of those works made then a great impression on me, and I
begged permission to study their scores through. After
some hesitation my wish was granted in such wise that I was<span class="pagenum"><a name="Page_ii_107" id="Page_ii_107">[Pg 107]</a></span>
permitted to visit <i>Thibaut’s</i> music-room at particular hours,
and to go through the works on the piano, but was not permitted
to take any home with me. I took daily advantage of
this favour, and by that means made myself intimately
acquainted with the vocal method and harmonic sequence of
the old masters. While so engaged I was seized with the
desire of trying for once an ecclesiastic piece <i>alla Capella</i> for
several voices, and in the following summer I carried out my
idea at Gandersheim with the composition of the mass for ten
voices, Op. 54. I certainly did not strive to imitate the simple
treble movements of the old masters; but on the contrary I
did a good deal towards carrying out the rich modulation of
the later Mozart method.</p>

<p>Respecting our stay in Paris I published at the time
“Four letters to a Friend” in the Leipsic Musical Journal of
1821, which I here append.</p>

<p class="break center">FIRST LETTER.</p>

<p>
<i>Paris</i>, December 15. 1820.
</p>

<p>I trust, my dear friend, that you will give me credit for
writing to you so soon on the eighth day after our arrival, at a
time when so many novelties crowd upon my notice, that I
find it difficult to collect my thoughts. But for my own sake
I must not permit the materials to grow upon me too much,
otherwise I shall be wholly unable to deal with them in their
due order.</p>

<p>With a beating heart I drove through the Barrière of
Paris. The thought, that I should at length have the pleasure
of making the personal acquaintance of the artists whose
works had inspired me in my early childhood, excited the
emotion which I then felt. In fancy I reverted to the days
of my boyhood, in which <i>Cherubini</i> was my idol, whose works
I had had an earlier opportunity of becoming acquainted with
in Brunswick, at the then permanent French theatre there,
than even the works of <i>Mozart</i>; I vividly recollected the evening
when the “<span lang="fr" xml:lang="fr">Deux Journées</span>” was performed for the first<span class="pagenum"><a name="Page_ii_108" id="Page_ii_108">[Pg 108]</a></span>
time&mdash;how, intoxicated with delight and the powerful impression
that work had made upon me, I asked on that very evening
to have the score given to me, and sat over it the whole night;
and that it was that opera chiefly that gave me the first impulse
to composition. The author, and many other men whose
works had had the most decided influence on my development
as a composer and violinist, I was now soon to behold.</p>

<p>We had therefore scarcely got under cover, when I made
it my first business to pay a visit to those artists. I was received
by all in a friendly manner, and relations of friendship
soon sprang up between me and several of them.</p>

<p>I was told of <i>Cherubini</i>, that he was at first very reserved
toward strangers, repulsive even; I did not find him
so. He received me, without any letter of introduction, in
the most friendly manner, and invited me to repeat my visit
as often as I pleased.</p>

<p>On the evening of our arrival <i>Kreutzer</i> took us to the
grand opera, where a ballet of his, with pretty characteristic
music: “<span lang="fr" xml:lang="fr">Le carnaval de Venise</span>,” was performed. It is observable
in the singers and dancers of the grand opera, that they
have been accustomed to move in a more spacious place; in
this one, where the space is much more confined as compared
with the opera house that has been abandoned, they appear in
a much too sharp relief. Several grand operas, those of <i>Gluck’s</i>
for instance, can no longer be represented at all, there being
not even the necessary room for the whole orchestra. For
this reason every one looks forward with hope for the early
completion of the new opera house; but actively as they are
working upon it, that will not be ready before the middle
of next summer. Before the ballet the opera: “<span lang="fr" xml:lang="fr">Le Devin du
village</span>,” the words and music by <i>Rousseau</i>, was given. Is it
a subject for praise or blame, that the French, notwithstanding
the many excellent things with which their operatic repertoire
has been enriched during the last twenty years, still
give the oldest things of all? And is it indeed a proof of an
advanced cultivated taste for art, when one sees them give<span class="pagenum"><a name="Page_ii_109" id="Page_ii_109">[Pg 109]</a></span>
as enthusiastic a reception (if not more so) to the oldest operas
of <i>Grétry</i> with their poverty of harmony and incorrectness,
as to the master pieces of <i>Cherubini</i> and <i>Méhul</i>? I think not!
How long have not the operas of <i>Hiller</i> and <i>Dittersdorf</i> and
others of those days, disappeared from our repertoire, although
these are far to be preferred for their real musical worth to
the greater part of <i>Grétry’s</i>. But on the other hand it is
certainly very discouraging, that with us the new only, however
poor and defective, finds a ready reception, and many excellent
things of older date are set aside for them and forgotten. Nevertheless
it must be said to the honour of the taste for art
of the Germans, that <i>Mozart’s</i> operas at least are the exception,
and for the last thirty years have constantly been produced
in all the theatres of Germany, which is a proof
that the German people are at length impressed with the inimitable
perfection of those master-pieces, and are not to be
deceived on this head, however extensively the sweet musical
poison may spread which flows in upon us so profusely
from beyond the Alps.</p>

<p>The orchestra of the grand opera, as compared with the
other orchestras, reckons among its members the most celebrated
and distinguished artistes, but in <i>ensemble</i> is said to
be behind the Italian opera. I cannot yet judge how far that
may be correct, as I have only heard the latter as yet. In
<i>Kreutzer’s</i> ballet, which was played by the orchestra with the
greatest precision, I was greatly pleased with a hautboy
solo, which was executed in a masterly manner by Mr. <i>Voigt</i>.
This artist has succeeded in giving to his instrument a perfect
uniformity of tone and intonation throughout the whole range
from <i>C</i> to the high <i>F</i>, an accomplishment which almost all
hautboy players have failed in attaining. His execution is moreover
full of grace and good taste.</p>

<p>For some days past I have been less edified at the grand
opera than I was the first time. “<span lang="fr" xml:lang="fr">Les mystères d’Isis</span>” was
performed. Too well indeed are justified the complaints of
the admirers of <i>Mozart</i> of the disfigurement of the beautiful<span class="pagenum"><a name="Page_ii_110" id="Page_ii_110">[Pg 110]</a></span>
“<span lang="de" xml:lang="de">Zauberflöte</span>” in this piece of workmanship, which the French
themselves re-christened on its appearance “<span lang="fr" xml:lang="fr">Les Misères d’ici</span>”!
One must blush that it should have been Germans, who so
sinned against the immortal master. Everything but the
overture has been meddled with; all else has been thrown
into confusion, been changed and mutilated. The opera begins
with the concluding chorus of the <span lang="de" xml:lang="de">Zauberflöte</span>; then comes
the march in Titus, and then in succession some fragmentary
piece from other operas of <i>Mozart</i>, and even a little bit
of a symphony of <i>Haydn</i>; then between these recitatives
of Mr. <i>Lachnitz’</i> own manufacture. But worse than all this
is, that the transposers have applied a serious text to many
cheerful and even comic passages of the <span lang="de" xml:lang="de">Zauberflöte</span>, by which
the music of those passages becomes a parody of the text
and of the situation. In this manner, for instance, Papagena
sings the characteristic air of the Moor: “<span lang="de" xml:lang="de">Alles fühlt der Liebe
Freuden</span>,” &amp;c.; and the pretty terzet of the three boys: “<span lang="de" xml:lang="de">Seid
uns zum zweitenmal willkommen</span>,” &amp;c., is sung by the three
ladies. Of the duet: “<span lang="de" xml:lang="de">Bei Männern, welche Liebe fühlen</span>,” &amp;c.,
a terzet has been made, and so on. Worse than all, however,
they have taken the liberty of making alterations in the score:
for example, in the air: “<span lang="de" xml:lang="de">In diesen heil’gen Hallen</span>,” at the
words: “<span lang="de" xml:lang="de">So wandelt er an Freundes Hand</span>,” the imitating bass</p>

<div class="figcenter" style="width: 400px;">
<img src="images/zill_d110.png" width="400" height="80" alt="" />
</div>

<p>is entirely left out, which is here indispensably necessary, not
alone to the harmony, but because it expresses the act of
wandering in so characteristic a manner, and the bass sound
the <i>B</i> only a few times instead. You may therefore readily
imagine how insipid and meagre this passage now sounds,
which in Germany is so frequently admired. Moreover, in the
terzet of the three females, where <i>Mozart</i> strengthens and
supports the third voice with the violins only, the transposers
have added both violoncello and double-bass; so that at these<span class="pagenum"><a name="Page_ii_111" id="Page_ii_111">[Pg 111]</a></span>
tender passages, which are for three voices only, the bass
lies in three different octaves, which to a cultivated ear is
unbearable. Similar offences are of frequent occurrence. We
must nevertheless do the French the justice to say, that they
have always highly disapproved of this vandalic mutilation of
a great master-piece (the extent of which from their ignorance
of the original is yet not known to them); but how is it, that
the “<i lang="fr" xml:lang="fr">Mystères</i>” have nevertheless kept their place undisturbed
in the repertoire for the last eighteen or twenty years?&mdash;and
here where the public moreover, as I see every day,
rule so despotically in the theatre, and manage to have everything
their own <span class="lock">way!&mdash;</span></p>

<p>To me, as a German, the performance was not satisfactory.
Even the overture was not executed so well as it should
have been by so excellent a union of first-rate musicians. It
was taken too quick, and still more hurried at the close, so
that the violins instead of playing semiquavers could only play
quavers. The singers of the grand opera, whose great merits
may perhaps lie in declamatory song, are little qualified to
render the soft airs of the <span lang="de" xml:lang="de">Zauberflöte</span> in a satisfactory manner.
They sing them with a blunt roughness that deprives them
of all tenderness. The getting-up in scenery, dresses and
dancing is respectable, but not so handsome as I had expected.&mdash;Yesterday
we went for the first time to the grand opera,
and saw “Clari,” a grand ballet in three acts, the music by
<i>Kreutzer</i>. Little as I like ballets, and little, in my opinion
as pantomime merits the aid of the resources of art, as these
are lavished on it here, I nevertheless do not deny that the
Parisian ballet may sometimes afford agreeable amusement, until
one becomes wearied with the monotony of the mimic movements,
and of the yet greater sameness of the dances. But
with all the perfection with which it is given here, pantomime,
from the poverty of its signs, which always require a
printed explanation of their meaning, is, as compared to recitative
drama, a mere outline by the side of a finished drawing.<span class="pagenum"><a name="Page_ii_112" id="Page_ii_112">[Pg 112]</a></span>
However it may be embellished with golden ornament and
decorated surroundings, as is the ballet here by magnificence
of costume and decorations, it gives the outline only,
and the life is wanting. In the same manner I may compare the
drama to the opera&mdash;as a drawing by the side of the painting.
From song, the poem receives its first colouring, and
by it only, and the powerful aid of harmony, does it succeed
in giving expression to the indefinable and merely imagined
emotions of the soul which language must be content alone
to hint at. The music to “Clari” is a great success, and in
the second and third act especially the effect is most captivating.
It facilitates greatly the comprehension of the subject
by a correct delineation of the passions, and contains a treasury
of pretty melodies which one regrets do not form part
of an opera. Mademoiselle <i>Bigottini</i> played the chief character,
and evinced a deep study of mime and action in her play.
That in very impassioned situations she carried the expression
of her features to the borders of grimace, may perhaps be
imputed to the circumstance that hitherto she has always appeared
in a spacious place, where on account of the distance
it was requisite to give strong play to the features. Perhaps
as a German this is my fancy only, for the applause was
never more tumultuous than when (to my feeling) she overstepped
the bounds of the beautiful and graceful.</p>

<p>Before the ballet, the one-act opera “<span lang="fr" xml:lang="fr">Le rossignol</span>” was
given; from which <i>Weigl</i> took the subject of his German opera
of “<span lang="de" xml:lang="de">Nachtigall und Rabe</span>.” The music of the French opera
is of no account, and interested me only through the masterly
execution of a flauto-solo by Mr. Tulou. It is impossible to
hear a finer tone than that Mr. Tulou draws from his instrument.
Since I heard him, it appears to me no longer so
inappropriate, when our poets compare the pleasing sound of
a fine voice to the tones of a flute.</p>

<p><span class="pagenum"><a name="Page_ii_113" id="Page_ii_113">[Pg 113]</a></span></p>

<p class="break center">SECOND LETTER.</p>

<p>
<i>Paris</i>, December 31. 1820.
</p>

<p>Since the despatch of my first letter, a fortnight has
elapsed, replete with enjoyment, and since then we have both
seen and heard much that is beautiful; but for the present
I must content myself with writing to you upon that which
most nearly concerns my art. I have now made my appearance
before musicians and dilettanti, connoisseurs and a lay
public, as violinist and composer, first at Mr. <i>Baudiot’s</i>, primo
violoncellist of the royal orchestra, on the day after at <i>Kreutzer’s</i>,
and since then at three private parties. At the soirées
of the two first the company consisted almost wholly of musicians;
at <i>Kreutzer’s</i>, in particular, almost all the first composers
and violinists of Paris were present. I gave several of
my quartets and quintets, and on the second day my nonet.
The composers present expressed themselves to me in very
laudatory terms upon the composition, and the violinists upon
my play. Of the latter, <i>Viotti</i>, both the <i>Kreutzers</i>, <i>Baillot</i>,
<i>Lafont</i>, <i>Habeneck</i>, <i>Fontaine</i>, <i>Guerin</i>, and several others whose
names are not so well known in Germany, were present; and
you may imagine that it was then highly necessary that I
should collect my faculties, to do credit to my countrymen.
The wind-instrument parts in my nonet were played by the
five artists of whose masterly execution of <i>Reicha’s</i> quintets
you will have so frequently read in accounts from Paris. I
had the pleasure of hearing them play two of those quintets,
but shall reserve to myself all detailed observations thereon
till I shall have heard some more of them. At the request
of all the musicians present my nonet was played again the
same evening; and if the readiness with which the assistant
players read <i>à prima vista</i> that difficult piece of music had
surprised me, I was still more gratified, upon its repetition,
by the manner in which they now entered into the spirit of
the composition and re-executed it.</p>

<p>The young pianist <i>Herz</i>, of whom you have also doubtless
read in the Parisian musical miscellanies, played twice<span class="pagenum"><a name="Page_ii_114" id="Page_ii_114">[Pg 114]</a></span>
on that evening, at first his own variations on the theme from the
“<span lang="de" xml:lang="de">Schweizerfamilie</span>,” and then <i>Moscheles’</i> well-known variations
on Alexander’s march. The extraordinary execution of this
young man is the astonishment of everybody; but with him,
as with all the young artists here whom I have yet heard,
it seems to me that his technical cultivation is in advance
of that of his mind; otherwise, in a company composed of
artists only, he would surely have given something different
and more intellectual than the break-neck tricks of art he
exhibited. But it is very singular, how all here, young and
old, strive only to shine by mechanical execution, and individuals
in whom perhaps the germ of something better lies, devote
whole years and every energy to the study and practice
of one single piece of music, frequently of the most worthless
kind, in order to create a sensation with it before the public.
That the mind remains torpid under such circumstances and
that such people never become much better than musical automatons
may be readily imagined.</p>

<p>Hence one seldom or never hears in the musical réunions
here an earnest, well-digested piece of music, such as a quartet
or quintet of our great masters; every one produces his
show-piece; you hear nothing but <i lang="fr" xml:lang="fr">airs variés</i>, <i lang="fr" xml:lang="fr">rondos favoris</i>,
<i lang="fr" xml:lang="fr">nocturnes</i>, and the like trifles, and from the singers romances
and little duets; and however incorrect and insipid all this
may be, it never fails to produce an effect, if it is executed
right smoothly and sweetly. Poor in such pretty trifles, with
my earnest German music I am ill at ease in such musical
parties, and feel frequently like a man who speaks to people
who do not understand his language; for when the praise of
any such auditors extends even sometimes from my play to
the composition itself, I cannot feel gratified by it, since immediately
afterwards he bestows the same admiration upon the
most trifling things. One blushes to be praised by such connoisseurs.
It is just the same at the theatres: the masses,
the leaders of the fashion here, know not positively how
to distinguish the worst from the best; they hear “<i lang="fr" xml:lang="fr">Le<span class="pagenum"><a name="Page_ii_115" id="Page_ii_115">[Pg 115]</a></span>
Jugement de Midas</i>” with the same rapture that they hear
“<i lang="fr" xml:lang="fr">Les deux Journées</i>” or “<i>Joseph</i>.” It requires no long residence
here, to adopt the frequently expressed opinion, that the French
are not a musical nation.</p>

<p>The artists themselves here are of this opinion, and frequently
reply, when I speak of Germany in this respect: “Yes,
music is loved and understood there, but not here.” In this
manner may be explained how good music wedded to a
wretched theatrical piece, falls to the ground, and wretched
music united to a good <i lang="fr" xml:lang="fr">pièce de théâtre</i>, may be highly successful.</p>

<p>This has deprived me of all desire to write for any of
the theatres here, as I had previously much wished to do;
for apart from the fact that I should have to begin <i>de novo</i>,
like a young composer&mdash;since, with the exception of some of
my violin pieces, they know little or nothing of my compositions&mdash;and
further that I should have to work my way through
a thousand cabals, which would rise up against me as a foreigner
with fearful violence before I could get my work performed,
so that at the end I should find, although I might
have written good music, its success would be uncertain, as
that depends, as I have said, almost wholly on the theatrical
piece. This may be seen from the notices in the journals here
upon recent operas, in which whole columns are devoted to
a critique of the text, and the music is dismissed with a passing
notice of a few words only.</p>

<p>Were it not so lucrative to write for the theatres in Paris,
there would have been long since no good composer willing
to do so. But from the considerable gain which a successful
opera brings in during one’s whole life-time, new works are
produced almost every day; authors and composers turn their
mind constantly to the creation of new effects, but do not
neglect at the same time, to ply the public for months together
in the journals, and provide the necessary number of
paid <i>claqueurs</i> in the pit on the evening of the performance,
in order to ensure a brilliant reception for their work and<span class="pagenum"><a name="Page_ii_116" id="Page_ii_116">[Pg 116]</a></span>
thereby an ultimate rich harvest from its frequent repetition.
If only half as much were to be gained by an opera in Germany,
we should soon be equally rich in good composers for
the theatre as we now are in instrumental composers, and
we should have no further need to introduce foreign pieces
upon our stage, for the most part unworthy of the artistic
culture of Germans.</p>

<p>After a residence of now three weeks it may be well
imagined that we have repeatedly visited all the theatres. I
am the more pleased at this as the circle of my acquaintance
has become larger, and my engagements both for the morning
and evening have so much increased that for the next fortnight
we shall be able to devote but few evenings to the
theatre.</p>

<p>Of the <i lang="fr" xml:lang="fr">Théâtre français</i>, the Odéon, and the four lesser
theatres, I shall say nothing; as in a musical point of view
they offer nothing worthy of notice. In the two first they
give nothing but <i lang="fr" xml:lang="fr">entr’actes</i>, and in the four others almost nothing
else but vaudevilles. That this last kind of theatrical
pieces, which, thanks to Apollo and the muses, has hitherto
been transplanted into no other country, is so much liked
here that four theatres give almost nothing else, is the most
striking proof that the French are not musical; for the sacred
art cannot be more abused anywhere than in these kind of
songs, which are neither sung nor spoken, but rattled out in
intervals, and which are in most striking anomaly with the
melodies, and the accompanying harmony. All Frenchmen of
taste are agreed that the vaudeville, which formerly was given
in one theatre only, has by its increase deteriorated more and
more the taste for true music, and therefore had a prejudicial
effect upon art here. We have been to each of these
theatres once, to hear the celebrated comedians <i>Brunet</i>, <i>Pothier</i>
and <i>Perlet</i>, but are not likely to go a second time, for
the enjoyment one derives from the wit and inexhaustible
humour of those performers is too dearly purchased by hearing
such wretched music. I was particularly struck by the<span class="pagenum"><a name="Page_ii_117" id="Page_ii_117">[Pg 117]</a></span>
skill with which the orchestra in those theatres follow the
singers, who do not in the least adhere to the time, or the
notes. But this is, also, their chief merit, for in other respects
they are but middling musicians.</p>

<p>We have been frequently to the Italian opera, and much
enjoyed ourselves there. Last evening we saw “Don Juan”
there, at last, after it had been frequently announced. The
house was again, as upon the previous performances, filled to
overflowing, and hundreds of people could find no room, even
half an hour before the curtain drew up. I was disposed
to believe that the Parisians had at length understood the
classical beauty of this work, and that they flocked always in
greater numbers to enjoy it; but I soon relinquished that
opinion when I saw that the finest parts of the opera&mdash;the
first duet, the quartet, the grand septet, and several other
things&mdash;passed off without making any impression upon them,
and two subjects only received a storm of applause, which
was given rather to the singers than to the composer.</p>

<p>These two subjects, which were each respectively encored,
were the duet between Don Juan and Zerline: “<span lang="de" xml:lang="de">Reich mir
die Hand mein Leben</span>” etc., and the air of Don Juan: “<span lang="de" xml:lang="de">Treibt
der Champagner</span>” etc.; the first, because Signor <i>Garcia</i>, not
having depth of voice sufficient, transposes it to B flat, and the
last even a whole tone higher, to <i>C</i>. Madame <i>Fodor-Mainville</i>,
who well knew that the song-pieces of Zerlina would please
the Parisians more than all the rest of the opera, chose very
wisely that part, and the result shewed that she had calculated
rightly. What would she care, were the characters of
the opera wholly transposed, so long as she meets with a
storm of applause. The real connoisseur can only consent
to this when he dismisses from his mind that she personates
the role of a peasant girl, and when he wholly sets aside the
true intention of the subject represented; for she decorates
the simple songs of her part with a number of high-flown
embellishments which, splendidly though she may execute them,
are here wholly out of place; first because they do not at all<span class="pagenum"><a name="Page_ii_118" id="Page_ii_118">[Pg 118]</a></span>
belong to <i>Mozart’s</i> music, and secondly, because they are
wholly incompatible with the character. With deduction of
this, it certainly affords an unusual enjoyment to hear this
part, which in Germany is usually played by a third-rate
singer, impersonated by a first-rate one, and so distinguished a
vocalist. Signor <i>Garcia</i>, as Don Juan, uses also too much ornamentation.
Where this is only moderately admissable, he comes
out with a <i>fioritura</i> a yard long; and these are most out of place
in the serenade, where the supposed mandoline accompaniment
forbids the most simple ornament. Nevertheless he gives full
latitude in it to his fancy, and in order to do this more conveniently,
he takes the tempo very slow. On the other hand,
however, he sings his song incomparably “<span lang="de" xml:lang="de">Treibt der Champagner</span>”
etc., and I acknowledge that I never heard that air so
well sung. The pliability of the Italian tongue is of great
use to him in this, and instead of losing his breath in it, as
is usual with our German singers, his vocal power increases
to the end.</p>

<p>The other parts are sung more or less well, but none of
them badly, and one must gratefully acknowledge that each
does his best to do honour to the work. One may also be
very satisfied with the performance, when one loses sight of
the claims one is justified in making upon so celebrated a
combination of artists. But to a German it soon becomes
very evident that these singers, who execute Italian music
only, and that of <i>Rossini</i> especially, in the highest perfection,
cannot give the music of <i>Mozart</i> with the same excellence;
the difference of style is far too great. The effeminate, sweet
execution which accords so well with the former, obliterates
too much the energetic character which distinguishes Don
Juan above all other of <i>Mozart’s</i> operas.</p>

<p>The orchestra, which the Parisians always pronounce the
first in the world, made some mistakes. Twice for instance
the wind instruments were very obviously at fault, and they
wavered several times so much, that the conductor was obliged
to beat the time for them. I became confirmed but the<span class="pagenum"><a name="Page_ii_119" id="Page_ii_119">[Pg 119]</a></span>
more strongly in my opinion, that a theatrical orchestra, however
excellent it may be, on account of the great distance
of the extreme ends, should not be conducted otherwise than
by a continual beating of the time, and, that to mark the
time constantly by motions of the body, and the violin, like
Mr. <i>Grasset</i> does, is of no use. In other respects this orchestra
is justly famed for the discretion with which it accompanies
the singer, and in that might serve as a model for the
other Parisian as well as many German orchestras.</p>

<p>The choruses are also excellent, and the effect particularly
powerful and grand at the concluding allegro of the first
finale. But why here, as well as almost everywhere else, is
this allegro taken so unreasonably quick? Do then the conductors
wholly forget, that by so doing they decrease instead
of increasing the power, and that the triplet movement of
the violins which must first give life and motion to the whole,
cannot be brought out clearly and forcibly in a movement
of such exaggerated rapidity, and instead of hearing the living
whole, it becomes a mere skeleton sketch without fillings in?!</p>

<p>When one hears so beautiful a piece of music lose its
effect by incorrectness of time, one wishes again that the
marking of the tempi was finally and universally established
either on <i>Mälzel’s</i> or <i>Weber’s</i> method, or still better upon
both at the same time. But then of course orchestral conductors
must follow them conscientiously, and not as now,
follow their own fancy merely.</p>

<p class="break center">THIRD LETTER.</p>

<p>
<i>Paris</i>, January 12. 1821.
</p>

<p>With a mind greatly relieved, I write to announce to
you, my dear friend, that I have made my public début and
with success. It is always a hazardous undertaking for a foreign
violinist to make a public appearance in Paris, as the
Parisians are possessed with the notion that they have the
finest violinists in the world, and consider it almost in the<span class="pagenum"><a name="Page_ii_120" id="Page_ii_120">[Pg 120]</a></span>
light of arrogant presumption when a foreign considers he
has talent sufficient to challenge a comparison with them.</p>

<p>I may therefore well be a little proud of the brilliant
reception I met with the day before yesterday, and the more
so that, with the exception of a dozen persons, the auditory
was personally unknown to me, and there were none among
them who had been admitted with free tickets in purchase
of their service as <i>claqueurs</i>. But I had prepared myself very
carefully for the occasion, and was properly supported by the
careful accompaniment of Mr. <i>Habeneck</i>. I was, however,
not in the least nervous, which is sometimes the case with
me when I appear for the first time in a strange country,
and which occurred to me the year before in London. The
reason why I did not feel so in this instance, was doubtless,
that here I had already played before all the most distinguished
musicians, previous to my appearing in public; but
in London eight days only after our arrival, without having
been previously heard by any person, I was constrained to appear
at the philharmonic concert.</p>

<p>Before I enter into any details of the concert, I must
first relate how I came to give it. It is at all times a tedious
business to make arrangements for a concert in any
town, but in Paris, which is so extensive, where so many
theatres are daily open, where there is so much competition
and so many obstacles to overcome, it is indeed a Herculean
task. I think also that this is the reason why so many artists
who come to Paris, decline giving a public concert, which,
besides being attended with the enormous expense of nearly
3000 francs, is always an undertaking of great risk. If these
matters have been extremely unpleasant to me in other places,
you may readily imagine how I feared to attempt them here.
In order to get over the difficulty, I bethought myself of
making a proposition to the directors of the grand opera, to divide
with me the expenses and the receipts of an evening
entertainment of which the first half should consist of a concert
and the second of a ballet. Contrary to the expectation<span class="pagenum"><a name="Page_ii_121" id="Page_ii_121">[Pg 121]</a></span>
of all those to whom I had spoken on the subject, this proposition
was acceded to.</p>

<p>The consent of the minister was however so long delayed,
that the concert could not be announced till three days before
it took place, and although the house was well filled, yet
I ascribe to this delay that it was not so crowded as I had
expected so novel and, from its novelty, so attractive an arrangement
would have been for the Parisians. The half which
came to my share, after deduction of the expenses, was therefore,
as you may imagine, not very considerable: but as I had
not calculated upon making much pecuniary gain in Paris, I
do not regret this arrangement at all, as it saved me an immense
deal of trouble, and yet gave me an opportunity of
making my appearance in public. Of my own compositions
I gave: the overture to “Alruna,” the newest violin concerto,
and the potpourri on the duet from “Don Juan.” Between
these a cavatine of <i>Rossini’s</i> was sung by Mademoiselle <i>Cinte</i>,
and a duet, also of the same master, by Messrs. <i>Bordogni</i> and
<i>Levasseur</i>. At the rehearsal the overture was repeated three
times, and in the evening therefore, although it did not go
off quite so well as the last time at the rehearsal, the public
nevertheless could not refuse their applause of its execution. In
the concerto, as well as in the potpourri, some of the wind
instruments failed twice, from a negligence in observing the
pauses, which seems somewhat usual with the French, but
fortunately it was not much disparaged by it. The satisfaction
of the audience was unmistakably expressed by loud applause
and cries of Bravo! To-day, however, the criticism of the majority
of the journals is not so favourable. I must solve this
riddle for you. Previous to every first appearance in public,
whether of a foreigner or a native, these gentlemen of the
press are accustomed to receive a visit from him, to solicit
a favourable judgment, and to present them most obsequiously
with a few free admission tickets. Foreign artists,
to escape these unpleasant visits, sometimes forward their
solicitations in writing only, and the free admissions at<span class="pagenum"><a name="Page_ii_122" id="Page_ii_122">[Pg 122]</a></span>
the same time; or, as is of frequent occurrence, induce some
family to whom they have brought letters of introduction, to invite
the gentlemen of the press to dinner, when a more convenient
opportunity is offered to give them to understand
what is desirable to have said of them both before and after
the concert. This may perhaps occur now and then in Germany;
but I do not think, that newspaper critics can be anywhere
so venal as here. I have been told that the first artists
of the <i lang="fr" xml:lang="fr">Théatre français</i>, Mlle. <i>Mars</i>, and even <i>Talma</i>, pay
annually considerable sums to the journals, in order to keep
those gentlemen constantly in good humour, and that the
latter, whenever they wish to extricate themselves from any
pecuniary embarrassment, find no method so sure as to attack
some esteemed artist until he submits to a tribute of
money. How the opinions of a press that are so purchasable,
are at all respected, I cannot understand. Suffice however to
say, I did not pay any of these supplicatory visits, for I considered
them unworthy of a German artist, and thought that
the worst that could happen would be, that the journalists
would not take any notice at all of my concert. But as these
have each a free pass to every performance at the grand opera,
I found I was mistaken. They all speak of it; some with
unqualified praise, but the majority with a <i>But</i>, by which the
praise is more than sufficiently diminished. In all these notices,
however, French vanity speaks with the utmost self-assurance.
They all begin by extolling their own artists, and
their artistic culture, above all other nations; they think that
the country that produced Messrs. <i>Baillot</i>, <i>Lafont</i> and <i>Habeneck</i>,
need envy no other its violinists; and whenever the play of
a foreigner has been received here with enthusiasm, it is nothing
more than a proof of the great hospitality which the French
in particular shew towards foreigners. Apart from this
vanity the notices are very contradictory: The “Quotidienne”
says, for instance: “<span lang="fr" xml:lang="fr">Mr. <i>Spohr</i> aborde, avec une incroyable
audace, les plus grandes difficultés, et l’on ne sait ce qui
étonne le plus, ou son audace ou la sureté avec laquelle il<span class="pagenum"><a name="Page_ii_123" id="Page_ii_123">[Pg 123]</a></span>
exécute ces difficultés.</span>” In the “<span lang="fr" xml:lang="fr">Journal des Débats</span>,” on the
other hand: “<span lang="fr" xml:lang="fr">Le concert exécuté par Mr. <i>Spohr</i> n’est point
surchargé de difficultés</span>,” etc. These gentlemen differ also in
opinion respecting the merits or demerits of my compositions.
The majority think them good, but without saying
why; but “<span lang="fr" xml:lang="fr">Le Courier des Spectacles</span>,” which altogether speaks
most disparagingly of me, says: “<span lang="fr" xml:lang="fr">C’est une espèce de pacotille
d’harmonie et d’enharmonie germaniques que Mr. <i>Spohr</i> apporte,
en contrebande, de je ne sais quelle contrée d’Allemagne.</span>”
But <i>Rossini</i> is his man, of whom he says further
on: “<span lang="fr" xml:lang="fr">Cet Orphée moderne a défrayé de chant le concert de
Mr. <i>Spohr</i>, et il lui suffit pour cela de prêter une petite aria
et un petit duo bouffo.</span>” But as a violinist I found more
grace in his eyes; he says for instance: “<span lang="fr" xml:lang="fr">Mr. <i>Spohr</i> comme
exécutant est un homme de mérite; il a deux qualités rares
et précieuses, la pureté et la justesse</span>,” but then winds up his
phrase like a true Frenchman: “<span lang="fr" xml:lang="fr">s’il reste quelque temps à Paris,
il pourra perfectionner son goût et retourner ensuite former
celui des bons Allemands.</span>” If the good man only knew what the
“<span lang="fr" xml:lang="fr">bons Allemands</span>” think of the musical taste of the French?!</p>

<p>This ridiculous vanity in the Parisians is shewn also in
their conversation. When one or other of their musicians
plays anything, they immediately ask: “Well, can you boast
of anything like that in Germany?” Or when they introduce
to you one of their distinguished artists, they do not call him
the first in Paris, but at once the first in the world, although
no nation knows less what other countries possess, than they do,
in their&mdash;for their vanity’s sake most fortunate&mdash;ignorance.</p>

<p>You are doubtless astonished that I have as yet said nothing
of the music of the royal chapel; but I delayed doing
so intentionally, until I had first heard some of <i>Cherubini’s</i>
masses. <i>Lesueur</i> and <i>Cherubini</i>, the two directors of the music
of the royal chapel, assume the duties of their office every
three months alternately; our arrival took place during the
time of <i>Lesueur’s</i> directorship, and <i>Cherubini’s</i> did not begin
till the first of January. But the musical directors of the<span class="pagenum"><a name="Page_ii_124" id="Page_ii_124">[Pg 124]</a></span>
royal chapel do not conduct the music themselves, and preside
only in their court uniform at the head of the vocal
personnel, without taking any active part in the performance.
The director <i>de facto</i> is <i>Plantade</i>; <i>Kreutzer</i> leading player
of the first violin, and <i>Baillot</i> of the second. The orchestra
is composed of the first artists in Paris, the chorus is powerful
and good. Every mass is rehearsed once or twice, and
under <i>Plantade’s</i> sure and spirited direction, every thing goes
exceedingly well.</p>

<p>Although previously prepared by Mr. <i>Sievers’</i> account, I
was very far from expecting to hear music here of the
style we call church-music in Germany; yet I was greatly
taken by surprise by the brilliant theatrical style of a mass
by <i>Plantade</i>, which I heard on my first visit to the chapel
on the 17th of last month. There is not the least trace of
the ecclesiastical style, not a vestige of the canonical management
of the voices, and still less of a fugue. But apart
from this, there were very pretty ideas, and much good instrumentation,
which would be quite in place in a comic
opera. The concluding allegro, probably upon the words:
<i lang="la" xml:lang="la">Dona nobis pacem</i> (for I am not certain, since the French
pronounce Latin in a manner very unintelligible to a German
ear) was so completely in the style of the finale to an opera
(like those usually with three or four times increased tempo)
that at the end, forgetting completely where I was, I expected
to see the curtain fall, and to hear the public applaud.</p>

<p>At midnight, on the 24th December, we heard a so-called
“<i lang="fr" xml:lang="fr">Messe de minuit</i>” of <i>Lesueur’s</i> composition. First of
all we were obliged to endure a great trial of our patience,
in which during two somewhat tedious hours, from ten to
twelve o’clock, we heard nothing but psalms, sung off in the
most monotonous manner, and interrupted at intervals with
barbarous peals of organ-play. At length, at midnight, the
mass began. Again the same frivolous theatrical style as
in that of <i>Plantade</i>, but which at the solemn midnight hour
was still more insufferable. But what most surprised me,<span class="pagenum"><a name="Page_ii_125" id="Page_ii_125">[Pg 125]</a></span>
particularly from <i>Lesueur</i>, who is reputed here a first-rate
harmonist, and was educated, if I am not mistaken, for a
teacher of harmony at the <i>Conservatoire</i>, there was not even
a four-part management of the voices! Though at times it
may be effective in an opera, when writing only a two-part
vocal distribution, to let the soprani go in octaves with the
tenors, and the alti with the bass, partly with a view to
facilitate the execution of the generally bad theatrical
choruses, and partly to obtain by that means more material
power; yet to me it seems quite barbarous to introduce this
in the church, and I should therefore like to know what
Mr. <i>Lesueur</i>, who must certainly be an artist of reflective
powers, means by it. In the place of the offertory, variations
by <i>Nadermann</i> for the harp, horn and violoncello were thrust
in, executed by the composer and Mrs. <i>Dauprat</i> and <i>Baudiot</i>.
You who know, that in Germany a serious symphony even
appeared to me too mundane at this part, may therefore
readily imagine what an unpleasant impression these frivolous,
French variations on the harp must have made upon me in
a mass at midnight; and yet I saw the people present in
earnest prayer. How is it possible for them to feel a religious
sentiment with such trivial music! This must be either
a matter of no importance to them, or they know how to
close their ears effectually; otherwise, like myself, they would
of a certainty be reminded of the ballet at the grand opera,
in which those three instruments are heard in a like manner
in the most voluptuous dances. Although the harp in ancient
times was the favorite instrument of a pious king, it should
for all that be banished from the church, because it is wholly
unfit for the severe style which is the only one suitable for
that edifice.</p>

<p>But will you believe it, when I assure you that even the
worthy master <i>Cherubini</i> himself, has allowed himself to be led
away by this bad example, and his masses exhibit in many
places a theatrical style. It is true that he makes amends
for it in those places with superior music, full of effect;<span class="pagenum"><a name="Page_ii_126" id="Page_ii_126">[Pg 126]</a></span>
but who can enjoy it, if he cannot wholly forget the place in
which he hears it?</p>

<p>It would he less regrettable that <i>Cherubini</i> also should
deviate from the true ecclesiastical style, if in some individual
parts he did not shew in what a dignified manner he can
move in it. Several separate subjects in his masses&mdash;particularly
the scientifically conducted fugues, and above all his
<i>Pater noster</i> up to the profane conclusion&mdash;afford the grandest
proofs of this. But when one has once overcome the inclination
to feel annoyed at this frequent, extremely digressive
style, one feels then the highest enjoyment of art. By
richness of invention, well-chosen, and frequently quite novel
sequences of harmony, and a sagacious use of the material
resources of art, directed by the experience of many years,
he knows how to produce such powerful effects, that, carried
away by them in spite of oneself, one soon forgets all pedantic
cavil to give oneself wholly up to one’s feelings, and
to enjoyment. What would not this man have contributed
to art, if instead of writing for Frenchmen, he had always
written for <span class="lock">Germans!&mdash;</span></p>

<p class="break center">FOURTH LETTER.</p>

<p>
<i>Paris</i>, January 30. 1821.
</p>

<p>The two months which I had allotted to our stay in
Paris are drawing to a close. As I do not know whether
circumstances may even permit us to come here again, we
are exerting ourselves to find all the remarkable things we
have not yet seen, and make daily excursions in Paris and
into its environs. In order to devote my time wholly to this,
I have given up the idea I had conceived of giving another
soirée before our departure, and for which I had already
made some arrangements. The fortnight which I should have
been obliged to devote solely to that object, I can now therefore
pass more pleasantly, and in greater freedom. I gave
up with much more repugnance my project to give a second<span class="pagenum"><a name="Page_ii_127" id="Page_ii_127">[Pg 127]</a></span>
public concert, since, from the reception given to the first, I
had good ground to expect a successful result. But during
this month there was not a day to be found favorable for such
a purpose; for on a week day the administration will not give
up the theatre, as there is either a grand or an Italian opera,
and of the three yet remaining Sundays, the first was too
near, the second, as the anniversary of the death of Louis XVI.,
not to be had, and the third, already pre-engaged by Mr.
<i>Lafont</i> for a concert. To extend our stay over the middle
of next month, we have no desire, for we are heartily tired of
the noisy life and ceaseless night-disturbance here, and ardently
long for a quiet place of residence.</p>

<p>On the other hand I have latterly played more frequently
at private parties, and seen with pleasure that my compositions,
upon every repetition, have been received with
greater enthusiasm, especially by musicians. This has been
particularly the case with a new quintet for pianoforte, flute,
clarinet, horn and bassoon, which I have written for my
wife, and in which, since by the advice of the physician, she
has abandoned the harp, she has appeared several times. The
chief object of my coming here, to make myself personally
known to the most distinguished artists here, and to become
more nearly acquainted with them, I have thus fully effected;
and I cannot speak sufficiently in praise of the sympathy and
kindness which the greater part of them have evinced towards
me. They repeatedly endeavoured to persuade me to make
a longer stay, and should I feel disposed to give a second
concert, they would not only take all the trouble of the arrangements
for it off my hands, but promised to get together
for me the best orchestra in Paris, without the cost to me of
a single sou. Although I am not likely to avail myself of this
offer, yet it was very gratifying to me.</p>

<p>Another no less important object of my coming here has
also been achieved; I have had opportunities of hearing the most
celebrated violinists of, and at present in Paris. <i>Baillot</i> gave
a soirée at his house for me, at my request; I heard <i>Lafont</i><span class="pagenum"><a name="Page_ii_128" id="Page_ii_128">[Pg 128]</a></span>
at his own concert; and the younger <i>Kreutzer</i> and <i>Habeneck</i>
at morning concerts which were arranged expressly for the
purpose. Should you wish to know which of these four Violinists
has best pleased me, then without hesitation, in point
of execution, I say, <i>Lafont</i>. In his play he combines beauty
of tone, the greatest purity, power, and grace; and he would
be a perfect violinist, if, with these qualifications, he possessed
depth of feeling, and had not accustomed himself to
the habit peculiar to the French school, of laying too much
stress upon the last note of a phrase. But feeling, without
which a man can neither conceive nor execute a good
adagio, appears with him, as with almost all Frenchmen, to
be wholly wanting; for although he dresses up his slow movements
with many elegant and pretty ornaments, yet he still
remains somewhat cold. The adagio appears altogether to
be considered here, both by artists and the public, as the
least important part of a concerto, and is only retained perhaps
because it separates both the quick subjects and increases
their effect.</p>

<p>To this indifference for it&mdash;as indeed the general insensibility
of the French for everything that works upon the feelings&mdash;I
ascribe also, that my adagio and the manner in which I
played, made less impression here than the brilliant allegro
subjects. Accustomed to the special applause which my
manner of playing it had received from Germans, Italians,
Dutch, and English, I at first felt hurt to see it thought so
little of by the French. But since I have observed how
seldom their artists give them an earnest adagio, and how little
their taste for it is awakened, I became pacified on that
subject. The practice of giving emphasis to the last note of
a period, by an increased pressure and a rapid upward stroke
of the bow, even when that note falls on a part where the
time is bad, is more or less common to all French violinists,
but with none so prominent as <i>Lafont</i>. To me it is incomprehensible
how this unnatural accentuation has arisen, which
sounds exactly as though a speaker endeavoured to intonate<span class="pagenum"><a name="Page_ii_129" id="Page_ii_129">[Pg 129]</a></span>
the short final syllable of a word with particular force. If
when executing a musical piece the cantabile of the human
voice had always been kept in view as model (which in my
opinion should be done by every instrumentalist) such errors
would never have become confirmed habits. But the Parisians
are so accustomed to this unnatural custom, that a foreigner
who does not play in the same bizzarre manner, appears to
them much too plain, or, as Mr. <i>Sievers</i> expresses it, “much too
straightforward.”</p>

<p>That <i>Lafont’s</i> excellence restricts itself always to but
a few pieces at once, and that he practises the same concerto
by the year together before he plays it in public, is
well known. Since I have heard the perfect execution which
he attains by this means, I certainly will not cavil with this
application of all his powers to the one object; but I could
not imitate him, and cannot even understand how one can
bring one’s-self to practise the same piece of music for four
or five hours daily, but still less how it is to be done without
eventually losing every vestige of real art, in such a mechanical
mode of proceeding.</p>

<p><i>Baillot</i> is, in the technical scope of his play, almost as
perfect, and his diversity of manner, shews that he is so,
without resorting to the same desperate means. Besides his
own compositions, he plays almost all those of ancient and
modern times. On one and the same evening he gave us a
quintet of <i>Bocherini</i>, a quartet of <i>Haydn</i>, and three of his own
compositions&mdash;a concerto, an <i lang="fr" xml:lang="fr">air varié</i>, and a rondo. He played
all these things with the most perfect purity, and with the
expression which is peculiar to his manner. His expression,
nevertheless, seemed to me more artificial than natural, and indeed
his whole execution, from the too salient evidence of the
means by which he gives that expression, has the appearance
of mannerism. His bow-stroke is skilful, and rich in shades
of expression, but not so free as <i>Lafont’s</i>, and therefore his
tone is not so beautiful as that of the latter, and the mechanical
process of the up and down stroke of the bow is too<span class="pagenum"><a name="Page_ii_130" id="Page_ii_130">[Pg 130]</a></span>
audible. His compositions are distinguished above almost all those
of any other Parisian violinist by their correctness; neither can
they be denied a certain originality; but being somewhat
artificial, mannered, and out of date in style, the hearer remains
cold and without a sense of emotion. You know that
he frequently plays and takes great pleasure in <i>Boccherini’s</i>
quintets. I was desirous of hearing him in these quintets, with
about a dozen of which I am acquainted, in order to see
whether from the manner in which he executes them he could
succeed in making one forget the poverty of the compositions.
But well as they were given by him, the frequent childishness
of the melodies, and the poverty of the harmonies (almost
always three-voiced only) were no less unpleasing to me, than
in all those I had heard before. One can hardly understand
how a cultivated artist like <i>Baillot</i>, to whom our treasures
in compositions of this kind are known, can bring himself to
play those quintets still, whose worth consists only in the regard
had to the period and circumstances under which they
were written. But that they are here listened to with as
much pleasure as a quintet of <i>Mozart</i>, is another proof that
Parisians cannot distinguish the good from the bad, and are
at least half a century behind in art.</p>

<p>I heard <i>Habeneck</i> play two <i lang="fr" xml:lang="fr">airs variés</i> of his composition.
He is a brilliant violinist and plays much with great rapidity
and ease. His tone and his bow-stroke are somewhat coarse.</p>

<p><i>Kreutzer</i> junior, the brother and pupil of the elder, played
to me a new, very brilliant and graceful trio of his brother’s
composition. The manner in which he executed it reminded
me somewhat of the style of the elder one, and satisfied me
that they are the purest players of all the Parisian violinists.
Young <i>Kreutzer</i> is wanting in physical power, he is somewhat
ill, and dare not play sometimes for months together.
His tone therefore is weak, but in other respects his play is
pure, spirited and full of expression.</p>

<p>Two days ago I heard two more quite new quintets of
<i>Reicha</i>, which he wrote for the morning-concerts of the five<span class="pagenum"><a name="Page_ii_131" id="Page_ii_131">[Pg 131]</a></span>
previously named artists. They were played at a rehearsal,
which appears to me to have been given solely for the purpose
of fishing for more subscribers to the morning-concerts,
among the numerous persons who were invited. At least a
list of them was handed round. It is sad to see what means
artists here are obliged to resort to, in order to procure support
for their undertakings. While the Parisians press eagerly
forward to every sensual enjoyment, they must be almost
dragged to intellectual ones.&mdash;I found the composition of
these two new quintets, like those I had previously heard at
<i>Kreutzer’s</i>, rich in interesting sequences of harmony, correct
throughout in the management of the voices, and full of effect
in the use made of the tone and character of the different
wind-instruments, but on the other hand, frequently defective
in the form. Mr. <i>Reicha</i> is not economical enough of his
ideas, and at the very commencement of his pieces he frequently
gives from four to five themes, each of which concludes
in the tonic. Were he less rich, he would be richer. His
periods also are frequently badly connected and sound as
though he had written one yesterday and the other to-day.
Yet the minuets and scherzi, as short pieces, are less
open to this objection, and some of them are real masterpieces
in form and contents. A German soundness of science
and capacity are the greatest ornaments of this master. The
execution in the rapid subjects was again wonderfully correct,
but somewhat less so in the slow ones.</p>

<p>I do not think I have yet spoken to you of the <i>Feydeau</i>.
We have been less frequently to that theatre than to the other
operatic theatres, because it so happened that on those evenings
when we were at liberty pieces were generally performed
that did not much interest us. Yet we were present at the
first representation of <i>Méhul’s</i> “Joseph,” which, after a long
repose was again put on the stage. The public however, did
not seem very grateful for this to the directors of the theatre,
for they gave it but a cold reception. In support of my
assertion that the French take an interest only in the piece,<span class="pagenum"><a name="Page_ii_132" id="Page_ii_132">[Pg 132]</a></span>
and know little how to appreciate the excellence of the music,
I may adduce, that the tirades in the dialogue were far more
applauded than the song parts. The singers succeeded in obtaining
applause only when, in the superabundance of an artificial
feeling, instead of singing, they began to sob. At the
pieces of the opera&mdash;for instance, at the first chorus of the
brothers&mdash;there was not a hand stirred. Many of the tempi
were taken quite different from those in Germany, but not to
the advantage of the music; for instance, the fine morning-hymn
of the Israelites, behind the scenes, was taken so quick,
that it lost all its solemnity. A screaming violin, also, that
supported the soprani was far too prematurely loud. The
orchestra played well, and was particularly remarkable for a
delicate <i>piano</i>.</p>

<p><i>Moscheles</i> has been here a month. He makes a great
sensation with his extremely brilliant play, and wins the admiration
both of artists and dilettanti, the former by his
execution of his richly intellectual compositions, and the latter
by his free fantasias, in which, as far as his Germanism permits
him, he accommodates himself to the Parisian taste. The
brothers <i>Bohrer</i> have also returned to-day from a tour in the
provinces, but will remain here a few days only, and then
leave on a new tour viâ Munich to Vienna. I regret
that I shall not have an opportunity of hearing these artists,
whom I have not met for ten years. They wanted to persuade
me to accompany them from here upon a tour in the
southern provinces, where they assure me some money is to be
made. But I have not the least inclination to go. The bad
orchestras in the provincial towns, the bad taste and the unpleasant
negociations to lessen the amount to be given up to
the theatre and the poor of the towns, would make a journey
of the kind too disagreeable to me. In a few days we shall
return to Germany by way of Nancy and Strasbourg, and therefore
shall soon greet you again in dear Fatherland.</p>

<p>Till then farewell!</p>

<p><span class="pagenum"><a name="Page_ii_133" id="Page_ii_133">[Pg 133]</a></span></p>

<hr class="tb" />

<p>To these letters regarding my sojourn in Paris, I have
yet to add some few things from recollection. From the frequent
opportunities I had of playing before <i>Cherubini</i> at
private parties, I conceived a very ardent desire to have all
my quartets and quintets so far as I thought them worthy of
it, heard by that by me highly esteemed master, and to introduce
them by degrees to his notice, in order to ask his
opinion of them. But in this I succeeded with very few only,
for when <i>Cherubini</i> had heard the first quartet (it was Nr. 1
of the Op. 45 written at Frankfort), and I was on the point
of producing a second, he protested against it, and said:
“Your music, and indeed the form and style of this kind of
music, is yet so foreign to me, that I cannot find myself immediately
at home with it, nor follow it properly; I would
therefore much prefer that you repeated the quartet you have
just played!” I was very much astonished at this remark,
and did not understand it until I afterwards ascertained that
<i>Cherubini</i> was quite unacquainted with the German masterpieces
of this kind of <i>Mozart</i> and <i>Beethoven</i>&mdash;and at the utmost
had once heard a quartet by <i>Haydn</i> at <i>Baillot’s</i> soirées. As
the other persons present coincided with <i>Cherubini’s</i> wish, I
consented the more readily, as in the first execution of it,
some things had not gone altogether well. He now spoke
very favourably of my composition, praised its form, its thematic
working out, the rich change in the harmonies, and
particularly the <i>fugato</i> in the last subject. But as there were
still many things not quite clear to him in the music, he
begged me to repeat it a second time, when we should next
meet. I hoped he would think nothing more about it, and
therefore at the next music party brought forward another
quartet. Before I could begin, however, <i>Cherubini</i> renewed
his request, and I was therefore obliged to play the same
quartet a third time. The same thing occurred also with
Nr. 2 of Op. 45, excepting that he spoke of it with more
decisive praise, and said of the adagio: “It is the finest I
ever heard.” He was equally pleased with my pianoforte<span class="pagenum"><a name="Page_ii_134" id="Page_ii_134">[Pg 134]</a></span>
quintet with the concerted accompaniment of wind instruments,
and I was frequently obliged to play it on that account.
The first time my wife played the piano part; but when
<i>Moscheles</i> subsequently requested permission to study it and
to play it once, she had not the courage to play it any more
in Paris, after him. He remained therefore in possession, and
entered more and more into the spirit of the composition. He
executed the two allegro subjects especially with far more
energy and style, which certainly greatly increased their effect.
As the wind instruments of <i>Reicha’s</i> quintet were excellent,
I never recollect to have heard that quintet so perfectly rendered
as then, although I have heard it played in more recent
days by many celebrated pianoforte virtuosi. From the continual
repetition of my quartets in Paris I could find no opportunity
of giving even one of my two first quintets for stringed
instruments which had been some time written. Nevertheless
I found for them a very sympathetic audience at Strasbourg,
on my return journey, to which the taste for quartet-music
has more readily penetrated from its contiguity to Germany.
The quintet in <i>G</i> major, with the half melancholy half merry
finale, became soon an especial favorite with the friends of
music there, and at their request formed the finale of every
quartet-party. In Carlsruhe, where on a former visit I had
already played quartets frequently, particularly in the house
of that lover of art Mr. <i>von Eichthal</i>, my stay this time was
very much saddened by finding the friend of my youth <i>Feska</i>
dangerously ill: he shortly afterwards succumbed to his incurable
malady.</p>

<hr class="tb" />

<p>Returned to Gandersheim, I resumed again, immediately,
the pleasant active life of the previous summer. <i>Edward
Grund</i> soon arrived also, and devoted himself with his
usual zeal both to his own improvement and to the instruction
of my children. I myself first began with the composition
of the already mentioned ten-voiced vocal mass, but<span class="pagenum"><a name="Page_ii_135" id="Page_ii_135">[Pg 135]</a></span>
I was soon obliged to give it up for a short time. I received
a letter from my old friend <i>Hermstedt</i>, in which he
invited me on the part of the directors of the baths of Alexisbad
in the Harz, to give a concert in the course of the approaching
season. He offered at the same time to make all
the necessary arrangements beforehand, so that I should not
require to stay there longer than a few days. He also urgently
pressed me to write a new clarinet concerto for him, and promised
if he received it sufficiently early, to play it for the first
time at the Alexisbad concert. As I liked to write for <i>Hermstedt</i>,
who at that time was without doubt the first of all
living clarinet virtuosi, I consented to his proposal, and set
to work immediately. After despatching to him the new concerto
<i>F</i> minor (the third for clarinet), I wrote for myself and
wife another pot-pourri concerted for violin and pianoforte
on two themes from the “<span lang="de" xml:lang="de">Opferfest</span>”&mdash;published afterwards as
Op. 56, for which I worked out anew a former composition
for clarinet with orchestral accompaniment which I had written
in 1812 for <i>Hermstedt</i>, for the celebration of Napoleon’s birthday,
in Erfurt. I considered it one of my most successful
pieces, and wished by this new elaboration of it, to make it
more generally known. It may be readily understood that in
this transfer from the clarinet and orchestra to the violin and
pianoforte, very considerable modifications were requisite, and
that I could adhere chiefly only to the form and modulations
of the previous composition. By the time this piece of music
had been studied by us in the usual manner, with the greatest
care, the day fixed upon for our departure for Alexisbad arrived.
Of this excursion I have now but very faint reminiscences.
I neither know what we played at the concert, nor
how the new clarinet concerto pleased, and the less so, that
since that time I have not heard it again; for it has remained
altogether in <i>Hermstedt’s</i> hands, and has never been published.
But I recollect very distinctly a natural phenomenon by which
our concert was disturbed and for some time interrupted, as
in London by the smashing of the windows. Just as the<span class="pagenum"><a name="Page_ii_136" id="Page_ii_136">[Pg 136]</a></span>
music was about to begin, a storm, which had threatened
since noon, broke out with such violence, that what
with the rolling of the thunder and the noise of the rain that
poured down in torrents, nothing could have been heard. In
the over-crowded concert-room, which was suffocatingly hot, the
closely packed auditory were compelled to await the passing
over of the storm, and the concert could not be commenced until
the air of the room had been renewed by the opening of the
doors and windows. Owing to this the concert did not terminate
till complete nightfall. The confusion and perplexity
which ensued among the departing audience now first reached
their climax; for it was found that the otherwise very modest
rivulet which runs through the valley of Alexisbad had become
so swollen, and had torn up and flooded the roads to such an
extent, that the numerous company that had come in from
the neighbourhood of the town found it impossible to return
home in the darkness of night. All therefore first rushed to
the dining-room of the baths, but there no provision had been
made for such an influx of guests. As soon as the regular visitors
of the baths had retired to their apartments previous to
sitting down to dinner, the strangers seized upon their seats at
the table, and upon the eatables also, so that when the former
returned they were obliged to content themselves with
what they could lay hold of. Upon this very naturally a good
deal of ill-feeling was excited, and the host had enough to do
and a hard time of it to pacify and keep the people in bounds.
Now, furthermore, it was found that to pass the night there
were neither rooms nor beds sufficient for their accommodation,
and a great number of the strangers were <i>nolens volens</i> obliged
to lie down indiscriminately beside each other upon a shakedown
of straw. Many did it good humouredly, but others with
ill-suppressed curses. For the unconcerned spectator it was
indeed a highly comical and amusing scene.</p>

<p>During the same summer, I received a similar invitation
to go to Pyrmont and give a concert there. I acquiesced, and
proceeded thither accompanied by my wife and my pupil<span class="pagenum"><a name="Page_ii_137" id="Page_ii_137">[Pg 137]</a></span>
<i>Edward Grund</i>, who conducted the orchestra and very much
facilitated my solo-playing by practising the accompaniment
beforehand, which alone enabled me to play my own compositions.
<i>Grund</i> had in truth become a first-rate artist, and began
now to make musical tours with much success; which led to
his appointment as director of the court-orchestra at Meiningen,
which office he now still (1853) fills, respected by
his prince and by the members of the orchestra, and zealously
exerting his energies to the advantage of art. As upon his
leaving Gandersheim, in the autumn of 1821, the musical
instruction of my daughters completely ceased, and as they
gave evidence of vocal powers that appeared worthy of a
further artistic cultivation, I determined to remove to Dresden
with my family, in order to give the children the advantage
of the instruction of a then celebrated teacher of vocal music
of the name of <i>Miksch</i> in that city. To <i>Emilia</i> I had indeed,
myself already begun to give instruction in singing, but soon
found that I had neither the necessary perseverance and patience,
and that it drew my attention too much from my
work of composition. Besides this, also, I determined as soon
as my family had become somewhat settled in Dresden, to
proceed alone upon some short artistic tours in the neighbourhood.
I wrote therefore to my former pupil <i>Moritz Hauptmann</i>
in Dresden, and requested him to treat with Mr. <i>Miksch</i>
on my behalf, and so soon as he should agree, to hire apartments
for me; shortly after which I received a reply informing
me that all my wishes had been carefully complied
with.</p>

<p>My mass for ten voices had been meanwhile completed,
and I longed very much to hear it. As on my journey to
Dresden I contemplated giving a concert in Leipzic, and on
that account should be obliged to make a longer stay there, I
bethought myself of getting it sung during the time I was
there by the grand choral-society of that town, with the
Director of which I was acquainted. I wrote to him therefore
to inquire if he felt disposed to have the work practised<span class="pagenum"><a name="Page_ii_138" id="Page_ii_138">[Pg 138]</a></span>
beforehand, and as he replied in the affirmative, I sent the
score to him to have the voice-parts immediately written out.</p>

<p>The parting from Gandersheim was this time a very sad
one, as the children also, to whose society their grandfather
and grandmother had become so much accustomed, were to
part from them, and I was obliged to promise to return the
next summer, even though for a short visit only.</p>

<p>On arriving in Leipzic, one of my first visits was to the
Director of the choral-society, to ascertain something about my
mass. But what I learned was not very satisfactory. The
rehearsals it is true had been commenced; but the work had
been found so enormously difficult, and was so imperfectly
understood, that the director refused decidedly to let me hear
it. At my urgent request, however, a trial was made, which
went very badly, and as I did not nearly hear the effect which
I had pictured to myself during the inspiration of the work,
I concluded that I had produced a complete failure. After
hearing it a few more times, I resolved to make some alterations
in it, in order to facilitate its execution, and shortly
after, the mass was published by <i>Peters</i> as Op. 54. A long
time afterwards, when I had almost forgotten it, some parts
of it were sung to me by the Berlin choral-academy under
<i>Zelter’s</i> direction. These had been so well studied, were
intonated so clearly, and had so imposing an effect from the
combination of so many voices, that I now became fully convinced
that the work could be performed, and conceived the
desire to have it studied by my choral-society in Cassel. This
proved successful, as I did not lose my patience and the singers
were indefatigable, and the entire mass, without any omissions,
was performed in November 1827 on Saint Cecilia’s day. The
experience I had acquired during these rehearsals taught me,
however, to avoid a too great abundance of modulations and
difficult chords in succession.</p>

<p>Arrived in Dresden, we were conducted by <i>Hauptmann</i> to
the lodgings he had hired for us, which were pleasantly situated
in a quiet part of the town. Both my eldest girls imme<span class="pagenum"><a name="Page_ii_139" id="Page_ii_139">[Pg 139]</a></span>diately
began their singing-lessons with Mr. <i>Miksch</i> and I then
went in search of my former acquaintances among the artists
and amateurs of music, and, foremost of all, of the orchestra
director <i>Carl Maria von Weber</i>. He received me in a very
cordial manner, and by degrees introduced me into all the
musical circles, where I not only heard much good music, but
had the opportunity of playing my own chamber-music. As the
musicians who accompanied me evinced great interest in my
quartet-play, this induced me, with their assistance to give
quartet parties every week at my house, to which I invited
the most ardent lovers of music in the town. At these I
brought forward, as I could not succeed in doing in Paris, all
the quartets and quintets in succession which I had written
up to that time, and as I soon got to the end of them, and
they met with great approbation from all hearers, I was encouraged
to write some new ones. In a short time, I finished
two (the two first of Op. 58), and I took such interest in
this work, as well as in the whole artistic life of Dresden, that
I at once gave up my contemplated musical tour, and deferred
it to the latter end of the winter.</p>

<p>Meanwhile <i>Carl Maria von Weber</i> had succeeded in obtaining
the permission to have his opera of “<span lang="de" xml:lang="de">Der Freischütz</span>”
studied in Dresden, after it had met with such brilliant success
in Vienna and Berlin; and the private rehearsals were already
begun. As up to that time I had not entertained a very high
opinion of <i>Weber’s</i> talent for composition, it may be readily
imagined I was not a little desirous of becoming acquainted
with that opera, in order to ascertain thoroughly by what it
had achieved such an enthusiastic admiration in the two capitals
of Germany. My interest in it was increased the more
from my having worked also a few years before, when at
Frankfort on the Maine, upon the same materials, from
<i>Appel’s</i> book of apparitions, for an opera; and only abandoned
the composition upon accidentally hearing that <i>Weber</i> was
already engaged upon it. The nearer acquaintance with the
opera, certainly did not solve for me the riddle of its enor<span class="pagenum"><a name="Page_ii_140" id="Page_ii_140">[Pg 140]</a></span>mous
success; and I could alone account for it by <i>Weber’s</i>
peculiar gift and capacity for writing for the understanding
of the mass. As I very well knew that this gift had been
denied me by nature, it is difficult for me to explain how an
unconquerable impulse should have led me nevertheless, to
attempt dramatic composition anew. But so it was! Scarcely
had I arrived home, than I took from my trunk, a half-forgotten
work which I had begun in Paris. On a tedious rainy
day which in that muddy city renders it impossible to go out
of doors, I asked my landlady to lend me a book to read.
She brought me an old, well-read romance: “<span lang="fr" xml:lang="fr">La Veuve de
Malabar</span>.” I found its interesting matter would well permit
of being adapted to an opera, and I purchased it of her for
a few sous, in order to make trial of it. While in Paris, and
during the journey home I turned over in my mind the most
favourable form for the composition of the opera, and began
immediately after my return to Gandersheim to make the cast
of a scene. In those hours when I did not feel disposed to
work on the composition of the mass, I progressed with it,
and by the time I removed with my family to Dresden, I had
nearly completed it. I now reconsidered and worked over
anew this sketch with renewed zeal, decided in the most precise
manner everything that should take place in each scene, and
then looked out for a poet who would feel disposed to write
the opera according to this plan. Such a person I found in
Mr. <i>Edward Gehe</i>, who readily entered into my ideas. In this
manner originated the text of the opera “Jessonda.” I was just
on the point of beginning its composition, when an event took
place that took off my attention from it again for some time.</p>

<p>One morning, in the beginning of December, <i>Carl Maria
von Weber</i>, called upon me, and informed me that he had just
received an invitation to Cassel, with the offer of the appointment
of conductor of the orchestra at the newly-built court
theatre there, but had decided upon declining it, as he was
fully satisfied with his present position. Should he, however,
find me disposed to apply for that post, he would in his<span class="pagenum"><a name="Page_ii_141" id="Page_ii_141">[Pg 141]</a></span>
reply to the letter, direct attention to me, and say that I was
at present living in Dresden. As shortly before I had heard
from a member of the Cassel orchestra who passed through
Gandersheim much of the magnificence of the court theatre
there and of the love of art of the elector <i>William</i> II. who
had just entered upon the government, I could not doubt but
that I should find there an important and pleasant sphere of
action. I therefore accepted <i>Weber’s</i> offer with many thanks,
and before the lapse of a week, as a result of his reply, I
received a letter from Mr. <i>Feige</i>, director-general of the Cassel
court theatre, in which he offered me on the part of the elector
the appointment of master of the court orchestra, and I was
requested to send in my terms of acceptance by return of post.
After I had consulted with <i>Weber</i> and my wife, I demanded:
1) the appointment for life, by rescript, at a salary of 2000
Thalers; 2) a leave of absence of from 6 to 8 weeks, every
year; and 3) the assurance that the artistic direction of the
opera should be made over to me exclusively. The whole of
these stipulations were agreed to, but in return it was required
of me that I should enter upon my post at the latest
on the commencement of the new year. Overjoyed as we were
at this new appointment, particularly <i>Dorette</i>, as she was
thereby certain that she would be no more separated from her
children for a long time, yet we were not altogether satisfied
at having to leave our present residence so soon, where <i>Emilia</i>
and <i>Ida</i> were making such progress, particularly in singing.
We had besides taken our Dresden lodgings up to Easter, and
a removal in the middle of winter was altogether very unpleasant.
I therefore proposed that I should leave, to assume
my place at Cassel, but that my wife and the children should
remain in Dresden till the spring. Painful as was to her the
separation from me for so long a time, she was compelled to
admit the obvious convenience of my proposition. As the new
year was now approaching, I therefore made the necessary
preparations for my departure, and urged <i>Gehe</i> to work upon
the matter for the second and third act of Jessonda, with all<span class="pagenum"><a name="Page_ii_142" id="Page_ii_142">[Pg 142]</a></span>
possible diligence, while I took the first act, which was ready,
with me to Cassel.</p>

<p>Meanwhile another new and startling offer was made to me.
Count <i>Salisch</i>, my old patron in Gotha, wrote word to me that
the duchess had been informed I was now living in private
at Dresden, and she was therefore desirous to know whether
I might not be disposed to resume my old engagement, which,
since the recent death of <i>Andreas Romberg</i>, was again vacant?
Count <i>Salisch</i> added furthermore that they would be enabled
to grant me a considerable increase of my former salary.
Had I not already accepted the offer from Cassel, I might
possibly have given this one the preference, in order to afford
my wife the pleasure of a reunion with her mother and family
by a return to her native town. But the choice was thus
not permitted to me, and I might consider this rather in the
light of a fortunate circumstance, as my sphere of action in
Gotha would have been a very circumscribed one, in comparison
with that in Cassel. In a few years also I should have again
been left without a home, for the duke, and his successor also,
prince <i>Frederick</i>, the last heir, died soon after each-other, and
the state was divided among the other Saxon duchies. The orchestra
was then pensioned off, and as I could not have endured
to live in complete idleness, I should have soon removed
again to some other place.</p>

<p>The parting from my wife and children, although for a
short time only, was nevertheless a very sad one. <i>Dorette</i>, who
wept bitterly, could alone be somewhat comforted by my
promise to write every week and inform her of everything
that I was doing. In Gotha, when on passing through I paid
a visit to my mother-in-law, I was urgently pressed by her
and the other relatives of my wife, as also by the members of
the orchestra, to settle there once more. The duchess, also,
to whom it was requisite I should pay a visit, as she had
always evinced so much interest and kindness towards me,
resorted to every means to make me give up Cassel, and offered
to induce her brother the elector of Hesse to release me<span class="pagenum"><a name="Page_ii_143" id="Page_ii_143">[Pg 143]</a></span>
from my engagement. But as, since I had left Gotha, and
looked about me in the world, the sphere of action in that place
seemed to me too humble and restricted, I withstood every
solicitation and made a speedy departure.</p>

<p>I had scarcely arrived in Cassel (New Year’s Day 1822),
than I was summoned to an interview with the elector, who
received me with great kindness, and said many flattering things
to me. Among other subjects he expressed the hope to see
his opera become by my exertions one of the most celebrated
of Germany, and requested me to make such propositions as
were best calculated to effect that object. In order to do that
I requested a fortnight’s time, so that I might first make myself
well acquainted with the means and materials at hand.
After I had been present at a few rehearsals and performances,
I then assumed my new post with the direction of <i>Winter’s</i>
“<span lang="de" xml:lang="de">Opferfest</span>.” As the previous director of music, <i>Benzon</i>, had
from all accounts, been so much wanting in authority, that the
singers and the orchestra did not hesitate to oppose his
regulations, which indeed led to his dismissal, I considered it
immediately necessary to somewhat tighten the reins of discipline.
I therefore became very strict at the rehearsals of the
“<span  lang="de" xml:lang="de">Opferfest</span>,” but did not find the least disposition to resist either
in the singers, or in the orchestra; and already in the first
opera which I directed, succeeded in producing a better ensemble
than they had hitherto been accustomed to. This was
also generally acknowledged, and immediately procured for me
the confidence of the elector, as also of the whole theatrical
personnel. As I already found some excellent voices among
the singers, viz. the first tenor <i>Gerstäcker</i> and the prima
donna demoiselle <i>Dietrich</i>, and ascertained that <i>Feige</i> the
director of the theatre was negotiating for the engagement of
several other eminent artists, I limited for the present the
proposals which I now sent in to the mere increase and improvement
of the personnel of the chorus and orchestra. The
latter consisted in part of civilian musicians, and partly of
musicians belonging to the band of the body-guard, among<span class="pagenum"><a name="Page_ii_144" id="Page_ii_144">[Pg 144]</a></span>
whom were several of great excellence. The elector had granted
to the latter as well as to the civilian musicians a rescript
of engagement for life, so that I could no longer carry out my
notion of constituting the orchestra solely of civilian musicians,
in order to avoid any collision between the military and the
orchestral duties of the non-civilians. I hoped at least, however,
to get rid of the objectionable regulations which obliged the
military musicians to appear in full uniform, which upon my
first visit to the theatre was a great eye-sore to me. But
neither did I succeed in this, for upon my representing it to
the elector he replied, “It is contrary to military etiquette
for a soldier to appear before me otherwise than in full uniform;”
and when I made answer that the close-fitting uniform
made the orchestral duties more difficult, and that the high
epaulettes in particular made it quite impossible for the violinists
to hold their instrument in the proper way, he proposed
to give the musicians a particular and convenient uniform
without epaulettes, for the orchestral service, rather than
give up his whim. He rejected also my then suggested proposal
to give the civilian-musicians the same kind of uniform;
and in this manner this party-coloured orchestra remained
unchanged to the astonishment of all foreigners, until the
year 1832, when the present elector became co-regent in the
government.</p>

<p>But my propositions for the increase and improvement
of the orchestra were all adopted, and I received instructions
to engage some more good violinists, and some first-rate solo-players
for the leading wind instruments. By this means the
opportunity was afforded me of bringing my brother near to me
once more, who, after the expiration of his engagement in
Vienna had met with an engagement in the Berlin court orchestra.
I was equally successful with my former pupil and
friend <i>Hauptmann</i>, and both received a rescript of engagement
for life. Some excellent musicians were soon found also for
the wind instruments, and by this increase and by diligent
study and exercise, the orchestra became one of the best in<span class="pagenum"><a name="Page_ii_145" id="Page_ii_145">[Pg 145]</a></span>
Germany, and has so remained, in spite of all the personal
changes until now (1853).</p>

<p>But I must revert to the year 1822. My accession to
office was celebrated by the whole theatrical company, by a
grand dinner, at which the two heads of the theatrical administration,
the intendant Mr. <i>von Manger</i>, director of the police,
and director-general <i>Feige</i> presided. Songs, speeches and
toasts were sung and made in my honour, and I felt myself
quite at home in a circle where I was met on every side with
so much friendliness, and indeed in so hearty a manner. As
the Elector, who in the first years of his rule was very generous,
had made Messrs. <i>von Manger</i> and <i>Feige</i> grants of
money for special performances for the relief of native and
travelling musicians, this gave rise to brilliant and interesting
soirées at both their houses. These meetings were enlivened
by genius and wit, and there prevailed thereat a joviality which
though somewhat free was yet decorous. I at first therefore
frequented them with pleasure; but towards the time when
I expected my family I gradually withdrew from them, partly
because I was obliged to confess to myself that my wife would
not quite approve of this circle and partly because I was fearful
of endangering my official authority by a too companionable
intercourse with the singers.</p>

<p>A few days after my arrival in Cassel I was presented
to the Electress and her daughters, the Princesses <i>Caroline</i> and
<i>Marie</i>, and was invited to their evening parties. At one of
these I was requested to play some of my quartets, which I
expressly practised beforehand with the most distinguished
members of the court-orchestra. Messrs. <i>Wiele</i>, solo violinist,
<i>Barnbeck</i>, first violinist, and <i>Hasemann</i>, first violincellist (my
former quartetist in Frankfort, who had been engaged at Cassel
shortly before). These music parties, which were much spoken of,
were probably the reason why the Elector, who, separated from
his wife, never joined her evening circle, gave me the order
to give a court-concert, in order to afford an opportunity for
himself and the Countess <i>Reichenbach</i> to hear me play. This<span class="pagenum"><a name="Page_ii_146" id="Page_ii_146">[Pg 146]</a></span>
concert, for which I enlisted the services of all the talent
among the singers and court-orchestra, was given in the grand
saloon of the palace, before a brilliant company (in which of
course the Electress did not appear, as the Countess <i>Reichenbach</i>
occupied her place), and as it was the first at the new
court, it made a great sensation. It was, however, the only
one for a long time, as the Elector and the Countess took but
little interest in concert music.</p>

<p>By the wish of the orchestra I assumed also the direction
of the concerts which they gave in the new town-hall saloon,
and appeared also at one of them as solo player. In the first
years their receipts were divided, as they had previously been,
among the members of the orchestra; but later, upon my proposition,
they were appropriated to a relief-fund for the widows
and the families of deceased members of the orchestra, and
managed by a committee according to rules and regulations
devised for that purpose. This relief fund, which from that
period was supplied from the receipts from the concerts given
every winter by the court orchestra and those from the performance
of an oratorio on Good Fridays, is still in existence
(1853), and in the course of years has alleviated the distress
of many widows and orphans of the members of the orchestra.
But for several years past the concerts have been no more given
in the town-hall, but in the court theatre, from the time the
former Elector became patron of the institution, who, as little
as the present Elector, could make up his mind to be present
at a concert given anywhere else than in the theatre.</p>

<hr class="tb" />

<p class="break center">(Resumed in April 1858 after a pause of five years.)</p>

<div class="blockquot">

<p>(In this continuation, of the Journal, written in <i>Spohr’s</i> seventy-fifth
year, the manuscript would no longer permit of being printed so <i>verbally</i>
as previously, and here and there, to avoid too much prolixity, it was
necessary to make <i>omissions</i>. Some <i>gaps</i>, nevertheless, which required
filling up have been so far completed only as the citation of <i>Spohr’s
own words</i> in letters written to absent friends, would permit of,&mdash;so<span class="pagenum"><a name="Page_ii_147" id="Page_ii_147">[Pg 147]</a></span>
that the reader may rely upon the subject matter as faithfully given and
that <i>only Spohr himself speaks, without any additions from the pen of
others</i>, up to the mournful period (June 1858) when his biographical
notes, which reach to the year 1838, break off altogether.)</p></div>

<p>Shortly after my arrival in Cassel, I was invited by the
countess <i>Hessenstein</i> to a music-party. I there met several
dilettanti of the town, who all sang, though in their own very
bad style only. As nevertheless some of them had the gift
of good voices, it suggested of me the idea of directing my
exertions on that side also, and beginning by the institution of
a choral society. I therefore formed an acquaintance with some
of the singers, communicated my plan to them, and we immediately
arranged to meet on an early day in order to consult
further upon the steps necessary to be taken. As result
of this meeting a code of regulations was drawn up, and as
early as the 22nd March following an invitation was sent round
to the dilettanti of Cassel, signed by myself, Mr. <i>von Steuber</i>,
and secretary <i>Knyrim</i>, to join the society we were about to
establish under the name of the “Society of St. Cecilia,” in
order, “after the example of the majority of the larger towns
of Germany, to strive here also towards the same noble aim,
to awaken and cultivate a pure and correct taste for music
of an exalted and earnest character.” As the enterprise met
with a cordial welcome, the society was soon formed, and upon
its opening began first with the study of <i>Mozart’s</i> incomparable
<i>Ave Verum</i>, then with <i>Haydn’s</i> Hymns of Thanks, and <i>Mozart’s</i>
first mass, followed by a <i>Salve Regina</i> by <i>Hauptmann</i>, a charmingly
beautiful composition in the real, pious ecclesiastical
style. Meanwhile the number of members had increased to
more than fifty, and such satisfactory progress was made in
the weekly rehearsals, that already in the first year of its
institution the society performed several times in the catholic
church accompanied by the organ, during divine service, masses
by <i>Hauptmann</i> and others.</p>

<p>In the theatre also, after I had got to know the singers
and orchestra more intimately, my sphere of action began to<span class="pagenum"><a name="Page_ii_148" id="Page_ii_148">[Pg 148]</a></span>
extend itself. The first quite new work studied under my direction
was the opera “Zemira and Azor,” which I had written
at Frankfort, and which was first performed on the 24th March.
A young, talented singer, Miss <i>Canzi</i>, who was just then on
a professional visit to Cassel, sang the part of Zemira, and
<i>Gerstäcker</i>, the then much admired first tenor of our stage,
the part of Azor. As the other characters of the opera were
also well represented, it could not fail to be as well received
here as at Frankfort, so that not only was it repeated during
<i>Canzi’s</i> stay, a few days afterwards, but also immediately studied
by her successor, Miss <i>Roland</i>, and given several times
during the course of the year with great applause. But far
more pleasure than from the enthusiastic approbation of
the public, did I receive from the circumstance that the
opera pleased me, who had not heard it for two years, and
I was a still more severe judge of my later productions.
I was also now more than ever convinced, that this, like
many of my compositions required to be given in strict accordance
with the spirit of the work to please the non-connoisseur
as well; and that my music, if negligently played, can readily
be so spoiled, that the connoisseur himself would be at a
loss to understand it. Meanwhile, in the beginning of March
1822 my family arrived under the protection of my brother
<i>Ferdinand</i>, who had fetched them from Dresden on his way
here from Berlin, and we removed together to the house I
had hired in the Bellevue. Once more settled down in the
domestic circle I immediately began to compose the new opera
“Jessonda,” and finished it in December of the same year.
[In a letter written to <i>Speyer</i> of Frankfort on 26th January
1823, he says: “I have been latterly so much engaged upon
a new opera that I have somewhat neglected everything
else. It is now ready, and I am right glad to have completed
so important a work. If I expect more from this opera than
from the earlier ones, it is because of my greater experience,
and the inspiration I felt in the study of almost every ‘number’
of the successfully written libretto. In order to devote myself<span class="pagenum"><a name="Page_ii_149" id="Page_ii_149">[Pg 149]</a></span>
to the work in my hours of inspiration only, I have allowed
myself also more time with this than with all the former
ones.”] Some “numbers” from it&mdash;the overture, an air of Jessonda’s,
and the well-known duet between Amazili und Nadori&mdash;were
performed the very same winter at the subscription concerts,
and my daughter <i>Emilia</i> gained much applause in them.
The entire opera was first represented upon our stage on
the birthday of the Elector, the 28th July, in the following
summer, and was received with general acclamation. [In a
letter of the 2nd August 1823, appears, further: “You wish
to hear from me something respecting the first representation
of ‘Jessonda;’ it is a subject scarcely becoming me to write
upon, for without wishing to do so, I must nevertheless speak
in praise of it. The effect was great! It is the fashion here,
upon birthdays to receive the court only with applause, and
then the opera is listened to without any <i>loud</i> demonstration
of approbation. It should also have been so now; but already
before the end of the first act a storm of applause burst
forth, and etiquette was forgotten for the rest of the evening.
The performance was excellent. <i>Gerstäcker</i>, Miss <i>Roland</i>,
<i>Hauser</i> were grand, Miss <i>Braun</i> was endurable at least, and
better than in other characters. The chorus and orchestra,
scenery, dances, spectacle combats, storm, decorations,
costume, every thing, was excellent.... This work has made
me very happy, and I have reason to hope that the opera will
please much in other places.”]</p>

<p>From the windows of our house on the Bellevue we had
a very fine view across the meadows into the valley, which
is enlivened by the Leipzic high-road, and the beauty of the
country induced us to take frequent walks in the charming
environs of Cassel. In these walks we were mostly attracted
by the numerous villas situated in gardens, outside the Wilhelmshöhe,
and also of the Cologne gate; and as we began to
like this part very much, we soon felt the wish, also, to have
such a house with garden as we had already once rented in
Gotha, that we might call our own property. When therefore<span class="pagenum"><a name="Page_ii_150" id="Page_ii_150">[Pg 150]</a></span>
in our rambles any one of these particularly took our fancy.
I often made enquiries whether the owner was disposed to sell
it, but was frequently answered in the negative, until at length
a small country-house outside the Cologne gate, close to the
town and not far from the theatre, in a quiet neighbourhood
surrounded on all sides by gardens, was offered to me to purchase.
As the price asked for it did not exceed the amount
of my small savings placed with the firm of <i>William Speyer</i>
of Frankfort, I concluded the purchase of it at once, and
already in the autumn we moved into the newly-acquired property
and had the pleasure of gathering forthwith a good
harvest of fruit and vegetables. The only thing I missed in
the new house was a spacious music room. I therefore had
a partition wall removed that separated two rooms on the first
floor, and by that means gained a sufficiently roomy saloon for
a quartet party, which, however, had the defect in an acoustic
point of view, of being too low; for which reason I proposed to
myself at a later period to erect a building with a music room.</p>

<p>Our pretty quiet country-house incited me anew to
fresh compositions, and so I first wrote a third quartet
to the two already begun in Dresden, which were published
by <i>Peters</i> of Leipzic as Op. 58. In order to have
this quartet heard and the former ones, I established here
also a quartet circle, at which, in turn with some other families
who were lovers of music, we gave three quartets every
week, and concluded the evenings with a frugal supper. At
first the quartet consisted of myself, Mr. <i>Wiele</i>, solo violinist,
and subsequently concert-master of our court orchestra, of
my brother <i>Ferdinand</i>, who took the viol, and of our excellent
violincellist <i>Hasemann</i>. But as by degrees, both in the orchestra,
and in this small circle, death made some vacancies,
others were obliged to be substituted in their place, and then
some time was always required until we obtained once more
the old, customary ensemble again. In 1831 my brother was
first snatched from us, then <i>Wiele</i>, and at last <i>Hasemann</i>; but
their places were again filled by new members of our court<span class="pagenum"><a name="Page_ii_151" id="Page_ii_151">[Pg 151]</a></span>
orchestra, so that the quartet parties, which only took place
in the winter months, never ceased entirely, and I myself up
to quite recently (1858) played two quartets in each of them.</p>

<p>After I had completed the third quartet of Op. 58, a
fancy seized me to carry out an idea I had long conceived,
and of which, if I am not mistaken, <i>Andrew Romberg</i>, when we
played a quartet together for the last time before his death,
first spoke of, viz. to try my hand at a double quartet. The
circumstance that <i>Romberg</i> had entertained the idea for several
years without ever attempting it, incited me to it yet more,
and I imagined to myself the manner in which he had also
comprehended it, and how two quartet parties sitting close to
each other, should be made to play <i>one</i> piece of music, and
keep in reserve the eight-voice play for the chief-parts of the
composition only. According to this idea, I also wrote my first
double quartet (<i>B minor</i>), began the theme of the first allegro
with both quartets <i>unisono</i>, and <i>forte</i>, in order to impress it
well upon the hearers, and then carried it concerted through
both quartets in turn. Of the families who belonged to the
quartet circle, the marshal of the court <i>von der Malsburg</i> had
the most spacious place, for which reason I waited until the
turn came to him to give the quartet party, at which I then
with the assistance of my best pupils and of a second violincellist
from the orchestra, gave the new double quartet to our
circle, to hear. I was greatly pleased to find that its effect
was far greater than that of simple quartets and quintets, and
as this kind of chamber music excited also great sensation
abroad<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a>, as was proved by its frequent performance, I expected
nothing less than that the composers of that day would soon
imitate it and make it general. But this was as little the case,
as with some other extensions of the forms of art, which I<span class="pagenum"><a name="Page_ii_152" id="Page_ii_152">[Pg 152]</a></span>
have tried in later years, as for instance in the symphony for
two orchestras: “<span lang="de" xml:lang="de">Irdisches und Göttliches im Menschenleben</span>.”
(The earthly and heavenly in human life, Op. 121) in the historical
symphony (Op. 116), and the four-handed piano-forte accompaniment
to some tenor songs. One single young composer
only, of Lubeck, of the name of <i>Pape</i>, who was afterwards
appointed violincellist in the orchestra of the theatre at Bremen,
once sent me a double quartet in manuscript. He had great
talent for composition, but found no opportunity of making
his things known, and like so many young Germans, became
desponding for want of the recognition of his talent. This has
never been published, and thus my four double quartets remain
the only ones of their kind. An octet for stringed instruments
by <i>Mendelssohn-Bartholdy</i> belongs to quite another kind of
art, in which the two quartets do not concert and interchange
in double choir, with each other, but all eight instruments
work together. This kind, although not so interesting as the
double quartets, has been imitated; for the violincellist <i>Schuberth</i>
of St. Petersburg published one of the kind at his brother’s,
the music-publisher’s in Hamburg, which has been played
by us in Cassel several times, and been well received.</p>

<p>At this time I was engaged besides on various other compositions:
two pot-pourris on themes from “Jessonda” (Op. 64
and 66, at <i>Peter’s</i> in Leipzic), one for violin, the other for
violin and violincello, both of which I played in the course
of the winter in our subscription concerts. I further composed
a hymn to St. Cecilia, written by Miss <i>von Calenberg</i> for the
festival of the 22nd November, which consisted of chorus
with a brilliant soprano solo, the latter very well executed
upon the occasion by my eldest daughter <i>Emilia</i>.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p>

<p>For the celebration of this day, which our choral
society did this year for the first time, a company of about 120
persons assembled, mostly friends of the members of the society,<span class="pagenum"><a name="Page_ii_153" id="Page_ii_153">[Pg 153]</a></span>
in the Austrian saloon, which had been handsomely decorated
for the occasion, and ornamented with a life-size picture of
St. Cecilia. The festival began with the hymn to St. Cecilia,
after which a member delivered a discourse upon the musical
art, and with the most flattering expression of the thanks and
acknowledgements of the society, presented me with a valuable
gift, consisting of two large bronze candelabra executed by the
subsequently so celebrated sculptor <i>Henschel</i>, and ornamented
with scenes from my three operas performed here. This was
followed by a “Lord’s Prayer” by <i>Feska</i>, the <i>Salve regina</i> by
<i>Hauptmann</i>, and during the supper, some songs for male voices
were sung. In the following year <i>Hauptmann</i> composed another
hymn written by Miss <i>von Calenberg</i> in celebration of
the name-day of our holy patroness, and as this, together
with my composition, met with the same general approbation,
both these pieces of music were executed in turn upon all the
subsequent celebratimes of the festival. The voluntary contributions
which were collected upon these occasions were
applied only to charitable purposes, and the celebration of the
day although sometimes interrupted by some disturbances,
continued to be observed up to a late period, sometimes on
a more limited and at others on a more extensive scale.</p>

<p>In the following year (1824) I received an invitation from
Councillor <i>Küstner</i>, who was then director of the Leipzic
theatre, to bring out my opera of “Jessonda” upon that
stage. [A letter of the 14th February furnishes an account of
its successful performance there on the 9th of that month:
“Upon entering the orchestra I was received with general
acclamation, the overture was called for again with a loud
and continued <i>da capo</i>. Every ‘number’ was received with
lively applause, and four of them called for again, of which
one was a chorus, the first of the 2nd act. The greatest, and
really stormy enthusiasm, was created by the duet between
Amazili and Nadori. After the conclusion of the first act a
speaker stood up in a box on the first tier, and addressed
me in a speech in which he characterised me as a <i>true master</i><span class="pagenum"><a name="Page_ii_154" id="Page_ii_154">[Pg 154]</a></span>
of <i>German art</i>, and called upon the audience to give me a
“three times three”! This actually took place with a flourish
of trumpets and kettle-drums in a tutti such as I thought would
bring down the walls of the theatre. At the conclusion of
the opera the same scene occurred, and the house rang with
cries of “<i>da capo</i> Jessonda!” The day after the performance
Councillor <i>Küstner</i> sent me double the amount of the
honorarium agreed upon, and when upon my departure from
the inn I was about to pay my bill, I found that it had
been already settled.... <i>Peters</i>, the publisher of the selections
from it for pianoforte, declared to me also, that after <i>such a
success</i> of the opera, the honorarium I had fixed was too small,
and that I must now permit him to fix one for it.”] On the
14th June of the same year, the opera was also produced
at Frankfort, for the first time, and after that on the stage
of all the principal theatres of Germany.</p>

<p>Some time afterwards I received the command from the
Elector to write a new opera to celebrate the marriage of his
daughter the Princess <i>Marie</i> with the Duke of Saxe-Meiningen,
which was to take place in the spring of 1825. The subject
I had before proposed in Vienna to <i>Theodore Körner</i> to arrange
for me, <i>Musäus’s</i> tale of the “<span lang="de" xml:lang="de">Rübezahl</span>,” now came into my mind,
and I therefore applied to Mr. <i>Edward Gehe</i> in Dresden, who had
written the libretto of “Jessonda” so much to my satisfaction.
But as I could not send to him a clear outline of the scenes for
the opera, not being myself as yet well decided respecting the
working-up of the materials, his fancy could not assist him in
the matter, and he sent me a libretto that did not all come
up with my ideas, and to which I did not at all feel myself inclined
to compose. I now called to mind my former kettle-drummer
in the Frankfort orchestra, the already-mentioned
<i>George Döring</i>, who was at the same time a literary man,
and who since then had made himself known by several successful
novels. I therefore addressed myself to him, and explained
my views respecting the working-up of the “<span lang="de" xml:lang="de">Rübezahl</span>,”
particularly pointing out to him, that as I intended this to<span class="pagenum"><a name="Page_ii_155" id="Page_ii_155">[Pg 155]</a></span>
be a grand opera, it would not be necessary to write it in
rhyming verse. In <i>Gehe’s</i> “<span lang="de" xml:lang="de">Rübezahl</span>” there were many things
both shallow and inappropriate, and which appeared to me as
caused by the shackles imposed upon the author by the rhyme,
and this <i>Döring</i>, by my express wish, was to avoid altogether.
Although this has been greatly objected to, I am nevertheless of
opinion that the want of the rhyme in my opera “<span lang="de" xml:lang="de">Der Berggeist</span>,”
although it does not fulfill all that could be desired, is
the least to be blamed for it. Although <i>Döring’s</i> libretto was
neither altogether to my mind, yet there was no time to be
lost, and less so, since this was not the only work the elector
had requested me to prepare for the celebration of the marriage.
I had besides to compose a grand march with introduction
of the melody of the old German ballad: “<span lang="de" xml:lang="de">Und als
der Grossvater die Grossmutter nahm</span>,” together with a torch-light-dance
for fifty-three trumpeters, and two pair of kettle-drummers
(for these were the numbers to be found in the music
bands of the army of the Elector of Hesse); and as for the
sake of the modulation I was obliged to take various tones
of the trumpets, and the trumpeters of the bands not being
very musical, I was obliged to practise them also beforehand
in this torch-light-dance.</p>

<p>At the end of the year, nevertheless, I was ready with
all these compositions, and could now proceed to the study
of the “<span lang="de" xml:lang="de">Berg-Geist</span>.” Our first tenor <i>Gerstäcker</i>, who had been
ill for some time past, had meanwhile become worse, and his
malady had taken so sad a turn, that all likelihood of his
being able to sing was out of the question, and we were now
without a first tenor. The Elector therefore gave orders to
invite some foreign singer to perform for a series of nights in
his place, and we were so successful as to engage for several
weeks the services of the tenorist <i>Cornet</i> of Hamburg, who
was then in great repute, together with his betrothed, Miss
<i>Kiel</i> of Sondershausen, who undertook the first soprano part in
the new opera. Scarcely, however, had I begun the study of the
work by our own theatrical company, than I received from<span class="pagenum"><a name="Page_ii_156" id="Page_ii_156">[Pg 156]</a></span>
<i>Spontini</i> an invitation that very much surprised me, viz. to
proceed to Berlin, to direct the first representation there of
the opera of “Jessonda,” fixed for the 4th of February, and
to preside myself at the two last grand rehearsals. <i>Spontini</i>,
who must often have seen himself reproached in the Berlin
newspapers, for giving nothing but his own operas, and witholding
other meritorious works from that stage, might have
come to the idea of meeting that reproach in the most signal
manner by inviting the composer of “Jessonda.” But in reality
he did not seem to trouble himself much in furthering the
representation of the opera; for as soon as, having obtained
leave of absence, I arrived at Berlin, and waited upon
<i>Spontini</i>, he received me in a very friendly manner, it is true,
but informed me that the preparatory-rehearsals even had not
yet been begun, and that he had sent me the invitation
without the previous knowledge of the intendant of the royal
theatre, Count <i>Brühl</i>. I now first sought to soften the sensitiveness
of the latter on the score of such a neglect, and in
order not to be obliged to return home without having effected
anything, I then consulted with him on all that was necessary
to expedite the representation of the opera.</p>

<p>In the preparatory rehearsals which now took place, I had
the satisfaction of finding that the principal parts were in good
hands: <i>Bader</i> and <i>Blume</i> as Nadori and Tristan, and Mdmes.
<i>Schulze</i> and <i>Seidler</i> as Jessonda and Amazili, were excellent
singers; the part of Dandau also was well filled by Mr. <i>Krause</i>,
and that of Lopez, which had at first been given to a comic
singer, by which the serious character of the opera would have
been damaged, was taken by the baritone <i>Devrient</i>, after I
had agreed to make some alterations in the recitatives. The
opera could thus have been soon placed on the repertory,
when <i>Bader</i> suddenly fell ill, and after his convalesence Mrs.
<i>Seidler</i>, being seized with a hoarseness occasioned some obstruction.
As the term of my leave of absence was nearly at
an end, I made application for an extension of it. But the
Elector had felt himself aggrieved by the obstacles thrown in<span class="pagenum"><a name="Page_ii_157" id="Page_ii_157">[Pg 157]</a></span>
my way by <i>Spontini</i> and the Berlin intendance, and he allowed
me but a few days more, after the expiration of which I was
to return, whether the opera was brought out or not. Fortunately,
Mdme. <i>Seidler</i> got better; I could now therefore
direct in person the first representation of “Jessonda” in Berlin,
and be witness to its very favourable reception. Immediately
after, I left, and travelled three whole nights without resting,
in order to regain the time lost.</p>

<p>The two singers from Hamburg had arrived in the meantime,
and had already performed with great applause; I could
therefore begin the stage rehearsals of the “<span lang="de" xml:lang="de">Berg-Geist</span>” at
once. But between whiles I received furthermore the elector’s
order to arrange choruses for the prologue to the opera, in
which were to be introduced some popular Thuringian melodies.
To effect this I applied to my pupil <i>Grund</i>, concertmaster
at Meiningen, who procured for me the desired melodies,
which I then made use of in the work as well as they
would admit of it.</p>

<p>On the 23rd March 1825, the marriage took place in the
palace of Bellevue. On the procession of the new-married
pair and their suite from the dining-hall to the white saloon,
the orchestra played my march, which had a good effect, and
at the part where the “<span lang="de" xml:lang="de">Grossvater-Lied</span>” was introduced
was very pretty. The Elector, and the Duke (who was decidedly
more musical than his father-in-law) both congratulated
me much upon the grand march, which, at their request, was
played a second time. The reception of the married couple
at the festive representation on the following evening in the
theatre, was a very brilliant and noisy one; for I ordered the
fifty-three trumpeters and the two pair of kettle-drummers
whom I had placed up in the gallery to join in with the acclamations
and vivats of the audience! The festive-prologue
written by counsellor <i>Niemeyer</i> followed; then my new opera
“<span lang="de" xml:lang="de">Der Berg-Geist</span>,” which in truth was received by the thronged
and brilliantly lighted house with as much boisterous applause
as “Jessonda,” but which neither pleased me so much, nor<span class="pagenum"><a name="Page_ii_158" id="Page_ii_158">[Pg 158]</a></span>
was so popular on other stages as the latter. The Elector,
who was very satisfied with all I had written for the occasion,
sent for me the next-day, thanked me, and presented me with
a very handsome snuff-box, upon the lid of which, though
somewhat unsuitable for a musician, was a very artistic chasing
representing a combat of cavalry, set and framed under glass.
But&mdash;and that was the best part of it&mdash;it was filled with
Friedrich’s-d’or, and therefore a handsome and princely gift.</p>

<p>A few months afterwards Councillor <i>Küstner</i> sent for my
new opera to Leipzic, and in September the first representation
of it on that stage took place. [A letter of the 18th September
speaks of it in the following manner: “The day before
yesterday “<span lang="de" xml:lang="de">Der Berg-Geist</span>” was launched here with the greatest
success.... The <i>mise en scene</i> was more brilliant than
was ever known before in Leipzic, and some of the scenes
were more beautiful than any I had ever yet seen. The
scene-painter <i>Gropius</i> is in a fair way to become the first in
the world; neither in Italy, Paris nor London have I ever seen
anything so charming as the closing-scene of the second
act.... The reception the opera met with, was the most
flattering I had ever yet experienced.... The performance
may be said to have been a very successful one. With the
exception of one error in the overture, and one obstinate rock
which would not come up out of the earth, nothing went
wrong. On the stage, almost all did better than in Cassel,
particularly the <span lang="de" xml:lang="de">Berg-Geist</span> (<i>Köckert</i>) and Oscar (<i>Vetter</i>)....
The orchestra, although far inferior to ours, was unusually
good.”]</p>

<p>In the summer of 1825 an aimable young man, <i>Frederick
Curschman</i> of Berlin, came to Cassel to perfect himself under
my guidance as a musician. Although he had begun the study
of jurisprudence at Göttingen, he thought nevertheless of giving
up the law, and had already tried his hand with success at
various kinds of literature, particularly in songs, which he sung
with a pleasing baritone voice, and thereby introduced himself
into our musical circle. As his musical education was still<span class="pagenum"><a name="Page_ii_159" id="Page_ii_159">[Pg 159]</a></span>
imperfect, I advised him to apply first to <i>Hauptmann</i>, who
at my request had undertaken to instruct my violin pupils in
the theory of music, and shown great skill in that capacity.
<i>Curschmann</i> also immediately joined our society of St. Cecilia,
and became a very valuable member of it, as he not only
sang the bass soli very well at sight, but frequently took
the pianoforte accompaniment, and did the duty of a
librarian with great zeal. Together with some of our best
dilettanti he formed also an opera circle, in which for
the first time were produced several of his compositions
which afterwards became such favorites, and parts of his little
opera “<span lang="de" xml:lang="de">Die Todten, oder Abdul und Erinnieh</span>,” which was
brought out at a later period upon the stage here. He thus in
many ways enlivened the culture of art in our town, and soon
became the favorite of the musical world.</p>

<p>In the same year Councillor <i>Rochlitz</i>, the editor of the
Leipzic Musical Journal, offered me the text of an Oratorio:
“<span lang="de" xml:lang="de">Die letzten Dinge</span>,” to compose for; which I received with
great pleasure, as my previous attempt in that style of art,
“<span lang="de" xml:lang="de">Das jüngste Gericht</span>,” the oratorio performed at Erfurt, by
no means pleased me any longer, and therefore I had not
once been disposed to perform a single “number” of it at the
meetings of our society. I now began with new studies of
counter-point, and of the ecclesiastic style, and set zealously to
work on the composition, in which I followed the prescriptions
of the author which he had forwarded to me with the text,
in respect to its treatment, and which I not only strictly adhered
to, but found of assistance to me. The first part of the
oratorio was thus soon ready, and as early as the end of November
I could give it with the members of our choral society,
at a concert in behalf of the sufferers from the fire that had
occurred shortly before at Seesen; although it is true, with
pianoforte accompaniment only. On that occasion, I observed
with great pleasure, that it made a deep impression upon the
assistants, as well as upon all the auditory, and this observation
was of the more importance to me, as it convinced me<span class="pagenum"><a name="Page_ii_160" id="Page_ii_160">[Pg 160]</a></span>
that I had found the proper style for this kind of work. I had
in particular striven to be very simple, religious, and true in
expression, and carefully to avoid all artistic trickery, all
bombast and every thing of difficult execution. With increased
zest I now proceded to compose the second part, so that
the whole work was finished by the following Good Friday
(1826) and then first performed complete in the Lutheran
church. [A letter of the 26th March speaks of it in the following
manner: “Yesterday was a great day of festival for the
lovers of music here; for never yet had so solemn a musical
performance as my oratorio taken place in Cassel. It was
in the evening, and the church was lighted up. My son-in-law
<i>Wolff</i>, who had been long in Rome, proposed to illuminate
the church as at Rome on Good Friday, with lights disposed
overhead in the form of a cross, and carried out his idea.
A cross fourteen feet long, covered with silver-foil, and hung
with six hundred glass lamps, was suspended overhead in the
middle of the church, and diffused so bright a light that one
could everywhere clearly read the text-books. The musicians
and singers, nearly two hundred in number, were placed in
the gallery of the church, arranged in rows one above the
other, and for the most part unseen by the auditory, which,
amounting to nearly two thousand persons, observed a solemn
stillness. My two daughters, Messrs. <i>Wild</i>, <i>Albert</i> and
<i>Föppel</i>, together with an amateur, sang the soli, and the performance
was faultless. The effect was, I must myself say,
extraordinary. Never did I before experience such satisfaction
from the performance of one of my greater works! I had
always had to lament either an imperfect execution, an unsuccessful
effect, or something else. This time it was quite different.
The work, also, is simple and easy, and yet not less
comprehensive in contents, than the others.”] The visibly deep
impression that the oratorio made upon the public may also
have been yet further assisted by the solemn grandeur of the
illuminated cross&mdash;which harmonized greatly with the religious
sentiment inspired by the day. The elector only was not<span class="pagenum"><a name="Page_ii_161" id="Page_ii_161">[Pg 161]</a></span>
pleased with the selection of the Lutheran church and its
“catholic illumination,” as he called the cross, and he ordered
that the orchestra should give their future Good Friday concerts
in the court and garrison church, lit up with chandeliers
to be furnished from the electoral household lighting department.</p>

<p>Shortly afterwards I received an invitation from my London
friend <i>Ferdinand Ries</i>, who had returned to Germany,
and was then living in the neighbourhood of Godesberg on
the Rhine, to direct personally my new oratorio at the Rhenish
musical festival at Düsseldorf, the arrangements for which had
been confided to him. Although the Rhenish musical festival
was held at Whitsuntide, and therefore at a time when our
theatrical vacation had not yet begun, and I therefore required
to obtain an express permission to do so, I nevertheless succeeded
in obtaining it immediately, for the Elector felt himself
flattered when his director of music was invited to important
musical performances, and thereby acquired honour and
fame.</p>

<p>While therefore I prepared to set out with my whole family,
except <i>Ida</i> who, in the meanwhile, had married Professor
<i>Wolff</i>, four of the most ardent lovers of music here, Mr.
<i>Curschmann</i>, the referendary <i>Charles Pfeiffer</i>, Mrs. <i>von der
Malsburg</i> and her friend Miss <i>von Heister</i>, made up their
minds to join us, and like us to travel by post, in order
to be able to put up at dinner-time, and at night at the
same places. Favoured by the finest weather, we set out on
our journey on the 9th May 1826, and as the carriages always
kept close together, we exchanged places in them sometimes,
always took our meals together, and our pleasant and spirited
conversation was not at all interrupted, so that I never recollect
having made a more agreeable journey.</p>

<p>On the third day we were met three miles from Düsseldorf
by the festival committee and the family of the State-Councillor
<i>von Sybel</i>, at whose house I and the members of
my family were to stop; and scarcely had we arrived at
Düsseldorf, than we were welcomed by the choral-society with<span class="pagenum"><a name="Page_ii_162" id="Page_ii_162">[Pg 162]</a></span>
a serenade. At the first general rehearsal, which was held on
the following morning, I had the satisfaction of finding that
my oratorio had been carefully and correctly studied by the
different societies, and was sung with an enthusiastic feeling
for the work. I could not feel so content with the orchestra,
which had been gathered together from different places, and
in which dilettanti assisted, and among others, my friend
<i>Thomae</i> from Cleves, among the wind instruments. It was
therefore a difficult matter to bring all the instruments to the
same pitch, and it could only be effected by great patience
and frequent repetitions. In the afternoon of the same day,
the rehearsal of the performances for the second day was
held, which <i>Ries</i> conducted. At it were given a new symphony
by <i>Ries</i> (manuscript <i>D</i> major), a Sanctus and a Credo from
a mass by <i>Frederick Schneider</i>, the jubilee overture of <i>Carl
Maria von Weber</i>, and lastly, a selection of the finest “numbers”
from <i>Handel’s</i> “Messiah.” As Miss <i>Reinigen</i> of Crefeld, the
solo singer, was taken suddenly ill, my daughter <i>Emilia</i>
was obliged to take the soprano part also in the vocal
performances. But so diligently did she study it, that already
at the very first rehearsal she went through the business
right well, and by her aid all derangement of the festival was
obviated. But so much the greater was <i>Ries’s</i> difficulty with
the wind instruments in his symphony. He nevertheless displayed
in the matter great patience, and dealt very leniently
with the awkwardness of the dilettanti. On the following day
were held two more rehearsals of the performances for the first
and second day of Whitsuntide (the 14th and 15th May),
which then, after such careful rehearsals passed off without a
fault. My oratorio was received with such enthusiasm by those
who played and by the auditory, that on the evening of the
very first day, the prolongation of the festival was mooted in
order to repeat once more “<span lang="de" xml:lang="de">Die letzten Dinge</span>” for the benefit
of the Greeks. This was publicly announced on the second
day of the performances, and the majority of the strangers present
stopped in order to be present at its repetition. Thus<span class="pagenum"><a name="Page_ii_163" id="Page_ii_163">[Pg 163]</a></span>
my work had the honour conferred upon it of a second performance,
of which I might well be proud, as since then so far
as I know of, such a thing has never happened to any work given
at the Rhenish musical festivals. In the musical journals, also,
there appeared several very favourable notices of my oratorio,
and I therefore hastened to publish selections from it for the
pianoforte. But the edition I issued was soon sold off, and a
second was therefore published afterwards by <i>Simrock</i> of Bonn,
who also brought out the song parts with it, by which the
performances of the work in almost all the towns of Germany,
Holland and Switzerland was very much facilitated. I could
therefore be very content with the reception of this oratorio,
and frequently as it was performed and spoken of, no voice
was ever heard raised in condemnation of it.</p>

<p>In the course of this year I wrote besides a second quintet
(<i>B</i> flat minor, Op. 69, published by <i>Peters</i>) and three quartets
(Op. 74, also by <i>Peters</i>). But I now longed to begin a greater
work, and particularly an opera, although the “<span lang="de" xml:lang="de">Berg-Geist</span>”
acquired no extensive popularity, since, after the representations
in Cassel and Leipzic, it was only given at Prague, where it
met several times with a brilliant reception. As <i>Curschmann</i>
at the same time entertained a similar desire, he had requested
his fellow-traveller and friend, <i>Charles Pfeiffer</i>, who at that
time had begun to make himself a name as a poet, to work
up a novel of <i>Tieck’s</i>, “<span lang="de" xml:lang="de">Pietro von Abano</span>” as an opera text.
He may however have felt himself not yet quite sufficiently
advanced in his musical culture, and therefore when <i>Pfeiffer</i>
had completed the first act of the libretto, he abandoned his
project of attempting so soon a grand opera. He now offered
me the composition of Pietro, and as the novel, as well as
the manner in which it had been worked up, pleased me
greatly, I soon came to an arrangement with both gentlemen
respecting it, and in February 1827, set to work very
assiduously upon it, and completed it in August of the same
year. The opera occasioned me anxiety at first, on account
of the immediate succession of two scenes&mdash;a funeral, and<span class="pagenum"><a name="Page_ii_164" id="Page_ii_164">[Pg 164]</a></span>
the pranks of a band of merry students&mdash;so strikingly dissimilar
and incongruous as to render their proximity unpleasant:
neither did I at all like the speaking part of
the bishop, without any singing. But as this part was
taken by <i>Seydelmann</i>, who was then engaged at our theatre
from pure interest he took in the work, and was performed
in a very dignified manner, I became more satisfied with it,
and had the gratification of finding that it made a deep impression
upon the performers, the orchestra, and my musical
friends who were permitted to assist at the rehearsals. On
its first representation, on the 13th October 1827, it was also
received by the public with a similar enthusiasm to “Jessonda,”
and I had therefore reason to hope that like it also, it would
soon obtain popularity beyond Cassel. But when at the request
of the directors of some other theatres I forwarded the book
to them, I soon found that not only did the catholic towns disapprove
of the introduction of the bishop and the ecclesiastical
forms on the stage, but the intendants of theatres in
protestant towns, also, and among others, Count <i>Brühl</i> in
Berlin, who rejected the opera, because they had some scruples
about the contents. At that time it is true, many of the later
operas and plays, which since then have hardened the public
against all objectionable matter, had not become the fashion
of the day. But <i>Meyerbeer</i>, who now wanted to hear the
opera with all these circumstances of form, expressed himself
in regard to it in the following manner in a letter of the
4. March 1828: “I cannot conclude my letter without thanking
you for the pleasure that the perusal of the score of your
master-piece “<span lang="de" xml:lang="de">Pietro von Abano</span>,” which Mr. <i>Schlesinger</i> lent
to me, has afforded me, and I am happy to be able to say, that
in particular the first act, the first finale (although only furnished
by the poet with two personages), the scene between
Antonio and the half-lifeless Cecilia in the second act, and
the ingenious manner in which the stringed instruments, half
<i>con sordini</i>, half <i>senza sordini</i>, shadow forth the dialogue between
the living Antonio and the spirit-like Cecilia; the im<span class="pagenum"><a name="Page_ii_165" id="Page_ii_165">[Pg 165]</a></span>posing
finale of the second act; and besides these, numerous
other features of splendid dramatic intention, excellent declamation,
novel, picturesque instrumentation and harmony, have
truly charmed me, and excited in me the most ardent desire
to be present at a performance of your master-piece.”</p>

<p>In the year 1828, I wrote my second double-quartet, and
endeavoured to bring it nearer to my first idea of the double
choral style, than the first: in this I succeeded to my own
satisfaction. I played it for the first time publicly in one of
our winter-concerts of December, with great applause, and it
soon found the same appreciation and publicity in other places
as the previous one. Shortly afterwards I received an invitation
to conduct my oratorio “<span lang="de" xml:lang="de">Die letzten Dinge</span>” at a musical
festival that was to take place at Halberstadt on the 4th June
1828, and I set out this time accompanied only by my wife
and my youngest daughter <i>Theresa</i>, as shortly before, my
daughter <i>Emilia</i> had married a manufacturer of the name of
<i>Zahn</i>, and could leave her domestic concerns as little as <i>Ida</i>.</p>

<p>My oratorio was excellently performed by the different
choral-societies that had been invited for that purpose, as they
were all enthusiastic admirers of it, and gave it the preference
over all other works then performed.</p>

<p>At the second concert I played my new concertino in <i>A</i>
major (Op. 79, published by <i>Schlesinger</i>), and I think that,
upon the same occasion, also, my just finished third symphony
in <i>C</i> minor (Op. 78, also published by <i>Schlesinger</i>) was then
performed for the first time. One circumstance, the remembrance
of which is still impressed upon my memory, and which
relates to my daughter <i>Theresa</i>, then nine years old, I must
yet relate. I took the child with me to all the rehearsals,
as she would always attend those at Düsseldorf, and I augured
from that, a great love for music. In Halberstadt <i>Theresa</i>
expressed especial pleasure in the concluding “number” of the
oratorio, and as that was a fugue on the words: “His is the
kingdom, the power, and glory,” I furthermore concluded that
she had not only a strong sentiment for music generally, but<span class="pagenum"><a name="Page_ii_166" id="Page_ii_166">[Pg 166]</a></span>
also for its graver forms, and I even imparted to <i>Dorette</i> the
pleasure I felt at the happy disposition of our child. But
when I questioned <i>Theresa</i> more closely respecting her preference
for the fugue, I was informed to my great surprise
and to my shame, “that she only liked the piece of music
in question better than all the rest, because she knew, that,
as at Dusseldorf, the rehearsal would soon be over, and that
then we should <i>go home to dinner</i>!”&mdash;Shortly afterwards
I received from the parties who got up this musical festival
a permanent, and more gratifying cause to remember the
same; for they sent me, as a mark of their gratitude, a
costly table-clock, ornamented with appropriate emblems, and
bearing on the pedestale an inscription, with the date.</p>

<p>In the course of the year I wrote three more violin-quartets,
which were published by <i>Schlesinger</i> as Op. 82, after which,
as I was not very successful with my operas upon other stages,
I turned once more to church music, and in the spring of
1829, wrote my “Lord’s prayer,” on the text of <i>Mahlmann</i>.
The effect which this work produced at its first performance,
although only with pianoforte accompaniment, on the festival
of St. Cecilia the same year, was greatly increased, when
a few months afterwards it was given at one of our winter-concerts
with full orchestral accompaniment. It was not only
received here in Cassel upon every repetition up to more
recent times, with great approbation, but it soon found much
approval in other places also.</p>

<p>On the 4th June 1829, another musical festival took place
at Nordhausen, to which I was also invited. Of the first day’s
performance I have nevertheless, now no clear recollection;
but on the second day I played with <i>Müller</i> of Brunswick,
with <i>Wiele</i> of this place, and with <i>Maurer</i> of Hannover, a concertante
for four violins, of the composition of the latter. For
myself, I chose to play the fourth, on the occasion, as my
Stradivari-violin had a particularly good tone on the <i>G</i>
string, and as we had practised together that celebrated piece<span class="pagenum"><a name="Page_ii_167" id="Page_ii_167">[Pg 167]</a></span>
of music very assiduously, the applause was quite extraordinary.
My new clarinet-concerto in <i>E flat</i>, which I had written
for <i>Hermstedt</i> for this musical festival, met with no less approbation,
but it is no longer in my possession, neither do I
now know whether it is still in existence. During our stay
in Nordhausen, we lived in the house of a Mr. <i>Fleck</i>, a merchant,
whose wife was a very amiable hostess. One day at
dinner, <i>Edward Grund</i> my former pupil, was prompted to
propose a toast to her, in doing which he introduced the observation
that she “was anything but a Fleck<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> in human
society, but much rather to be called a gleam of light.” I also
remember still with pleasure the beautiful weather that favoured
the dinner which the people of Nordhausen gave to their
guests upon a neighbouring hill which commanded a view of
the town. The collation was spread upon the greensward,
and as good wine was by no means wanting, the company
soon became very merry, and returned to town in the best
possible humour.</p>

<p>In August 1829, I wrote a solo-quartet in <i>E major</i>
(Op. 83, published by <i>Schlesinger</i>). But my desire to try my
fortune once more with an opera gave me no rest, and I
therefore persuaded my friend <i>Charles Pfeiffer</i> to work up for
me the subject of a Spanish novel by <i>Washington Irving</i>, that
seemed to me very attractive, and in every respect adapted for
an opera. But as <i>Pfeiffer’s</i> name could not be mentioned in
the playbills, as in the electorate of Hesse it is not considered
becoming for a servant of the state to occupy himself with
poetical works together with his official duties, the indetectable
name of <i>Schmidt</i> was chosen instead of his; just as when
“Pietro” was brought out the author’s name was not mentioned,
as <i>Feige</i>, then the director of the theatre, did not like to be
responsible to the Elector and the public for permitting a
fictitious name proposed by me to be placed upon the playbill.&mdash;In
October 1829, I, therefore, with my usual zeal, with<span class="pagenum"><a name="Page_ii_168" id="Page_ii_168">[Pg 168]</a></span>
every new work, set about the composition of the opera of
the “Alchymist,” completed it in April of the following year,
and immediately distributed the parts, in order to perform it
on the 28th July, the birthday of the Elector. It pleased here
in Cassel quite as much as my previous operas, but out of
Hesse was represented at Prague only, though with great
approbation;<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> while the selections made from it for the pianoforte,
arranged by my brother <i>Ferdinand</i>, found a more widespread
publicity.</p>

<p>In June 1830 <i>Paganini</i> came to Cassel and gave two
concerts in the theatre, which I heard with great interest.
His left hand, and his constantly pure intonation were to me
astonishing. But in his compositions, and his execution I found
a strange mixture of the highly genial and childishly tasteless,
by which one felt alternately charmed and disappointed, so that
the impression left as a whole was, after frequent hearing, by
no means satisfactory to me. As his visit took place just on
Whitsunday, I took him the next day to Wilhelmshöhe, where
he dined with me, and was very lively, indeed somewhat extravagantly
so.</p>

<p>A few months afterwards the revolution of July broke out
in France, and as a general excitement had extended itself to
Germany also, symptoms of discontent with the public authorities
showed themselves also here in Cassel. Just previously,
the Elector had gone to Vienna, accompanied by the Countess<span class="pagenum"><a name="Page_ii_169" id="Page_ii_169">[Pg 169]</a></span>
<i>Reichenbach</i>, with the object, as it was believed, of effecting at
the Austrian court the elevation of that personage to the
dignity of a princess. He had afterwards repaired to Carlsbad,
and from there came all manner of strange reports
about his serious illness, resulting from some personal conflicts
with the Countess <i>Reichenbach</i>, on account of which, his physician
Mr. <i>Heräus</i>, proceeded to Carlsbad, but not having been
admitted to an audience, returned to Cassel. A deputation
from the members of the privy council was hereupon sent
to Carlsbad; was received several times by the elector, and
brought back intelligence that he would shortly return to his
capital. Before this took place however, on the evening of
the 6th September, disturbances broke out. I was at the moment
with my wife at the theatre, where <i>Raupach’s</i> comedy
“<span lang="de" xml:lang="de">Der Zeitgeist</span>” was being performed, and I remarked on a
sudden, that messengers had been sent to the officers who
were present, informing them that “the alarm” had been
sounded in the town, and upon this they all immediately left.
This created so much sensation in the house, that the rest of
the audience thought that nothing less than a great fire had
broken out in the town, and they also left the house in the
midst of the performance. Fearing for the safety of our own
and our children’s dwellings, we went out with the rest,
and were at length informed that the excited people had
riotously attacked several bakers’ shops, and committed depredation
in the houses of the owners, because, notwithstanding
the fall that had taken place in the price of corn, they had
raised the price of bread. In order to prevent further excesses
on the part of the populace, a number of the citizens had, with
the consent of the ministry, taken up arms, and the military
occupied not only the electoral palace, but the Königstrasse
and the Friederichsplatz, so that the people leaving the theatre
could not pass through the closed streets. We were therefore
compelled to make a circuit to reach our house and when
arrived there, dared not retire to rest at the usual hour, as
the commotion that prevailed in the town was still very great.<span class="pagenum"><a name="Page_ii_170" id="Page_ii_170">[Pg 170]</a></span>
The Elector did not return till the 12th September, but at
first unaccompanied by the Countess <i>Reichenbach</i>, and with the
greatest privacy. He immediately proceeded to Wilhelmshöhe,
whither, a few days after, the magistracy with chief-burgomaster
<i>Schomburg</i> at their head, followed him, to express their
pleasure at his convalescence and return; as also to petition
him to assemble the estates, which had not been done since
1815, and to advise with them upon the alleviation of many
existing grievances. The magistracy was nevertheless not admitted
to an audience till the following morning in the electoral
palace at Cassel, during which, half the town had collected
on the Friedrichsplatz, in order to ascertain immediately
whether the result of the deputation was successful, and if
such should be the case the master-cooper <i>Herbold</i>, had agreed
to make it known to the people by waving a white handkerchief
from the window of the chamber of audience. When
therefore the deputation in solemn procession from the Ober-Neustädter
town-hall, approached the palace, and had crossed
its threshold, all eyes were directed to the windows of the
audience-chamber, and the decision was anxiously awaited.</p>

<p>The Elector, to whose ears doubtless many disquieting reports
had come, and who could place no dependance on his
troops (many of whom, as at a latter period was shown,
desired a constitution) for the protection of his palace and the
successful suppression of the revolution, gave, to the universal
joy of the people a satisfactory reply. Scarcely had the waving
of the white handkerchief announced this to the populace,
than the assembled thousands upon the Friedrichsplatz rent
the air with deafening cheers of Long live the Elector! upon which
he shewed himself for a moment at one of the windows, and
acknowledged them with several bows. In the evening the town
was spontaneously illuminated, and at the theatre, instead of
the previously announced piece of the “<span lang="de" xml:lang="de">Ahnfrau</span>” the “Barber
of Seville” was chosen, and the public in their delight at the
appearance of the Elector and his son before the beginning
of the opera, greeted him with tumultuous cheers, and struck<span class="pagenum"><a name="Page_ii_171" id="Page_ii_171">[Pg 171]</a></span>
up the “Hail to the elector Wilhelm.” This was followed on
the 19th of September by the promised summoning of the
ancient estates of Hesse, consisting of deputies from the nobles,
the towns, the universities and the peasantry, who assembled on
the 16th October, and immediately promulgated a satisfactory
report to the people. On the following day the opening of the
assembly of the states was celebrated by the performance of
divine service in the great church, and by command of the
government by a solemn choral hymn sung by the society of
St. Cecilia accompanied by the court orchestra. For this
occasion I selected the last “number” of my cantata composed
in Vienna, “<span lang="de" xml:lang="de">Die Befreiung Deutschlands</span>” (The emancipation of
Germany), with its solo-quartet, and the concluding fugue:
“<span lang="de" xml:lang="de">Lasset uns den Dankgesang erheben</span>” (Let us raise the song
of thanks), a four-voice choral piece which was alternately
sung, with the congregation, and the Halleluja from <i>Händel’s</i>
Messiah.</p>

<p>The propositions brought forward by the estates, after
several weeks’ discussion between the electoral commissaries
and the deputies, were with various additions and modifications,
admitted as basis of the new constitution of the state as well
as for the propositions made by the Elector respecting a
fixed amount for a civil list, and division of the whole of the
state revenues, which besides had been chiefly accumulated
from the sale of the men taken into the pay of the English
to fight against the revolted North-American colonies during
the time of the Elector Friedrich II. The 9th January 1831
was the day fixed for the promulgation of the new constitution,
and on the evening of the day before, the Electress came back
with her daughter <i>Caroline</i> from Fulda, where she had been
residing for some time past, in order to be present at this
joyful event. The elector received her upon his arrival at her
residence in the Belle-vue palace, and I received order from
the officer of the lord marshal of the court, to give the reconciled
couple a serenade with the court orchestra. After I
had held the rehearsal in the course of the afternoon for<span class="pagenum"><a name="Page_ii_172" id="Page_ii_172">[Pg 172]</a></span>
that purpose, I proceeded with the orchestra in exceedingly cold
weather to the Belle-vue palace, and having ascertained the
apartment in which the court was assembled we drew up outside
and played as well as the extremely unfavourable weather
would permit. Towards the end of the music the princely
pair shewed themselves, the Elector embraced his wife at the
window, and the inhabitants of Cassel, who in spite of the
cold had collected in crowds, broke out into a loud cheer of
joy. The next morning the public announcement of the new
constitution was made, and the oaths were taken with due
solemnity on the part of the civic-guard publicly upon the
Königsplatz, on that of the military on the Friedrichsplatz,
and by all the authorities, the court officials and the orchestra
in their proper localities. In the evening the town was illuminated,
and at the theatre, brilliantly lighted up, “Jessonda”
was given as festive opera for the occasion, preceded by a
play written for the occasion by counsellor <i>Niemeyer</i>. In the
latter was introduced at the same time a hymn composed for
it by me, “Hesse’s song of joy on the establishment of its constitution;”
and at the conclusion, the well-known and previously
mentioned melody, which, with appropriate words, was sung also
by the audience, after which the latter greeted the electoral
family assembled in the state box with a storm of cheers. Everybody
now looked forward to a happy future; but unfortunately
the Countess <i>Reichenbach</i>, with her brother Mr. <i>Ortlepp</i>, returned
the day after to Wilhelmshöhe. This had no sooner become
known in Cassel, as also that the elector had visited her there,
than the disturbances immediately broke out afresh. Citizens
and peasantry gathered in crowds before the palace at Wilhelmshöhe,
and threatened aloud to drive the countess out by
force, until it was at length ascertained that she had left for
Hanau, and a public announcement was placarded in Cassel:
“that the <i>cause</i> for the disturbance had been removed.” But
a few weeks afterwards the Elector followed her, as it was
thought to take up his residence altogether at Hanau.</p>

<p>Meanwhile at my house the construction of an additional<span class="pagenum"><a name="Page_ii_173" id="Page_ii_173">[Pg 173]</a></span>
building which had been begun the previous summer from a
plan drawn by my son-in-law <i>Wolff</i> was completed. By this,
in addition to somewhat more house-room, I obtained more
particularly a music room such as we had long felt the want
of for our quartet parties, which although closely adjoining
the house itself, had nevertheless a higher roof, in order to
give it the desired height. In its decoration also, the chief
endeavour was to obtain a favourable acoustic arrangement,
so as to dispense with all drapery over the windows and doors,
which is so obstructive of sound. On the 2nd February 1831,
we consecrated the newly-acquired space with the celebration
of our “Silver Wedding”; at which my parents from Gandersheim
were come to assist, and had brought with them as a
present a porcelain vase richly ornamented with silver, upon
which, besides the names of the donors, was engraved the inscription:
“May the silver of to-day be one day gold!” This
fete, properly speaking was got up by my children, in conjunction
with our musical friends, and was opened by the
torch-light dance from my “Faustus” executed by the guests,
with appropriate words to the choral parts. This was followed
by a succession of “Tableaux vivants,” in which the chief incidents
of my life were ingeniously represented. Among many
other poems both of comic and serious import, which were
recited at table, my friend <i>Pfeiffer</i> had also contributed a
composition with the view, that all the persons present should
appear in the costume of the characters in my operas, and
that <i>K. Pfeiffer</i> himself should recite the poem. This poem
gave me great pleasure at the time, and its recital, with
all its allusions, excited general merriment, and no one would
have dreamed that its youthful author would be snatched in
a few months by death from our circle. Early in the morning
of the 31st July, while bathing in the river Fulda, he was
struck with apoplexy, and his beautiful and diversified labours
in literature were suddenly arrested for ever. For his obsequies
I composed a solemn dirge for several voices, and subsequently,
when the civil guard of this place had a monu<span class="pagenum"><a name="Page_ii_174" id="Page_ii_174">[Pg 174]</a></span>mental
memorial erected over his early grave, upon its consecration
the chorus from “The last things,” “<span lang="de" xml:lang="de">Selig sind die
Todten</span>,” was sung by the St. Cecilia society with the assistance
also of its female members, a circumstance which upon no
previous occasion of the kind had ever taken place in Cassel.
Dr. <i>B. W. Pfeiffer</i>, the father of the deceased, who previously
had been known to me only in his official capacity as chief
advocate of the court of appeal, visited me upon the occasion
to thank me for my attention, and in this manner I first became
personally intimate with him, to whom I was at a later
period to be more nearly allied as son-in-law.</p>

<p>Unhappily that was the last family rejoicing which my
brother <i>Ferdinand</i> lived to see. He shortly after fell so seriously
ill that the physicians immediately pronounced him irrecoverable,
and I was present a few days afterwards when he
breathed his last. As his widow, in spite of all her solicitations,
received no pension from the bureau of intendance,
and was therefore reduced to the small income paid to her from
the relief-fund which I had instituted a few years before, I
set aside for her subsistence a yearly allowance, with the aid
of which she was enabled to give a good education to both her
children and to allow her son <i>Ludwig</i>, my godson, to prepare
himself for his collegiate studies. After some years of diligent
study, with a view of going to the university of Marburg, the
young fellow returned to his earlier expressed desire to devote
himself entirely to music. Upon a closer examination, however,
this did not seem to me advisable, as it was now too late for
him to acquire the necessary thorough musical education, and
by my advice he adhered to his chosen profession of the law,
passed a brilliant examination in 1847, and entered into the
official service of the electorate of Hesse.</p>

<p>In the month of April in pursuance of the new constitution,
the first assembly of the estates upon the basis of the
new election law was summoned, and held its sittings in a
saloon of the Belle-vue palace. <i>Schomburg</i>, the burgomaster
of the capital, was unanimously chosen as its president, and<span class="pagenum"><a name="Page_ii_175" id="Page_ii_175">[Pg 175]</a></span>
the government did not dare oppose his nomination. As
the sittings were public, this awakened immediately an active
political vitality in the town, and the debates were followed
up to the conclusion of the session with great interest by all
classes. Professor <i>Sylvester Jordan</i>, the deputy from the
Marburg university, soon distinguished himself by his eloquence,
and he almost always succeeded in carrying through his liberal
motions in the assembly.</p>

<p>In order to extend these liberal sentiments among the inhabitants
of Cassel, some men well known for their liberal
opinions considered it requisite to form a political club, under
the name of the “reading museum,” and I willingly joined my
exertions to theirs. At this place every afternoon during the
session, the various subjects which had been discussed in the
chamber were made known. The sittings of the deputies were
often very stormy ones, though the chairman reprimanded the
non-members every time they applauded a speaker, and threatened
to have all disturbers turned out by the civic guard, yet
the daily visitors at the sitting did not much care about it
and still endeavoured to influence the voting. But the administration
of public affairs suffered considerable detriment
from the circumstance that the Elector had quitted his palace
at Cassel since March, and taken up his residence permanently,
at Hanau. As the assembled estates had failed in all their
repeated efforts to persuade him to return to Cassel, they resolved
towards the end of August, in conjunction with the
town council of Cassel, to send a deputation to Hanau, with
the proposition that the Elector should either return without
delay to the capital or adopt means for the undisturbed administration
of affairs. The deputy from Rinteln, <i>Wiederhold</i>,
president of the high court of judicature, was one of the deputation,
and he succeeded in inducing the Elector to take his
son as co-regent with him in the government, and to transfer the
administration of affairs to him exclusively so long as he himself
remained away from Cassel. Thus the young Prince, after
a long residence at Fulda, returned to Cassel as co-regent,<span class="pagenum"><a name="Page_ii_176" id="Page_ii_176">[Pg 176]</a></span>
together with the Countess <i>Schaumburg</i>, with whose morganatic
marriage with his son the Elector now expressed himself reconciled.
The Prince delivered to the estates a deed of
agreement concerning the solemn maintenance of the constitutional
laws, and was at first received at Cassel with
satisfaction, particularly as he nominated the mediator,
<i>Wiederhold</i>, minister of justice. But as it was soon observed
that the Electress, on account of her refusal to acknowledge
the Countess <i>Schaumburg</i> as her daughter-in-law, experienced
many annoyances and affronts, considerable disapprobation
was displayed in the town, and all classes generally sided with
the amiable Electress, who by her kind sentiments and mild
manners had for long years acquired the love and respect of
the people of Hesse. As for me, I had, however, to congratulate
myself on being in favour with the Prince at that
time; and he requested me to make arrangements for giving
him some court concerts at the palace of Wilhelmshöhe. Upon
his returning shortly to the town he even requested me in a
very courteous letter, to afford him and the Countess the pleasure
of hearing some of my quartets, and to arrange for that
purpose a quartet party at the palace. It would seem, however,
to have been a somewhat tedious affair for them, for I never
received a second invitation.</p>

<p>In the autumn 1831 I finished my “<span lang="de" xml:lang="de">Violin-Schule</span>” (course
of instruction for the violin) a work which I had undertaken
at the solicitation of many persons, and on which I was engaged
for more than a twelvemonth, having always begun
between-whiles some other compositions which had more attraction
for me.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p>
<p><span class="pagenum"><a name="Page_ii_177" id="Page_ii_177">[Pg 177]</a></span></p>
<p>I afterwards wrote three quartets, which were published
as Op. 84, by <i>André</i> of Offenbach, and later for the St. Cecilia
society three psalms of <i>Moses Mendelsohn’s</i> translation
for two four-voice chorals and four solo-voices, which were
published by <i>Simrock</i> of Bonn [Op. 85], and had an extensive
circulation.</p>

<p>In the summer of 1832 I was ordered by my physician
to proceed to the well-known warm sulphur baths of Nenndorf,
to cure a stiffness in one of my knees, and which I had
contracted the preceeding winter from a cold caught while
skating. My wife, who accompanied me, had taken with her<span class="pagenum"><a name="Page_ii_178" id="Page_ii_178">[Pg 178]</a></span>
among other books, a volume of the poems of my friend
<i>Pfeiffer</i>, which were not published till after his decease; and
as I had long wished to set something from it to music in
memory of him, I chose one of them: “<span lang="de" xml:lang="de">Die Weihe der Töne</span>,”
which pleased me very much, and appeared to me particularly
well suited for the composition of a cantata. But when I
was about to begin the work, I found that the text of this
style of poem did not lend itself altogether well to it; and I
felt much more disposed to represent the subject matter of the
poem in an instrumental-composition; in this manner originated
my fourth symphony, under the title: “<span lang="de" xml:lang="de">Die Weihe der Töne</span>.”
[In a letter to <i>Speyer</i> of the 9th October 1832, this is adverted
to in the following words: “Although I have now no duties to
perform at the theatre,<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> and have had leisure sufficient for
composition, I have nevertheless been but little disposed latterly,
to set to work. From the great interest which I took
and still constantly take in the political regeneration of Germany,
the recent retrograde steps have too much annoyed me
to permit of my giving myself calmly to any work of deep
study. Nevertheless I have again lately completed a grand
instrumental composition, and that is a fourth symphony, but
which differs greatly in form from the previous ones. It is a
musical composition inspired by a poem of <i>Karl Pfeiffer’s</i>: “<span lang="de" xml:lang="de">Die
Weihe der Töne</span>,” which must be printed, and distributed in
the music room, or recited aloud before it is performed. In
the very first part, I had for task, the construction of a harmonious
whole from the sounds of nature. This, as indeed
the whole work, was a difficult, but a highly attractive problem,”
&amp;c.]</p>

<p>My musical friends in Hannover, and friend <i>Hausmann</i>
at the head of them, had no sooner become informed of my
presence in Nenndorf, than they apprised me of their intention
to pay me a visit, and to bring their instruments with them,
so that I had an opportunity of giving the lovers of music<span class="pagenum"><a name="Page_ii_179" id="Page_ii_179">[Pg 179]</a></span>
then in Nenndorf a music-party, at which I played my recently
written quartet. Meanwhile my cure was successfully completed,
and I was relieved of my lameness of the knee, chiefly by a
powerful but very painful douche upon the suffering part.
Returned to Cassel, I first of all finished my new symphony,
and let my friends hear it at a rehearsal, and subsequently
at a subscription concert. I still recollect with pleasure the
great effect it produced upon all who heard it. It was afterwards
given with great applause at the Gewandhaus concert
in Leipzic, and <i>Rochlitz</i> wrote a very animated notice of the
work in his Musical Journal. None of my symphonies can
boast of having achieved so wide a circulation in almost all
the towns of Germany; it is still a favorite work, and in most
permanent concerts is played at least once every year.</p>

<p>In April 1832, by order of the Prince, the court
theatre was closed “for an indefinite period,” all the singers
and comedians, with the exception of those who had contracts
of engagement for a longer period, having previously received
due notice of dismissal. Two singers only, messieurs <i>Föppel</i>
and <i>Rosner</i> (whose wife was the <i>prima donna</i>) could not be
comprised in this decision. Together with the orchestra, I
was also summoned to attend; all who had no rescript from
the elector received notice of dismissal, and we others were
asked whether we were disposed to resign our places for an
indemnification to be agreed upon with each individual separately.
I, who had first to give my answer to this proposal
on the part of the administration, immediately declared that
I was not disposed to agree to it, but would abide by my
engagement, and, should it become necessary, would maintain
my right before the proper tribunal. The other musicians
also at once pronounced their adhesion to my declaration, and
we thus lost one hautboy player only, whom I had at an early
period engaged at Prague by the authority of the elector, to
make up the complement of the orchestra, and who upon his
joining, had unfortunately neglected to have his rescript made
out. The first bassoonist, who was in a similar predicament,<span class="pagenum"><a name="Page_ii_180" id="Page_ii_180">[Pg 180]</a></span>
succeeded nevertheless in maintaining his place, being enabled
to produce a letter from me in which I had engaged him in
the name and by the authority of the elector, that the letter
would guarantee his engagement until the rescript was prepared;
by this circumstance he was saved to the orchestra.
We others were then not called forward any more, and all
remained upon the old footing.</p>

<p>In the autumn of 1832, my brother <i>William</i> wrote to me
from Brunswick to apprize me that in the ensuing November
would be the “<span lang="de" xml:lang="de">goldene Hochzeit</span>” (the golden wedding) of our
parents; and he proposed to me that all their children should
meet in Gandersheim, to congratulate our parents, and present
them with a musical-clock. That it would be a source of still
greater pleasure to my parents, if I combined a musical entertainment
with the festival, I could readily imagine, and I
therefore urged <i>William Wolff</i>, the brother of my son-in-law,
to write a poem for me, to set to music, at the performance
of which my wife and I with the piano and violin should represent
the orchestra, my three daughters take the solo parts,
and my brothers with their wives, and my sons-in-law sing
the chorus. So soon as I had received the words in the form
which I had suggested, I immediately went to work, wrote a
cheerful polonaise (in the execution of which I gave my wife
and self the opportunity of shewing our skill as virtuosi on
our respective instruments); this I followed up with a general
chorus, after which I brought in the three soli of my daughters,
who at the conclusion sang a trio; and then lastly I added a
general chorus finale. While I was practising this festal cantata
with my wife and children, I sent to my brothers their chorus
parts also, for the same purpose, and we all met at Gandersheim
a few days before the fête-day, which was on the 26th
November. As our parents could not accommodate all of us
with bed-rooms, I hired for myself and my numerous company,
the whole accommodation of an inn, and then consulted
with my brothers and sons-in-law as to the best and most
effective manner of celebrating the day. <i>Wolff</i> suggested<span class="pagenum"><a name="Page_ii_181" id="Page_ii_181">[Pg 181]</a></span>
above all things to hire the handsomest and largest room in
the whole town; to decorate it with festoons of evergreens
and artificial flowers; to display there our presents, and give
our cantata before our parents and the families of our friends.
We were not long in finding a room, for there was but <i>one</i> at
all suitable in the whole place, and that moreover scarcely
large enough to hold all the invited guests. From the neighbouring
wood we procured in abundance the necessary branches
and evergreen for the decorations, and were then all employed
for several days together in making the festoons and in preparing
garlands of paper-flowers, as also with drawing and
painting transparencies. When we would get tired of all this
work, I began the rehearsals of the cantata, and could not
but admire the industry of the fair sex among us, who had
practised their husbands so well in the tenor and bass parts
of the chorus, although they were almost utterly unmusical
(though gifted with good voices), that their performances
were creditable enough to hear. In this manner the time
passed very quickly till the festival, and we then had the
gratification of seeing our parents deeply moved by our
entertainment, and our presents greatly admired by our Gandersheim
friends. Besides a musical-clock, which in particular
was an object of great attraction, the presents consisted of a
very handsome and convenient foot-stool embroidered for my
father by his Brunswick daughter-in-law, and in numerous
specimens of work executed for my mother by the Cassel ladies.
The banquet, which was in part brought from my parents’
house and part furnished from a restaurant, was a very profuse
one, at which the wines and liquors brought by us brothers
met no less with great approval, so that the festival of the
<i>Spohr</i> family went off very satisfactorily, and was long a topic
of conversation in Gandersheim. The general interest exhibited
on the occasion by the townspeople and those of the neighbourhood
was very gratifying, and this among other things
was exhibited by the contributions sent to my mother to entertain
the numerous guests, for she received a complete houseful<span class="pagenum"><a name="Page_ii_182" id="Page_ii_182">[Pg 182]</a></span>
of provisions, in the shape of game, pies, pastry, flour,
eggs, fruit &amp;c. This gave the whole affair a complete patriarchal
character; and every body did his or her utmost to
evince their friendship for the worthy and venerable pair,
and their respect for the man, who for so many years had
stood by them as the faithful physician with help and with
advice, and who, wherever he could, had always relieved the
necessities of the poor.</p>

<p>After my return I received the command of the Prince
to give a succession of concerts during the winter, in place
of the theatrical performances, which had been suspended
since the spring. These concerts were to take place every
Sunday for the benefit of the treasury of the theatre, and the
singers who remained with us were to be employed therein.
The public, however, greatly displeased at this, and that the
receipts from the concerts were thus to be diverted from the
relief fund for the widows of the members of the orchestra,
came to the determination not to subscribe to them, and thus
the receipts were almost null. Few of the concerts only, and
that in which the “<span lang="de" xml:lang="de">Weihe der Töne</span>” was first given, were
well attended, but in the others the house looked very dreary
and empty. Meanwhile it would seem that the Prince and
the Countess <i>Schaumburg</i>, had found the winter tediously
long with a closed theatre; for towards the spring I received
orders to proceed to Meiningen to engage for the months of
March, April, and May, a company of travelling performers
who were there at that time, under the direction of <i>Bethmann</i>
from Berlin. As I expressed the wish to take my wife with
me, the Prince ordered his master of the horse, <i>von der
Malsburg</i>, to furnish me with a convenient court carriage from
the electoral stables, and we proceeded to Meiningen with post
horses. But there were other obstacles to be overcome on this
mission, besides the negotiations with <i>Bethmann</i>. The latter,
for instance, had accepted an engagement for the whole summer
from the court of Meiningen, and it was necessary to prevail
upon the duke to part with the services of the company earlier<span class="pagenum"><a name="Page_ii_183" id="Page_ii_183">[Pg 183]</a></span>
than he had intended. To this, however, the duchess notwithstanding
her differences with her brother, on account of his
quarrel with the mother, rendered me her assistance. Shortly
after my return, <i>Bethmann</i> and his company arrived, and for
the re-opening of the new theatre gave the “<span lang="de" xml:lang="de">Freischütz</span>,” with
much applause. Miss <i>Meisselbach</i> pleased especially by her
performance of Agatha. The former director of the theatre,
<i>Feige</i>, and I were then appointed in superintendance over
Mr. <i>Bethmann</i>, with instructions to place at his disposal,
the three singers whose engagements were yet unexpired, the
orchestra, and the whole of the company of the scene-painters
and workmen of the theatre, the extensive wardrobe, decorations,
&amp;c. We now worked out together the order of the
repertory, <i>Feige</i> and <i>Bethmann</i> for the plays and I for the
operas, and were soon enabled to represent once more all the
operas that were previously performed on our stage. At this
time I wrote my third double quartet [<i>E minor</i>] and another
concertante for two violins, which were soon after published
by <i>Simrock</i> in Bonn as Op. 87 and 88.</p>

<p>In June of the same year another grand musical festival
took place at Halberstadt, which was undertaken by the
minister <i>Augustin</i> and his son, as the sixth musical festival
of the Elbe, to direct which concert-master <i>Frederick Schneider</i>
of Dessau and myself were invited. It differed chiefly from
the previous ones in the erection of an enormous tent, or rather
of a large booth constructed of planks, upon the square in
front of the cathedral, for the refreshment and social entertainment
of the visitors, as well as of the auditory and assistant
artists, and in which all strangers could assemble at any hour
of the day. The musical performances took place on three
successive days, and began with <i>Händel’s</i> oratorio of “Samson”
under <i>Schneider’s</i> direction. The next morning the objects
most worthy of notice in Halberstadt were visited, particularly
the collections of paintings belonging to the Canon <i>von Spiegel</i>
and Dr. <i>Lucanus</i>. It was intended to have given a concert
at the theatre, but as it was not sufficiently spacious to hold<span class="pagenum"><a name="Page_ii_184" id="Page_ii_184">[Pg 184]</a></span>
the numerous auditory, a second concert was given simultaneously
in the large room of the “Golden Angel,” and the
non-resident virtuosi and singers were divided equally to perform
at both places. The tickets which were distributed admitted
to the rehearsals also, so that each person could hear
one of the concerts at the morning rehearsal, and the other
at the evening performance; and one single piece of music
only was given at <i>both</i> concerts, which was the favorite duet
from “Jessonda” between Amazili and Nadori, sung by Mrs.
<i>Schmidt</i> and Mr. <i>Mantius</i>, because neither party would permit
this piece to be taken from it by the other.&mdash;I conducted
at the concert given in the room at the “Golden Angel,” and
played my new concertante in <i>H minor</i> with concert-master
<i>Müller</i> from Brunswick. On the third day the last concert
took place in the forenoon, and under my direction, upon
which occasion I found upon my conductor’s desk a present
of a red velvet coverlet bearing an inscription embroidered in
silver. At this concert were performed <i>Mozart’s</i> symphony in
<i>C major</i>, and that of <i>Beethoven</i> in <i>C minor</i>; my Lord’s
prayer and a <i>Te Deum</i> by <i>Schneider</i>, and I had the satisfaction
of observing that at this musical festival my three
compositions met with the most general applause. At noon
a grand banquet in the large tent terminated the festival, at
which the proceeding were of a very noisy character.</p>

<p>We were obliged to devote the remainder of the vacation
to a journey to Marienbad in Bohemia, where it was hoped
my wife, who constantly suffered from nervous debility, would
regain some strength from bathing and drinking the waters,
as well as from the enjoyment of the fresh air from the
mountains. Among the visitors at the baths we met <i>Raupach</i>
of Berlin, with whom I took frequent long walks, during which
he related to me many things relating to his approaching
theatrical labours. He was at that time full of a new drama
which he was going to write immediately upon his return home,
in which he intended to lash the ill-natured and hypocrites,
and the scene of which he had laid in China. But he probably<span class="pagenum"><a name="Page_ii_185" id="Page_ii_185">[Pg 185]</a></span>
never completed it, or perhaps the ill-natured ones of Berlin
found means to prevent its representation, for so far as I know,
no piece of the kind from the pen of <i>Raupach</i> was ever made
public. The society of music at Marienbad, whose director
was a linen manufacturer in the neighbourhood, had much
pleased and surprised me with a very successful performance
of <i>Cherubini’s</i> overture to “Medea,” with which, by way of
serenade, he had greeted my arrival, and for which I the more
readily complied with his wish to write a walz for them <i>à la
Strauss</i>, to which also my inclination to try every sort of
composition, had long predisposed me. At first, when I had
practised their orchestra in it, the walz pleased me very well;
but afterwards I found it wanting in that freshness and
originality which distinguish most of the walzes of <i>Strauss</i> and
<i>Lanner</i>. Nevertheless, by the desire of my publisher <i>Haslinger</i>
of Vienna, he brought it out as Op. 89, not only in the original
form as an instrumental piece, but also arranged for two and
four hands.</p>

<p>On my return to Cassel I next wrote six four-voice songs
for men’s voices, which <i>Schuberth</i> of Hamburgh published as
Op. 90, and began my fourth quintet in <i>A minor</i>, finished in
February of the following year, and which <i>Simrock</i> of Bonn
published as Op. 91.</p>

<p>On the 5th April 1834, my children and friends
took me by surprise with an unusually grand fete in
celebration of my fiftieth birthday. For that very evening I
had announced an opera and could not at all understand,
why the intendance had suddenly countermanded it, but this
had been solicited by my folks unknown to me. My wife and
I now availed ourselves of the evening thus left at our disposal
to accept an invitation to my son-in-law <i>Zahn’s</i> and we
were both not a little surprised to find the apartments brilliantly
lighted up with candelabra, and ornamented with ingenious transparencies
and flowers, with my bust crowned with a wreath,
and a brilliant company assembled to celebrate the day with
music (a cantata composed by <i>Hauptmann</i>) and with speeches.</p>

<p><span class="pagenum"><a name="Page_ii_186" id="Page_ii_186">[Pg 186]</a></span></p>

<p>This was unhappily the last festivity of the kind that my
good wife lived to see. Our stay at Marienbad had not given
her any permanent relief, and as her sufferings returned once
more with the commencement of the winter, it became necessary
for her to resume the attempt at cure in the next vacation.
This time we met at Marienbad the brothers <i>Bohrer</i>,
and after I had renewed my former acquaintance with these
talented artists, we had frequent quartet parties together, in
which we also prevailed upon the old linen-weaver, who was
a good violin player, to join us. These music-parties enlivened
my wife as well, who benefited so much by the waters that
we returned to Cassel with the mostly lively hope of her ultimate
recovery. But soon afterwards her condition again became
worse, and I now felt but little disposed to proceed with
my new oratorio which I had begun in April. Already the year
before, on our return journey through Leipzic, Councillor <i>Rochlitz</i>
had offered me an oratorio of the passion written by him:
“<span lang="de" xml:lang="de">Des Heilands letzte Stunden</span>” [the last moments of the Saviour]
to set to music. Although it had already been once set to
music, under the title “The end of the just,” by <i>Schicht</i>, I
nevertheless took it with pleasure, as he assured me that
although the previous composition had been played and with
some applause, yet it had not produced sufficient effect; for
which reason he had again remodelled the text and had made
it more suitable to the object proposed. As, however, I became
informed that he had proposed this new text to <i>Mendelssohn</i>
also for composition, before proceeding with the work
I first wrote of the latter, requesting him to inform me whether
he had the intention of composing the oratorio? As he replied
in the negative, and informed me that he himself intended to
put a text together from scripture (“Paulus”), I began my work
in the spring of 1834, which was subsequently interrupted
by our journey to the baths. As I nevertheless remarked that
my wife, notwithstanding her suffering condition, interested herself
as much in my present work as she had done in my
previous ones, I soon forgot every thing in the inspiration<span class="pagenum"><a name="Page_ii_187" id="Page_ii_187">[Pg 187]</a></span>
with which I devoted myself to it. Although upon my return
home from the rehearsals at the theatre <i>Dorette</i> received me
always with sad looks and anxious observations respecting her
health, she nevertheless evinced again so great an interest
in the progress of my work, and listened with such lively
attention to that which when ready I rehearsed at the St.
Cecilia society, that again I always resumed the continuation
of the work with new courage. Frequently nevertheless she
would interrupt me with the melancholy question: “What will
become of our <i>Theresa</i>, should I sink under my illness?”&mdash;for
her anxiety for <i>Theresa</i> had at that time become her fixed
idea&mdash;and when I made reply to her: “A happy wife, as
our other children have become,” a radiant smile overspread
her face, for she had also doubtless remarked, that <i>Theresa</i>,
in spite of her youth, had already many aspirants for her
favour, and she herself received with no displeasure the attentions
of a member of our St. Cecilia society. In this manner
I got to the end of the first part of my oratorio, and my
wife had the pleasure of seeing the interest and enthusiasm
with which it was sung by the society; but after that her
strength quickly declined and she was obliged to take to her
bed. When I saw the thoughtful expression of face of our
physician and family friend Dr. <i>Bauer</i>, I called in also the
most reputed physician of our town, Dr. <i>Harnier</i>, to consult
with him. But he also shook his head and could give
me little hope to save her. As my daughters <i>Emilia</i> and <i>Theresa</i>
took upon them the closest care of their mother, I was enabled
to comply with <i>Dorette’s</i> wish to continue my work during
the day upon the completion of the oratorio, in which she
greatly interested herself, but was obliged to watch by her
bed at night in turn with <i>Emilia</i>. I had scarcely got to the
third “number” of the second part, when her malady assumed
the form of a nervous fever, which carried her off, and to the
present day I think with bitter sadness of the moment when
I pressed the last kiss upon her forehead.</p>

<p>My son-in-law <i>Wolff</i> took upon himself all the mournful<span class="pagenum"><a name="Page_ii_188" id="Page_ii_188">[Pg 188]</a></span>
preparations for the funeral, for which in my despair I was
wholly incompetent, and by that means I was enabled to leave
the town for a week with my youngest daughter, who was quite
beside herself for grief at the death of her mother, and who
moreover had passed the last day by the side of her sister
<i>Ida</i>, who was likewise ill. I hired apartments at an inn
at Wilhelmshöhe, and we strove to regain the necessary self-possession
by long and fatiguing wanderings in the neighbouring
bare and wintry woods. When we were at length obliged to
return into town we felt the solitude of our house but the
more intensely. It was therefore long before I could find
resolution sufficient to continue the score upon which I had
inscribed a memorandum of the day of my wife’s decease, the
20th November; until at length the disposition to work returned,
and I finished the oratorio by the end of the winter.
On Good Friday 1835 I gave an entire performance of it. The
thought that my wife did not live to witness the completion
and performance of the oratorio diminished greatly the satisfaction
I experienced at this most successful of my works, and
I did not attain a full conception of its effect until in its later
performances. An opportunity for a repetition of the oratorio
presented itself the same summer on Whitsunday, on which
day the Prince, contrary to custom, had granted us permission
to give a concert in the church. The theatrical vacation
coming soon after this, I was obliged to seize the opportunity,
and comply with the advice of my physician to proceed to
a sea-bathing place, and I selected for the purpose Zandford,
a newly-established and as yet not much frequented watering-place
about 3 miles<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> from Haarlem. Besides <i>Theresa</i>, my
sister-in-law, <i>Minchen Scheidler</i>, who for some years since the
death of my mother-in-law had resided with us, and who
during our former journeys was accustomed to visit her brother
professor <i>Charles Scheidler</i> at Jena, accompanied me on this
journey, and both were exceedingly pleased with it. We de<span class="pagenum"><a name="Page_ii_189" id="Page_ii_189">[Pg 189]</a></span>scended
the Rhine to Dusseldorf, where I had projected staying
for a few days, as <i>Mendelssohn</i>, who had accepted the situation
of director of music in the new theatre built by <i>Immermann</i>,
now lived there. The wife of Councillor <i>von Sybel</i>, at whose
house I lived during the musical festival, had heard of our
intention to make a short stay in Dusseldorf, and urged me
to take up my lodging in her house, which I did the more
readily as I had heard that <i>Immermann</i> was a visitor in
her house and generally spent his evenings there.</p>

<p>I took my violin with me, and my last works also, among
which a second recently finished concertino, <i>E major</i>, Op. 92,
published by <i>Breitkopf</i> and <i>Härtel</i> of Leipzic. We first went
to Frankfort, stopped there one day only at <i>Speyer’s</i> house,
and then continued our journey from Bieberich by the steamboat.
At Dusseldorf we were received at the house of Mrs.
<i>von Sybel</i> in a very friendly manner, and already on the first
evening had the pleasure of making <i>Immermann’s</i> acquaintance,
who to the special delight of my sister-in-law read to her his
charming “<span lang="de" xml:lang="de">Tulifäntchen</span>.” Of <i>Mendelssohn</i>, who was not there,
I heard, that he also was one of the friends of the house, but
never appeared there on those evenings when <i>Immermann</i> came,
because with him, who devoted his whole attention to the
spectacle only, he had disagreed about the opera.</p>

<p>The next morning, when I paid a visit to <i>Mendelssohn</i> and
met his sister there, he played to me the first “numbers” of
his oratorio “Paulus,” with which I was not altogether quite
pleased because it was too much in the style of <i>Händel</i>. He
and his sister, on the other hand, appeared greatly pleased
with my concertino in <i>E major</i>, in which there occurred a
characteristic <i>staccato</i> in one long stroke, by way of novelty,
such as he had never before heard by any other violinist. Accompanying
me then in a very clever manner from the score, he
could not hear this <i>staccato</i> often enough, and repeatedly requested
me to begin with it again, saying the while to his
sister: “See, this is the famous <i>Sporish staccato</i>, which no
violinist can play like him!” Thence I went to see <i>Immermann</i>,<span class="pagenum"><a name="Page_ii_190" id="Page_ii_190">[Pg 190]</a></span>
who proposed to me to pay a visit to <i>Grabbe</i>, who at that
time, at <i>Immermann’s</i> invitation, was staying at Dusseldorf,
and I thus on the same day made the acquaintance of that
strange being. When, upon my entering his lodging, the little
fellow set eyes upon a giant like me, he drew back timidly
into a corner of the room, and the first words he spoke to me
were: “It would be an easy matter for you to throw me out
of that window.” I replied: “Yes, I certainly could, but I am
not come here with that intention.” This comical scene over,
<i>Immermann</i> then first introduced me to the foolish yet interesting
creature.</p>

<p>In the house of our hospitable hostess we passed some
pleasant days alternately in <i>Mendelssohn’s</i> and <i>Immermann’s</i>
society, and then resumed our journey on board the Dutch
steamer to Cleves, where I was desirous of visiting my old friend
<i>Thomae</i> for a few days. We found him a widower also; for
he, too, had recently lost his wife. The nut-tree in his garden,
of which we had set the nut in 1818 with such solemnity
during our stay with his family, was in full leaf and flourishing
amazingly. <i>Thomae’s</i> children, who were now all grown up,
and of whom the eldest son had now taken his father’s place
as notary, were all in good health, but he himself seemed low-spirited
and ill. Our visit nevertheless afforded him great
pleasure, and upon our departure he presented <i>Theresa</i>, as
god-daughter of his deceased wife, with a gold watch, and
entreated us to visit him again on our return. In this manner,
after quitting the steamboat at Rotterdam, we arrived safely
at Zandford, by way of the Hague, Amsterdam and Haarlem.
When we had hired apartments at the bath-house and looked
out of our windows upon the sea for the first time, my sister-in-law
uttered the ominous words: “Here I could wish to
remain for ever!” After I had arranged with the physician
of the bathing-establishment, who came from Haarlem daily to
visit the bathers, respecting the terms for his attendance
during my bathing cure, and had immediately begun to bathe,
I soon went into the sea with real pleasure, and took great<span class="pagenum"><a name="Page_ii_191" id="Page_ii_191">[Pg 191]</a></span>
delight in swimming about in it. Our fellow inmates of the
bath-house and guests at the dinner-table were some puritan
families from Elberfeld and Barmen, whose religious notions
I had soon sufficient opportunity to learn by their conversation
at table, but which by no means inspired me with a
wish to make their nearer acquaintance. After dinner we used
to take our walks in the wood, which, beginning immediately
behind the downs, extended almost as far as Haarlem, and in
this manner we passed the fine weather with which we were
favoured in the summer of 1835, very happily in our retirement.
This was, however, soon to be interrupted by an unexpected
artistic enjoyment; for the lovers of music of Amsterdam,
who had been informed of my presence in Zandford,
invited me and my fellow travellers to a concert which they
had arranged in my honour. We proceeded therefore by omnibus
to Haarlem, and thence by the canal boat to Amsterdam,
where we alighted at the house of Mr. <i>Tenkate</i>, a former acquaintance
of mine. In his company we went to the concert
given in the concert room of <i>Felix Meritis</i>, at which several
of my compositions were given; first one of my symphonies,
then the duet from “Jessonda,” sung by Mr. <i>de Vruecht</i> of
Haarlem and the prima donna of the German theatre; after
which Mr. <i>Tours</i> of Rotterdam played a violin-concerto of
mine, and Mr. <i>Vruecht</i> terminated the concert with some songs.
After we had supped at the house of our host, and were on
the point of going to bed, a serenade was given me, which
we listened to from the balcony of the house.</p>

<p>My sister-in-law, who during the concert had complained
of a head-ache, now probably caught cold, for despite my
warning she would stand out also in the chill night air on
the balcony to hear the serenade; and upon our return to
Zandford, upon consulting the bath-physician next morning, he
found that a cutaneous eruption had made its appearance
in the night, which, however, he did not consider dangerous.
The vacation meanwhile was drawing to a close, and the
physician was of opinion that after the invalid had kept her<span class="pagenum"><a name="Page_ii_192" id="Page_ii_192">[Pg 192]</a></span>
bed for a few days, we should soon be enabled to set out
upon our return journey. But on the evening of the same
day, while I was sitting at the bed-side of my sister-in-law,
as the sun was going down, and speaking with her of our
return home, she requested in a tone of anxious and nervous
agitation to be allowed to get up, and while exerting my
utmost strength to prevent her from rising, she fell back
suddenly upon the pillows, and losing all consciousness, breathed
her last. Both <i>Theresa</i> and I, seized with alarm, called for assistance,
upon which a young man, a medical student whose
apartment was contiguous to ours, came in with all his instruments
and immediately proceeded to open a vein. But it
was without success. No blood would flow, the surgeon pronounced
her dead and was now using every effort to bring
<i>Theresa</i> to her senses, who had fainted away with fright.
Thus was sadly realised the ominous desire of my sister-in-law:
“Here I could wish to remain for ever!” What we felt as
we followed her a few days afterwards to her last resting-place,
and how sadly this scene resuscitated the mournful recollection
of that we had witnessed the year before in Cassel, I need
not attempt to describe.</p>

<p>We now proceeded with all possible speed on our return
journey, and at the landing-place of the steam-boat near
Cleves met our friend <i>Thomae</i>, who, when he learned our new
loss, persisted no further in his desire that we should again
stay a few days at his house. As my leave of absence was
moreover expired, we continued our journey to Cassel without
further delay. But I there felt the lonesomeness of our home
yet more keenly, deprived of the one whom we had left behind,
and I therefore began to experience the want of a partner
through life who would also take an interest in my musical
labours. The meetings of our society of St. Cecilia were near
at hand, where at our weekly rehearsals the opportunity might
present itself to me to make unperceived such observations as
would perhaps enable me to select a lady in whom I might
hope to find a solace for the remainder of my life, and one<span class="pagenum"><a name="Page_ii_193" id="Page_ii_193">[Pg 193]</a></span>
fitted to restore to me my lost happiness. I there bethought
me especially of the sister of my deceased friend <i>Karl Pfeiffer</i>,
whose serious tone of mind and warm interest for high-class
music I had observed during her constant punctual attendance
for several years at the concerts of the society, and who,
moreover, as I knew through her brother, had a particular
predilection for my music. Besides this, in my almost daily
walks on the Cologne Alley, which took me past the garden
of Chief Councillor <i>Pfeiffer</i> of the court of appeal, I had for
a long time past the opportunity of witnessing at a distance
the happy and unpretentious manner of life of the family. As
at that time (September 1835) the electoral troops were concentrated
for the autumn manœuvres, and had formed a
camp in the neighbourhood of the castle of Wilhelmsthal,
whither the Casselers now resorted as their chief promenade,
I bethought me of making a party thither, and through my
daughter <i>Theresa</i> requested the parents <i>Pfeiffer</i> to permit both
their daughters to accompany us.</p>

<p>During this little excursion, I had the opportunity in the
course of conversation to become acquainted with the high and
varied intellectual culture of the two sisters, and so I became
fully confirmed in my resolve to sue for the hand of the eldest
sister, <i>Marianne</i>, whose knowledge of music and skill in pianoforte
play I had already observed, when she sometimes gave
her assistance in accompaniment at the concerts of the St.
Cecilia society. As I had not the courage to propose for her
by word of mouth, there being more than twenty years difference
in our ages, I put the question to her in writing, and
added, in excuse for my courtship, the assurance that I was
yet perfectly free from the usual infirmities of age. I now
awaited the answer with the most anxious expectancy. To
my great joy it proved one of assent, upon which I hastened
to her parents, and in due form asked her in marriage. They
wished every happiness to our union, and we now daily learned
to know each other better. As at my age there was not much
time be lost, I urged that the wedding should take place im<span class="pagenum"><a name="Page_ii_194" id="Page_ii_194">[Pg 194]</a></span>mediately
after the new year, which after some opposition
from the relations and the bride, was consented to. Our
wedding was fixed for the 3rd of January 1836, and I asked
my parents to become witness to my new happiness. Yet,
on the appointed day our wedding nearly failed to take place,
for the required permission of the co-regent Prince had not
yet been received, notwithstanding all the exertions of my
friend Mr. <i>von der Malsburg</i>, whose office it was, as marshal
of the court, to have it made out.</p>

<p>My father-in-law, who in former years had given private
readings in public law to the Prince, and then did not
stand very high in his favour, had totally lost it since, as a
member of the first parliament (from 1831 to 1832), he had
effected by his able and convincing report to the assembled
states a great diminution of the disproportionate amount of
the military expenditure. The Prince bore this doubtless
in mind, and therefore delayed granting his permission for the
marriage of his daughter. Neither did we receive this until
my bride had signed a bond, which was expressly required
of her, whereby she waived all claim to a future pension.
As I, in case of my death, was enabled to provide for
my wife by other means, we consented to this requisition; and
in this manner our wedding did yet take place on the day
which had been appointed. The nearest relatives of the family
of my parents-in-law, to the number of three and thirty,
together with my own parents, my daughters and their husbands,
were assembled on the occasion. The marriage ceremony,
at the request of my bride, was performed by her
favorite preacher <i>Asbrand</i>, whom she knew personally and
highly esteemed.</p>

<p>I now lived again in my former and accustomed domestic
manner and felt unspeakably happy with my wife! As we frequently
played together, I became more and more acquainted
with her high sentiment for the noble in the science of music,
and from her great ability for reading at sight, was enabled
in a short time to play with her not only all that I had<span class="pagenum"><a name="Page_ii_195" id="Page_ii_195">[Pg 195]</a></span>
previously written for the violin with pianoforte accompaniment,
but many new things in that style of art, and which I had
not previously known, were suggested to me by her. This inspired
me with a great desire to try something for once in
duets especially written for pianoforte and violin. The first
I wrote for ourselves was the duet in <i>G minor</i> (Op. 95
published by <i>Breitkopf</i> of Leipzic). Thus engaged I frequently
observed with great pleasure the lively interest she took in
my works, in the same manner as my departed wife had afforded
me so much happiness and stimulated my labours.
When I had written out a passage, upon playing it with her
I could immediately hear its full effect, which interested and
made us both equally happy. Besides the above I composed
at this period six songs for a counter tenor voice, published
by <i>Simrock</i> of Bonn as Op. 94.</p>

<p>When the summer and the season of vacation drew nigh,
we resolved upon a journey to visit our respective relatives.
But as there was no railway at that time, we were obliged
as formerly to travel with post horses, and proceeded by way
of Eisenach to Gotha, where we visited a step-sister of my late
wife, who had married a tradesman of the Name of <i>Hildt</i> of
that place. We found them in their flower-garden, spent a
pleasant evening with them, and left the next day for Erfurt.
As the musical amateurs of that place had heard of our coming
beforehand, we were immediately received at the hotel of
“The Roman Emperor” by a deputation, who invited us in a
most flattering address to the festive entertainments which had
been prepared for us. At the banquet which was given on
the first day, I was welcomed in a poem composed for the
occasion, after which my health was drunk with an enthusiasm
which afforded great gratification to my wife and daughter.
In the evening we drove to the “Steiger,” the favorite place
of resort of the citizens of Erfurt; but as it shortly afterwards
began to rain, we could not much enjoy the beautifully
laid out gardens, and were compelled to take refuge in the
saloon itself. Fortunately they had taken care to provide a<span class="pagenum"><a name="Page_ii_196" id="Page_ii_196">[Pg 196]</a></span>
good pianoforte and I could therefore let the company hear
my new duet for violin and piano, and also my concertino in
<i>E sharp</i>, both of which I played with my wife. After that,
<i>Theresa</i> sang some of my newest songs, and by some of the
ladies and gentlemen of Erfurt my bass duet from “Faust” and
several songs were sung. This improvisated musical party appeared
to please the company greatly, and thus, despite the
rain, we returned to town very satisfied with our day’s
pleasure. Early on the following morning we were taken by
surprise with a serenade performed in our honour by the
military-band drawn up on the square in front of the hotel.
It began with the well-known sounds of one of my symphonies,
which was followed by several other pieces, and lastly by the
first finale from “Zemira and Azor.” We then went to see
objects of note in the town, particularly the fine cathedral,
upon entering which we were greeted by the pealing notes of
the celebrated organ, and afterwards, the introduction to the
“Last moments of the Saviour,” as also several other melodies,
chiefly from my earlier oratorios, were executed in a very impressive
manner. After we had partaken of a magnificent repast
at the house of Major <i>von Rommel</i>, whose wife was a cousin
of Mrs. <i>Spohr’s</i>, we drove to the theatre, where preparations
had been made for a grand concert, at which, with a brilliantly
lighted house, the “<span lang="de" xml:lang="de">Weihe der Töne</span>” and my “Lord’s
Prayer” were performed in a very satisfactory manner.</p>

<p>The next morning we continued our journey to Leipzic,
and there again attended several interesting musical parties,
which my old friends <i>Rochlitz</i> and <i>Weiss</i>, as also the distinguished
pianiste Mrs. <i>Vogt</i>, gave at their houses in our honour,
and where I played some of my more recent quartets, which
were as yet unknown to the Leipzickers, particularly the
<i lang="fr" xml:lang="fr">Quatuor brillant</i> in <i>A major</i>, which I had composed in the
previous autumn (Op. 93, published by <i>Haslinger</i> of Vienna).
In Dresden, at the hotel of the “Stadt Gotha,” we met the
family <i>Kleinwächter</i> of Prague, father, son and daughter&mdash;as
also my friend <i>Adolph Hesse</i>, the celebrated organist of Bres<span class="pagenum"><a name="Page_ii_197" id="Page_ii_197">[Pg 197]</a></span>lau,
whom I had personally known since 1828, when he first
visited me in Cassel, and who entertained a great friendship
for me. With him we proceeded on a preproposed tour
through Saxon Switzerland, and performed the first distance,
to the entrance of the Uttewalder Ravine, in the carriage, which,
when we became tired of climbing the steep heights which
offered the chief points of view, always took us again and
carried us conveniently from one magnificent rocky aspect
to the other. We had nevertheless some long and fatiguing
pedestrian trips, for instance that of the ascent of the
great Winterberg, when the heat was very oppressive. From
Hirniskretschen, the limit of our journey, we descended
the Elbe to Schandau, partook of a pleasant dinner there,
during which we rallied each other mutually upon our fatigue,
which we endeavoured as much as possible to conceal from
the visitors at the baths, who sat with us at table, and which
gave rise to many comical incidents.</p>

<p>In Dresden we went to a very interesting quartet
party at the house of the court musician <i>Franz</i>, a former
pupil of mine, for which occasion it was festively decorated
with wreaths and flowers. We there met the three directors
of orchestra <i>Reissiger</i>, <i>Morlachi</i> and <i>Rastrelli</i>, and I played
one of my double quartets and my newest concertino. As
we purposed leaving Dresden the next morning it was now
necessary to take leave of our amiable fellow travellers <i>Kleinwächter</i>
and <i>Hesse</i>, in whose society we had passed so many
pleasant hours, and who during the time of our being together,
had really heaped upon us every demonstration of affection
and attention. They parted from us with tears in their eyes,
and we continued our journey through Leipzic and Halle to
Brunswick, where we were desirous of visiting my brothers
<i>William</i> and <i>Augustus</i>, and at the same time of assisting at
the musical festival which was then about to be held there.
This took place in the Ægydian church, and opened with
<i>Händel’s</i> “Messiah.” Although that noble work was long since
well known to us from previous performances of it, we were<span class="pagenum"><a name="Page_ii_198" id="Page_ii_198">[Pg 198]</a></span>
nevertheless again truly charmed by the grandeur of the
choruses, the powerful cast, and <i>Mozart’s</i> instrumentation.
On the two following days mixed concerts of vocal and instrumental
music were given; but the pieces performed being
for the most part operatic music, they appeared to us not
altogether suited for the church. At all the grand dinners
which took place daily at noon under the large tent that had
been erected on the wall promenade, the hilarity was generally
somewhat tumultuous; and one scene that occurred on the
last day was of a very comical nature.</p>

<p><i>Mantius</i>, the tenor singer of Berlin, who had already sung
some songs with great applause, was at last requested to sing
the favorite one of “Fair Annie.”<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> This song has an apparent
termination, which is followed by a yet more brilliant
finale. It so happened that the auditory always broke out
into a loud applause before <i>Mantius</i> had got to the end.
After this had occurred to his great annoyance at some verses,
he at the following verse mounted upon a bench, and at last
even got upon the table, in order at length to obtain a complete
hearing for the brilliant point of the song, but again
his efforts were fruitless! The apparent termination was
always too irresistible, and although <i>Mantius</i> previous to the
last verse again implored his hearers both earnestly and piteously
to restrain their applause until he had really come to
the end, one of them nevertheless allowed himself to be carried
away by his feelings and to shout bravo at the wrong time,
and that was quite sufficient for the rest to join in. The
expression of despair with which, though overwhelmed with
applause, the singer now jumped down from the table, was
indescribably ludicrous.</p>

<p>Upon our leaving Brunswick we were pressingly invited
by Councillor <i>Lüder</i>, who had also been present at the musical
festival, to spend a few days with him at his country seat<span class="pagenum"><a name="Page_ii_199" id="Page_ii_199">[Pg 199]</a></span>
at Catlenburg, upon our way back; and this formed a worthy
termination to this interesting journey.</p>

<p>On our return to Cassel I found a letter from my former
pupil <i>Gercke</i>, director of music at Paderborn, in which we
were invited to the millenium jubilee of St. <i>Liborius</i>, which was
to take place there on the 21st July. The celebration of this
festival was to commence on the first day with church solemnities,
and on the second with the production of my oratorio:
“<span lang="de" xml:lang="de">Des Heilands letzte Stunden</span>” (The last moments of the Saviour).
As my holidays were not quite expired, we quickly made up
our minds, and in a few days again took our seats in the
travelling carriage, in which this time my sister-in-law <i>Caroline
Pfeiffer</i> filled the fourth place. We slept at Lichtenau and
set out from there so early the next morning, that we arrived
at Paderborn before eight o’clock, but we found nevertheless
the town so full, that we could not be accommodated
at either of the two hotels there. The host of the second
hotel seemed however to regret his inability to accommodate
us, and hired for us a couple of rooms in a private house
opposite. But we could there procure two beds only, so that
he was obliged to arrange a sleeping place for me and my
wife for the night in the hotel, and that indeed in a room
occupied by a hair-dresser during the day in the pursuance
of his calling, and for the sale of his wares. We had scarcely
entered our unseemly apartment than we received a visit from
the dilettanti of the town, and from the artists who had come
to take part in the musical performances. We were then
conducted to the house of one of their friends, where the best
places were given to us at the windows, to see with more convenience
the brilliant procession which accompanied the relics
of St. <i>Liborius</i> in their golden shrine, to the cathedral.
When the immense crowd of the population had somewhat
dispersed we also proceeded to the cathedral, where we
admired the richly decorated and beautiful structure, and heard
<i>Carl Maria von Weber’s</i> mass in <i>D major</i>, the too worldly
style of which however did not altogether please us. On the<span class="pagenum"><a name="Page_ii_200" id="Page_ii_200">[Pg 200]</a></span>
following evening my oratorio was performed in the church
of the Jesuits, brilliantly lighted up, whither we were accompanied
and a passage made for us through the thronged
aisle up to the front places assigned to us on cushioned
seats close to those of the bishop of Paderborn, chief president
<i>Vincke</i> and the commandant of the town. I remarked with
pleasure that here also a great enthusiasm was felt for my
oratorio; <i>Gercke</i> directed exceedingly well, the choruses had
been well studied, and among the solo-singers, who were for
the most part dilettanti, the well-known concert singer Mrs.
<i>Johanna Schmidt</i> particularly distinguished herself in the part
of Mary. Scarcely had we retired to rest after this busy day,
than we heard a torch-light serenade under our windows, consisting
of instrumental music and four-part songs. When on
the repeated loud calls on my name I went to the window
with the intention of returning thanks, I found in front of it
so high a pile of pasteboard boxes belonging to my co-occupant
of the room as to impede my efforts to open it, and I was
therefore compelled to convey my deferred oral thanks in a
written shape the next morning previous to our leaving.</p>

<p>In this manner we returned to Cassel from this excursion
also very gratified, after which, inspired with improved
health and in very happy domestic circumstances, I began a
new period of industrious composition. Already on the return
journey from Dresden I had constantly thought of a new composition,
and sketched out the programme of it. This was
another sonate for me and my wife, which was afterwards
published as a duet for piano and violin “<span lang="de" xml:lang="de">Nachklänge einer
Reise nach Dresden und in die sächsische Schweiz</span>” (Reminiscences
of a journey to Dresden and through Saxon Switzerland)
Op. 96, by <i>Simrock</i> of Bonn and dedicated to our amiable
fellow travellers of Prague and Breslau. In the first theme
I endeavoured to describe the love of travel, and in the second
the journey itself, by introducing the winding of the postillions’
horns, customary in Saxony and the neighbouring part
of Prussia, as the dominant in the scherzo, played by the violin<span class="pagenum"><a name="Page_ii_201" id="Page_ii_201">[Pg 201]</a></span>
upon the <i>G</i> string in a horn-like manner as chief theme, worked
out with striking modulations on the pianoforte, and then I
depicted in the trio a fanciful dreaming-like sentiment, such as
one so willingly yet unconsciously gives onesself up to in the
carriage! The subsequent adagio represents a scene in the
catholic royal-chapel at Dresden, which begins with an organ-prelude
on the pianoforte alone; after which the violin plays
the intonations of the priest before the altar, which are followed
by the responses of the chorister-boys in the same tones
and modulations as they are given in catholic churches and
that of Dresden. This is followed by a air for <i>castrato</i>, in which
the violinist has to imitate the tone and that style of singing.
The last theme of all describes in a rondo the journey through
Saxon Switzerland, in which it endeavours to recal the recollection
of the grand beauties of nature and to represent
the merry strains of the Bohemian music, which one hears
resound from almost every rocky glen; to effect all which in
so compressed a limit could of course be but imperfectly
realised.</p>

<p>In the course of the year 1836 I wrote also a number
of songs, six of which, in one book, were published by <i>Breitkopf
&amp; Härtel</i> as Op. 101, and among the rest “<span lang="de" xml:lang="de">Sangeslust</span>”
(The love of song) given in <i>Breitkopf &amp; Härtel’s</i> musical
album, with four-handed accompaniment; furthermore a Psalm
for chorus and soli with orchestral accompaniment, and
a fantasia in the shape of an overture to <i>Raupach’s</i> mythical
tragedy “<span lang="de" xml:lang="de">Die Tochter der Luft</span>” (“The Daughter of the Air”)
which was shortly afterwards performed at one of our subscription
concerts. But as in this shape it did not altogether
please me, I afterwards worked it up as the first theme of
my fifth symphony, which I composed for the “<i lang="fr" xml:lang="fr">concerts spirituels</i>”
at Vienna and which was shortly afterwards published
by <i>Haslinger</i> as Op. 102.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> In the beginning of the following<span class="pagenum"><a name="Page_ii_202" id="Page_ii_202">[Pg 202]</a></span>
year (1837) I wrote my third duet for pianoforte and violin
in <i>E major</i>, which was afterwards published by <i>Paul</i> of Dresden
as Op. 112.</p>

<p>About this same time I made earnest preparations to
carry out an idea which had long occupied my thought, namely
to give a musical festival, for which Cassel seemed to me
in many respects exceedingly well adapted. My plan of this
was as follows, on Whitsunday afternoon to give <i>Mendelssohn’s</i>
oratorio of “Paulus” (St. Paul) in the church of St. Martin;
on Whitmonday evening, with the church lighted up, to perform
my symphony “<span lang="de" xml:lang="de">Die Weihe der Töne</span>” and my oratorio of
“<span lang="de" xml:lang="de">Die letzten Dinge</span>;” on Whittuesday in the forenoon, at the
theatre, a concert of foreign and native singers and virtuosi,
and on the same evening, as was usual on the second festival
day, a new opera.</p>

<p>The invitations abroad, the assembling of the musicians,
and the rehearsal of the oratorios by the choral-society
had already begun, when to my application to the Prince<span class="pagenum"><a name="Page_ii_203" id="Page_ii_203">[Pg 203]</a></span>
for permission I received the following authoritative decision
from his private secretary: “The days of performance must be
changed, as the evening of Whitsunday could not be granted
without disturbing those who had prepared themselves to
receive the holy sacrament on that evening; neither could
any concert be allowed on Whitmonday (on account of the
church service and the opera); nor could any scaffolding be
erected in the large church for the chorus, as it would be
unbecoming in the locality of the burial vault of the electoral
family. His highness must await other proposals, before he
could graciously condescend to grant his permission.”</p>

<p>To this I replied that a musical festival in Cassel could
alone prove successful, and the risk of the very considerable
expense could alone be safely incurred if it were permitted,
as at other places, and as is the custom at the musical festivals
on the lower Rhine, to take place in the Whitsuntide holidays,
when a great number of strangers would flock to the
town and the lovers of music of the neighbouring places would
not be prevented by business from attending. That if Whitsunday
evening could not be granted, no other two succeeding
evenings of that time could be found for performances in the
church. As, furthermore, no other appropriate place was to be
found in Cassel, than the large church, and that the erection
of seats therein could not be allowed, I found myself compelled
to abandon totally the projected musical festival.</p>

<p>Unpleasant to all parties as was this complete failure of
the plan, I was compelled to abide by it, despite the somewhat
considerable expense I had already incurred, and of which
I could reimburse myself but a very small part only by the
re-sale of the procured song-parts to the choral society.
As meanwhile, however, we had industriously practised
<i>Mendelssohn’s</i> oratorio, and become more and more delighted
with it, I proposed to give it on Whitsunday at the concert
which had been permitted for the benefit of the relief fund;
but this was refused also by the Prince, so that we
were obliged to content ourselves with gratifying the lovers<span class="pagenum"><a name="Page_ii_204" id="Page_ii_204">[Pg 204]</a></span>
of music with two private performances of the oratorio upon
the pianoforte at the society of St. Cecilia.</p>

<p>In the summer of 1837 I received an invitation to go to
Prague to direct the performance of my opera “<span lang="de" xml:lang="de">Der Berg-Geist</span>”
(The Spirit of the Mountain) and for that purpose I thought
of proceeding thither at the commencement of the holidays.
But as the permission had not been received at the treasury
of the theatre on the evening before, I addressed myself
to the Prince between the acts of the opera, and enquired
of him, Whether he had any orders for me to execute
upon the journey. In the somewhat indistinct answer I received
from him I understood, it is true, something about my permission
not having been made out; but as I had no time to
lose, I found myself under the necessity of setting out without
it at 4 o’clock the next morning. Seeing <i>Feige</i>, the director of
the theatre, walking in the neighbourhood of my house at that
early hour, I thought he might have been sent to ascertain
whether I really had the boldness to set out on my journey
without the written permission. On the first day’s journey
indeed, I was not without some uneasiness lest a mounted
messenger might be sent after us to order our return. I therefore
hastened as much as possible at every post-station the
putting-to of fresh horses, and we thus crossed the frontier
without molestation. After a journey of six days we at length
reached Prague, where <i>Marianne</i> and <i>Theresa</i> were greatly
struck by the beauty of the city and had moreover the gratification
to learn from the theatre bills placarded at the corners
of the streets, that my opera Jessonda was to be given that
evening, in which a foreign singer was to make her debut.
That the opera was a great favorite here was evident from
the fact that immediately after the performance of the overture,
the public encored it. The “<span lang="de" xml:lang="de">Blumenduet</span>” (flower duet)
and the duet “<span lang="de" xml:lang="de">Schönes Mädchen</span>” (lovely maiden) were also
encored. But I was very much annoyed at several omissions,
for which however the director of the Prague orchestra was
not to blame, being omissions which were customary in Vienna,<span class="pagenum"><a name="Page_ii_205" id="Page_ii_205">[Pg 205]</a></span>
from whence the score had been supplied. The principal
singers were very good, so that a favourable result was also
to be anticipated for the “<span lang="de" xml:lang="de">Berg-Geist</span>.”</p>

<p>On the following morning I was taken by surprise by a
visit from a zealous lover of music, Dr. <i>Hutzelmann</i>, who had
been informed that I was fond of swimming, and had for
that reason come to take me to the military school of natation
on the Moldau; the officer attached to that establishment,
who accompanied me, soon remarked that I was a practised
swimmer, and proposed a swimming excursion outside the school,
in which he ordered me to be accompanied by two soldiers in
a boat. They took my clothes with them, and after I had
swum for about half an hour with the stream, they assisted
me into the boat, in which I dressed myself while the soldiers
rowed us back to the town. While I was swimming near the
boat, our conversation turned more and more upon my compositions,
with which the musical instructor in swimming was
almost as well acquainted as myself. He proposed to me a
similar enjoyment every day in the Moldau, and next morning
found him already waiting for me with his boat near the
swimming-school. Meanwhile the rehearsals of the “<span lang="de" xml:lang="de">Berg-Geist</span>”
went on exceedingly well. The director of the orchestra had
very carefully managed the private rehearsals, and studied everything
so well, that in two performances which I myself conducted
the opera was eminently successful. Upon my entering
the orchestra I was not only received by the public in the
most enthusiastic manner, but loudly called for each time at
the conclusion of the opera. The singers who supported the
chief characters were madame <i>Podhorski</i> as Alma, Messrs. <i>Pöck</i>
and <i>Emminger</i>, as <span lang="de" xml:lang="de">Berg-Geist</span> and Oskar, who sang and performed
exceedingly well, and the opera maintained its place
in the repertory of Prague theatre for a long time. We remained
a few days longer in Prague, and I played at several
private parties not only quartets but also my sonatas and solo-music
with my wife’s accompaniment, who likewise played some
quite new composition of <i>Kittl</i> and <i>Kleinwächter</i> for four hands,<span class="pagenum"><a name="Page_ii_206" id="Page_ii_206">[Pg 206]</a></span>
in which she displayed great ability and quickness in reading
at sight. The <i>Kleinwächter</i> family made several excursions with
us into the beautiful environs of Prague, by which means we
became intimately acquainted with all the attractions of that
fine city. At length however we were obliged to tear ourselves
away from these enjoyments and resumed our journey.
Now also came the most fatiguing part of our tour, that to
Vienna, in which we suffered exceedingly from the heat and
dust, as also from the dirty and wretched accommodation of
the inns where we passed the night. On the fourth day we
arrived half dead at Vienna and put up at the “Erzherzog
Carl” hotel. After I had called upon my former friends, we
passed some very pleasant days there, for which we had to
thank my Cassel friends <i>von Steuber</i>, the ambassador from the
Elector of Hesse, the Baron <i>von Lannoy</i>, and particularly my
Viennese publisher, <i>Haslinger</i>. The latter took us every evening
to some new gardens, where <i>Strauss</i> and <i>Lanner</i> gave their
concerts, and where we supped exceedingly well <i>à la carte</i> at
the little tables spread for the entertainment of the guests.
Sometimes, also, we went to the theatre, to see the real Viennese
popular farces, but my female companions were not sufficiently
acquainted with the Viennese dialect, to relish them
thoroughly.</p>

<p>After the lapse of a fortnight, in which we participated
in all the amusements of Vienna, we took leave of our kind
friends and resumed our journey towards the beautifully
situated Salzburg, which is one of the finest possible, particularly
the first half, the way across the lake to the Ischl
baths. In Salzburg, which as the birth-place of <i>Mozart</i> was
to me sacred ground, we first of all visited his widow, the
present wife of Privy Councillor <i>von Nissen</i>, who was very
pleased at our calling upon her, and in whose house we made
the acquaintance of her two sons. In the excursions we made
into the neighbourhood in one of the customary light, one-horse
vehicles of the country, we were most pleased at the
celebrated Gollinger waterfall, and with a sliding trip through<span class="pagenum"><a name="Page_ii_207" id="Page_ii_207">[Pg 207]</a></span>
the rock-salt-works at Hallein, which was something quite new
for my female fellow travellers. From Salzburg we now went
on to Munich, where I learned to my great surprise, that
the Prince of Hesse had just arrived there. As it was
now necessary for me to apologise to him for my departure
from Cassel, I addressed myself for that purpose to the Marshal
of the court, <i>von der Malsburg</i>, and at the same time informed
him that I had been requested by the intendant of the
Munich theatre to conduct there the performance of my
opera “Jessonda,” but for which I would first request the
Prince’s permission. On the following morning the Prince
sent word to me that it would be very agreeable to him that
I should direct the opera, and in that case he would prolong
his stay to hear it. Adorned with a hat lent to me by Mr.
<i>von der Malsburg</i> and a little bit cut off from the ribbon of
his order, I repaired the next day to the appointed audience,
and was received by the Prince with the following
words: “Why, you disappeared from Cassel all at once.” To
which I replied: “I thought I had taken my leave in the
form prescribed,” and as he said nothing further on the
subject, the matter was so far settled for this time. But
the contemplated representation of “Jessonda” did not take
place during my presence in Munich, as the king expected
some days after a visit from the Prince, and had deferred the
opera till then, and in the meantime my leave of absence had
expired. We therefore left Munich before. On our way back
we paid a visit to my uncle Professor <i>Adolphus Hencke</i> in
Erlangen, where we made the acquaintance of the present
Councillor <i>Rudolph Wagner</i> of Göttingen, and returned to
Cassel before the Prince arrived.</p>

<p>Shortly afterwards, I received a letter from <i>Hermstedt</i>,
wherein, by request of the Princess von Sondershausen, he
commissioned me to write some soprano songs for her with
pianoforte and clarinet accompaniment. As this task was much
to my liking, I composed in the course of a few weeks six
songs of this kind (Op. 103, published by <i>Breitkopf &amp; Härtel</i><span class="pagenum"><a name="Page_ii_208" id="Page_ii_208">[Pg 208]</a></span>
of Leipzic) which by the express desire of the Princess I dedicated
to her, and for which I received from her the present
of a very costly ring.</p>

<p>I began the year 1838 with the composition of the
“<span lang="de" xml:lang="de">Vaterunser</span>” [Lord’s Prayer] of <i>Klopstock</i> (Op. 104, <i>Breitkopf
&amp; Härtel</i>, Leipzic) which I wrote with a double chorus for
men’s voices; at first only for pianoforte accompaniment, and
afterwards instrumentated for orchestra, as it was intended to
be performed at the singing festival for the benefit of the
<i>Mozart</i> institution at Frankfort, where though I was obliged
to decline directing in person, it was first performed on the
29th July, and having been well studied, produced, according to
the reports from there, a very solemn and imposing effect.</p>

<p>In the succeeding months I again composed several songs
for soprani or tenori, which appeared as Op. 105, at <i>Hellmuth’s</i>
in Halle.</p>

<p>Meanwhile the first public performance of “Paulus” took
place at last on Good Friday in the garrison-church, and we were
looking forward with pleasure to its repetition on Whitsunday,
when our good <i>Theresa</i> fell suddenly ill of a malignant nervous
fever, which in a short time brought her blooming life to a
close. On the Tuesday before Ascension Day we had, chiefly
at <i>Theresa’s</i> own wish, made a pleasant excursion to Wilhelmshöhe;
there she first complained of indisposition, and
on our return home she was immediately obliged to take to
her bed. As Dr. <i>Ludwig Pfeiffer</i>, our then attendant physician
and second brother of my wife, was just then absent from
Cassel, we called in once more her uncle, Dr. <i>Harnier</i>,
who although no alarming symptoms as yet shewed themselves,
visited the patient several times daily, until after
the lapse of a week, to our great terror he pronounced her
complaint to be nervous fever. This now constantly increased
in vehemence, and as in her fits of delirium she spoke continually
of a journey we had contemplated to Carlsbad, the
idea of which had greatly pleased her, I promised her that
she should go thither as soon as she recovered. This greatly<span class="pagenum"><a name="Page_ii_209" id="Page_ii_209">[Pg 209]</a></span>
soothed her, but nevertheless did not diminish the fever, and on
Whitsunday morning the blooming maiden of nineteen succumbed
to the fearful malady. The loss of the talented amiable girl
plunged us in such misery that we looked forward with earnest
longing to the approaching theatrical vacation, in order to leave
immediately the mournful surroundings of our home, and seek
far away from Cassel some respite from the constant remembrance
of our anguish.</p>

<p>After we had been delayed another eight days in Cassel
by the reiterated retarding of my leave of absence, we were
enabled to set out for Carlsbad on the 23rd June, accompanied
by my mother-in-law, to whom the use of the waters had also
been recommended, which was exceedingly welcome to me, particularly
on account of my wife, who had taken very much to
heart the loss of our <i>Theresa</i>. No sooner were we arrived in
Carlsbad than we met with <i>Hesse</i> of Breslau, and in our walks to
the springs soon made the acquaintance of other warm lovers of
music, with whom on dull days, when the weather would permit
of no excursions together to the charming environs, we
made up small music parties at our lodgings. As a young
lady from Breslau, Miss <i>Ottilia Schubert</i>, sang most charmingly,
my wife practised her in my new songs with clarinet accompaniment,
at which a first-rate clarinet player, Mr. <i>Seemann</i> from
Hannover, took the clarinet part; in this manner our hearers
became acquainted with a new style of songs which they had not
known before, and which interested them exceedingly. Somewhat
later, <i>De Beriot</i> also arrived with his sister-in-law <i>Pauline
Garcia</i>, in Carlsbad, and the concert which he gave at the
theatre afforded us very great enjoyment. He played with great
purity, brilliancy and execution, but his compositions did not
altogether please us, and Miss <i>Garcia</i>, afterwards the so-celebrated
Mrs. <i>Viardot-Garcia</i>, sang with a voice of great
compass, though not exactly a very fine one, and with great
artistic skill. She especially delighted her hearers with the
execution of her Spanish romances and ballads, in which she
accompanied herself very well on the pianoforte.</p>

<p><span class="pagenum"><a name="Page_ii_210" id="Page_ii_210">[Pg 210]</a></span></p>

<div class="blockquot">

<p>[Here, unfortunately, <i>Spohr’s</i> own narrative of his life closes for ever!&mdash;To
the subsequent encouragements of his relatives to resume it he used
to reply: “I take no pleasure in writing now; and there are sufficient
materials for the continuance of the Biography at any time, in the diaries
and papers of my wife.”&mdash;Hereupon, this latter, mindful of this express
indication of her husband’s, resolved to place notes, journals, and letters of
every kind, and even memoranda jotted down for her sole private use and
edification, at the disposal of those members of the family who undertook by
means of extracts, without any pretence to literary skill&mdash;in simple, unadorned
truthfulness, after <i>Spohr’s</i> own example&mdash;to carry out the history
of his life to the end.]</p></div>

<hr class="tb" />

<p class="break">After a beneficial use of the waters, <i>Spohr</i> left Carlsbad,
and on his way back stopped at Leipzic, where some musical
parties quickly got up by the families of his acquaintance
enabled him to pass some very agreeable days, and at
which he played his favorite quartet in <i>A minor</i>, with his
newest concertino, to the great delight of his hearers. Upon
this occasion, it was a source of great pleasure to him to
make the long desired acquaintance of <i>Robert Schumann</i>, who
though in other respects exceedingly quiet and reserved, yet
evinced his admiration of <i>Spohr</i> with great warmth, and gratified
him by the performance of several of his interesting
fantasias.</p>

<p><i>Mendelssohn</i> was at the time unfortunately absent, and in
his next letter to <i>Spohr</i> expressed his great regret thereat;
and requested him at the same time to send him his last
symphony (No. 5, <i>C minor</i>), as it was intended to perform it
at the opening of the approaching season in the first concert
of the Leipzic Gewandhaus. While expressing his thanks for
it beforehand, he says at the same time, in reference to a song
of <i>Spohr’s</i> with which he had just previously become acquainted:
“As I am now on the subject of thanks, I must thank you
many times and with all my heart for the beautiful song
in <i>F sharp</i> with clarinet accompaniment, the “<span lang="de" xml:lang="de">Zwiegesang</span>,”
which pleases me exceedingly and has so completely charmed<span class="pagenum"><a name="Page_ii_211" id="Page_ii_211">[Pg 211]</a></span>
me with its prettyness, that I both sing and play it every day.
It is not on account of any one particular feature that I admire
it, but for its perfectly natural sweetness as a whole, and
which from beginning to end flows so lightly and gratefully to
the feelings. How often have I sung it with my sisters, and
each time with renewed pleasure! And for that I must now
also thank you....”</p>

<p>The first work with which <i>Spohr</i> occupied himself after
his return to Cassel, was a fourth quartet for stringed instruments
(<i>G minor</i>), which was published by <i>Paul</i> of Dresden
as Op. 106, both in its original form and as arranged by
<i>Spohr</i> himself for the pianoforte for four hands.&mdash;About the
same time he received the very unusual order to make arrangements
for a concert at court, which after frequent and long
deliberations, at length took place on the 19th. September at
the palace of Wilhelmshöhe. The instrumental pieces were
performed by the members of the electoral chapel, but the
vocal subjects were at <i>Spohr’s</i> recommendation confided to
<i>Firnhaber</i>, a distinguished dilettant professor from Hildesheim,
who himself had a court appointment, and had been for some
years tutor to Baron <i>Scholley</i>, stepson to the Prince. With
a very fine high tenor voice, he combined a good musical
education, and a lively sentiment for art, and <i>Spohr’s</i> compositions,
with the manifold beauties of which he had made
himself more and more acquainted during his residence in
Cassel, soon inspired him with real enthusiasm. As <i>Spohr</i>
also took as much pleasure in his society as in his charming
style of singing, he was a constant assistant at all music
parties, and his presence in Cassel suggested to <i>Spohr</i> many
of his most pleasing and favorite songs, of which were: the book
of songs from Op. 101 to 105; the duet for soprano and tenor
Op. 107, (both published by <i>Simrock</i>) and <i>Franz Dingelstedt’s</i>
“<span lang="de" xml:lang="de">Mitternacht</span>” (midnight), which song was published by itself
by <i>Paul</i> of Dresden. Respecting the last, the author of the
words, who had then an appointment at the gymnasium of Fulda,
wrote to <i>Spohr</i> at a subsequent period, expressing the greatest<span class="pagenum"><a name="Page_ii_212" id="Page_ii_212">[Pg 212]</a></span>
satisfaction: “Yesterday evening I heard your song ‘Mitternacht’
sung, and still deeply impressed by it, I hasten to
thank you, and to express both my delight and my pride therein.
I will not say that you have entered into the spirit of
<i>my words</i>&mdash;for what are they after all? No, it is you who
have caught the long, low, solemn whisperings of midnight.
For the first time I regret that I am not sufficiently acquainted
with music to understand and express the enthusiasm
of the initiated in matters of change of tempi, tone &amp;c.; in
your art I am a naturalist merely, but I enjoy this production
of it yet more deeply and intimately than they all; for I
feel as a poet in the matter!&mdash;Not a word more now of
common-place praise and song of thanksgiving! You have
afforded me an hour of delight, and stirred within me emotions
such as alas! I can feel here but seldom: a reward for my
aspirations, an incentive to future efforts! You, I am sure,
understand me!”....</p>

<p>In October 1838 <i>Spohr</i>, following the example set by many
of the larger towns of Germany, succeeded at length in carrying
out his reiterated proposition to give a concert at the theatre
in aid of the funds for the erection of the testimonial to the
memory of Mozart. The first part of the concert comprised
among other things <i>Mozart’s</i> symphony in <i>D minor</i>; and in
the second, tableaux vivants, with appropriate music, from
<i>Mozart’s</i> operas, in which at the conclusion, the last chorus of
the requiem resounded, and the bust of <i>Mozart</i>, placed in the
foreground of the stage, was crowned by genii with wreaths
of laurel.&mdash;A similar festival took place the following spring
in aid of the fund for the memorial to <i>Beethoven</i>, but with
this difference, that the programme contained besides the
choicest selection from the works of that honoured maestro, a
composition of <i>Spohr’s</i> also, his most recent concertino: “<span lang="de" xml:lang="de">Sonst
und Jetzt</span>,” which he had performed for the first time shortly
before at one of the regular winter concerts, and upon this
occasion reproduced at the express desire of the Prince. The
success upon both occasions was extremely great.</p>

<p><span class="pagenum"><a name="Page_ii_213" id="Page_ii_213">[Pg 213]</a></span></p>

<p>At the commencement of the same year, several other
remarkable concerts took place, and among others, <i>Ole
Bull</i> performed twice in the theatre, to overflowing houses,
notwithstanding the increased prices of admission, and filled
the public with astonishment and admiration of his play.
<i>Spohr</i> himself took the warmest interest in the wonderful play
of his colleague in art, and gave a musical party at his own
house in his honour, in which he first played one of his own
quartets, but in the following he resigned the first place to
<i>Ole Bull</i>, and even took the second violin. His opinion
respecting <i>Ole Bull’s</i> play may here be given in his own
words, when writing to his friend <i>Speyer</i> upon the subject:
“<i>Ole Bull</i> has lately given two concerts at the theatre
and greatly charmed the public. His many-toned strokes and
the accurate certainty of the left hand are remarkable, but
like <i>Paganini</i>, he sacrifices too much to the tricks of the art.
His tone on the weak strings is bad, and he can only use the
<i>A</i> and <i>D</i> string on the lower part and <i>pianissimo</i>. This gives
to his play a great monotony when he cannot bring in his
tricks of art. We found this in two of <i>Mozart’s</i> quartets,
which he played at my house. On the other hand, he plays
with much feeling, but not with a cultivated taste.” With
every acknowledgment made by <i>Spohr</i> of the extraordinary
performances of <i>Ole Bull</i>, certain features of charlatanism, so
foreign to his own <i>simple</i> nature, did not escape him, and he
frequently related at a subsequent period with a good-natured
smile to his own friends, and to others, how <i>Ole Bull</i> at a
passage which offered him an opportunity of shining in one
of his incomparable <i>pp</i>, kept his bow hovering over the strings
for several seconds, so that the public who listened in breathless
silence for the last sound of his constantly decreasing tones,
might believe they still continued dying away in <i>ppp</i>.</p>

<p>About this time also, the representation of a small opera:
“<span lang="de" xml:lang="de">Der Matrose</span>,” in the composition of which <i>Spohr</i> had assisted,
was frequently repeated. The text, adopted from the French,
was written by the admired comedian <i>Birnbaum</i>, and at his<span class="pagenum"><a name="Page_ii_214" id="Page_ii_214">[Pg 214]</a></span>
wish set to music by four composers of this place, <i>Spohr</i>,
<i>Hauptmann</i>, <i>Baldewein</i> (director of music), and the song-writer
and teacher of music <i>Grenzebach</i>, collectively. Besides the
overture, <i>Spohr</i> had undertaken the song of a home-returning
mariner, together with the finale and all these “numbers,”
and the whole operetta met with lively approbation from the
public. Unfortunately <i>Spohr</i>, at a later period, was no longer
in possession of these, as they remained in the hands of Mr.
<i>Birnbaum</i>, for whose benefit the first representation of the
opera was intended. The highly characteristic mariner’s song
only appeared some time afterwards, arranged by himself
with four-handed accompaniment for the pianoforte, and was
published by <i>Paul</i> of Dresden.</p>

<p>In April 1839 <i>Spohr</i> received a pressing invitation from
England to direct the performance of his oratorio “<span lang="de" xml:lang="de">Des Heiland’s
letzte Stunden</span>” at the grand musical festival which was
to take place in September at Norwich. After he had succeeded
in obtaining the requisite leave of absence from the Prince,
the customary tour during the summer holidays was this
time limited to a shorter excursion, in which he made visits
to his relatives and friends. He next proceeded to Holzminden&mdash;where
<i>Spohr’s</i> younger brothers <i>Augustus</i> and
<i>Charles</i> resided with their families, the former, as a fiscal
assessor, and the latter a law official of the duchy of
Brunswick. Thence he went on to Gandersheim to visit his
venerable parents, and lastly to Catlenburg, to Councillor
<i>Lüder</i>. As a matter of course on this journey he was not
without his violin, and wherever <i>Spohr</i> came he found grateful
hearers, who considered themselves superlatively happy in
listening to his play. More than any of the other pieces that
he executed, his newest, charming composition, a Spanish
rondo for pianoforte and violin, afforded them delight; this
soon became one of the most favorite pieces of music in Cassel
also, and remained so up to a very recent period. At a later
period, when it was published by <i>Mechetti</i> in Vienna as Op. 111,
there appeared simultaneously a pianoforte arrangement of it<span class="pagenum"><a name="Page_ii_215" id="Page_ii_215">[Pg 215]</a></span>
for four hands by <i>Czerny</i>, which was certainly most welcome
to all who had not the advantage of hearing the original
composition executed by a distinguished violinist.</p>

<p>Returned to Cassel, <i>Spohr</i> finished his “Historical Symphony
in the style and taste of four different periods” which he had begun
before he set out on his journey. (Theme the first: The period
of <i>Bach-Händel</i>, 1720. Adagio: <i>Haydn-Mozart</i> 1780. Scherzo:
<i>Beethoven</i> period 1810. Finale: The most modern period 1840)
a work, which afforded him not only during its creation, but
also upon the occasions of its closely following performances
in Cassel, the greatest satisfaction. Abroad also, and first in
London, where he sold it to the Philharmonic Society for the
term of one year, and subsequently in Germany, where he was
permitted to make it known after the lapse of that period, it
met with the most lively reception. Many voices were, however,
raised in blame, and of these that of <i>Schumann</i>, in his musical
journal, was the severest in tone. On the other hand Baron
<i>Lannoy</i>, in Vienna, reported that the work had been received
with great favour: <i>Mendelssohn</i> sent in a most flattering account
of its reception at Leipzic; and many letters full of praise arrived
from England.</p>

<hr class="tb" />

<p>In the beginning of September <i>Spohr</i> set out upon the
journey to England, accompanied by his wife and his friend
Mrs. <i>von Malsburg</i>, with whom he had been many years acquainted.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p>

<p>After an exceedingly rough passage, which delayed his arrival
in London by six hours, <i>Spohr</i> was very agreeably surprised
in the midst of the confusion incidental to such circumstances,
on being addressed by a gentleman, a stranger to him, exhibiting
an order from the custom-house authorities, to deliver
<i>Spohr’s</i> luggage without examination, and who then took<span class="pagenum"><a name="Page_ii_216" id="Page_ii_216">[Pg 216]</a></span>
him and his female fellow-travellers speedily and safely to land
in a boat, where a coach was in waiting to take him to the
hospitable house of professor <i>Edward Taylor</i>. In the amiable
family-circle of that gentleman and surrounded by the genuine
English usages and comforts which had so many charms for the
guests, they soon found themselves at home, and a few days
sufficed to lay the foundation of a life-long friendship. As their
farther journey permitted but a short stay in London, it was
necessary to make the best use of the time to see the objects
most worthy of notice in the metropolis, which filled the travellers
with wonder and admiration. The visit to Westminster
Abbey made a deep impression upon all, and this was expressed
in the letters they sent home:<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> “The very entry into this
majestic structure, which is certainly the finest of all the objects
of note in London, makes an impression so deep and solemn
upon the mind, that we could scarcely repress our emotion;
and in reality one seems to move no longer among things of
this world. The tones of a splendid organ may have contributed
to this feeling,&mdash;for divine service was just being performed,&mdash;and
this was followed by sacred psalmody sung
in double chorus so pure, so sweet and executed with such
feeling, that they seemed like the voices of angels from the
realms of bliss. We had neither of us ever heard any thing
like it before. Now again the notes of the organ pealed forth,
and we distinguished harmonies of <i>Spohr’s</i>, and soon recognised
the touching sounds of his mass for ten voices; and then
the grand overture to “<span lang="de" xml:lang="de">Des Heilands letzten Stunden</span>” was
splendidly performed by the celebrated organist <i>Tarle</i>....”</p>

<p>But the time pressed for the departure to Norwich, where<span class="pagenum"><a name="Page_ii_217" id="Page_ii_217">[Pg 217]</a></span>
professor <i>Taylor</i>,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> the chief director of the whole musical
festival, had already made the necessary preliminary rehearsals
of <i>Spohr’s</i> oratorio, and now received the travellers to
accompany them to the mayor of Norwich. On the following
morning the mayor took his guests to hear divine service in
the cathedral, which is of immense size and considered one of
the finest in England. In a letter upon the subject <i>Spohr’s</i>
relative thus expresses herself: “Of <i>such</i> a celebration of divine
service, though it lasted nearly three hours, one is not readily
weary; the heavenly music with which it is interspersed in various
ways, I cannot describe, and it is performed with a purity and
finish such as made great impression also on <i>Spohr</i> himself.
The congregation did not sing at all, but always followed in
their hymnbooks and prayer-books, the text of which (all taken
from the Bible) I certainly could understand better than the
<i>sermon</i>. The choir robed in white, with their tender tones,
made an irresistible impression; words, music, and execution,
all were in such perfect unison, that I could scarcely imagine
a finer worship of the deity in heaven itself. When at the
conclusion we passed through the spacious nave of the magnificent
building with the whole congregation, the masses of
people arranged themselves on either side to permit our passage,
and looked at <i>Spohr</i> as something wonderful; many also, requested
to be introduced to <i>Spohr</i>, and our kind mayor, who
accompanied us and conducted <i>Spohr</i>, was quite happy, and
proud of the whole scene. His daughter <i>Mary</i>, a charming<span class="pagenum"><a name="Page_ii_218" id="Page_ii_218">[Pg 218]</a></span>
maiden of fifteen, is also enthusiastically fond of music and
particularly of <i>Spohr’s</i>; she plays herself very nicely on the
piano, and when her father informed us that it would make
her exceedingly happy to play a few notes with <i>Spohr</i>, he
accompanied her in one of his favorite sonatas of <i>Mozart</i>...”</p>

<p>If <i>Spohr</i> had understood the English language, the impression
made upon him by the divine service would perhaps
have been greatly disturbed by the circumstance that the
sermon preached upon the occasion was in a great measure
levelled against his oratorio. Already before his arrival in
Norwich, several persons of the puritanical party had raised
their voices against its performance, and endeavoured in every
way both in print and in the pulpit to shew that it was profane
and sinful to make so sacred a subject as the sufferings
and death of Christ, a theme for music. It thus so happened
that on the Sunday morning on which <i>Spohr</i> visited the cathedral
a zealous clergyman considered it his duty to hurl a
crushing discourse against his oratorio: The “<i>Calvary</i>,” as it is
rendered in English, and at the conclusion implored his hearers
not to surrender their souls for one day’s pleasure, but to
stop away from its performance. The “Monthly Chronicle”
further observes on the subject: “We now see the fanatical
zealot in the pulpit, and sitting right opposite to him the
<i>great composer</i>, with ears happily deaf to the <i>English</i> tongue;
but with a demeanour so becoming, with a look so full of pure
good will, and with so much humility and mildness in the
features, that his countenance alone spoke to the heart like
a good sermon. Without intending it, we make a comparison,
and cannot for a moment doubt in which of the two dwelt
the <i>spirit</i> of religion, which denoted the true christian!”</p>

<p>On the day after the performance of the oratorio the same
journal says: “This day was to decide the fate of the oratorio
“<i>Calvary</i>,” and had the decision been unfavourable the fame of
Norwich was for ever departed. The public mind was therefore
on the greatest stretch, for many persons feared the
powerful influence of an adverse clergy. But a better spirit,<span class="pagenum"><a name="Page_ii_219" id="Page_ii_219">[Pg 219]</a></span>
a sentiment of right feeling triumphed, and hours before the
opening of the doors the matter was decided. From far and
near the auditory flocked in thousands, evincing a powerful
feeling of excitement, and an enthusiasm which increased continually
during the performance; and beyond all expectation,
a complete triumph was achieved. It may justly be said of
this oratorio, that a heavenly inspiration breathes throughout;
more than any other work of modern times it is one sprung
from the genial source of a warm heart, and cannot be heard
with a tearless eye....”&mdash;The bishop of Norwich, who in
accordance with his religious bias belonged also to the party of
the opponents of the oratorio, and was therefore on a footing
of reserve with the mayor, was nevertheless desirous to make
the personal acquaintance of his celebrated guest, and sent
him repeated notes of invitation to dine with him; as these
however were written in English, they of necessity were handed
to the mayor as interpreter of their contents, who each time
transmitted to him in the name of <i>Spohr</i> a reply excusing his
inability to accept it. At length it was proposed that he
should be introduced to the bishop at one of the concerts,
and to this the mayor assented on the condition that <i>Spohr</i>
should promise him to meet the bishop half way only, and
not move a step farther towards him, when he rose from his
distant seat to approach <i>Spohr</i>.</p>

<p>This adherence to the stiff formality of English ceremony,
which was a special and prominent feature in the grandiose
arrangements of the mayor, was frequently the source of a variety
of ludicrous scenes and discussions. Thus it was that <i>Spohr</i>,
on the first day that he had gone to the rehearsal of his oratorio,
sent thence in haste home to his female fellow travellers,
who had remained behind, two gentlemen, strangers, with the
invitation that they also should proceed thither, to share in
the impressive sight which the magnificent St. Andrew’s Hall
had presented to him immediately upon entering it. As may
readily be imagined the ladies acceded to the invitation, and
accepted unhesitatingly the attendance of the “gentlemen as<span class="pagenum"><a name="Page_ii_220" id="Page_ii_220">[Pg 220]</a></span>
yet unintroduced to them in the house,” by which they excited
the astonishment of every one there, even to the very domestics;
but they had the satisfaction of witnessing themselves, upon
arriving at the hall, the enthusiastic reception with which the
whole assembly greeted <i>Spohr</i> upon his entering the orchestra.
Of this the “Monthly Review” speaks as follows: “I would have
wished all the world had heard the thunders of applause, the
very storm of greetings with which <i>Spohr</i> was received by
the whole orchestra, down to the very boys of the choir. This
reception of the great man, which drew tears of emotion from
the eyes of his wife, must also have deeply moved him.” On
the following evening the first concert was to take place, and
<i>Spohr</i> was to perform in it his concertino “<span lang="de" xml:lang="de">Sonst und Jetzt</span>”
(“Then and Now”); but as there were some difficult passages
for the drum in it, he had requested the attendance of the
young drummer-boy at his residence in the forenoon, in order
to give him personally the necessary instructions concerning
his part. When the neat little fellow made his appearance,
it was however found that he understand no language but
English, and in this predicament he was obliged to have recourse
to the assistance of the mayor’s amiable little daughter,
who then, although astonished at all the unusual doings in
her father’s house, willingly endeavoured to explain in English
to the strange boy the remarks made by <i>Spohr</i> in the French
language, with many scientific expressions which were quite
unintelligible to herself; but which at length she effected with
a result so accordant with <i>Spohr’s</i> wishes, that for years afterwards
he always recalled to mind with real pleasure the ludicrous
but interesting scenes of that charming effort at intercommunication.</p>

<p>In the evening on which the first of the six monster-concerts
took place in the spacious hall filled with nearly
3000 persons and 500 assistants, a symphony of <i>Haydn</i> and
several song pieces were first given, among which also, the
duet from Jessonda: “<span lang="de" xml:lang="de">Schönes Mädchen</span>”: but then as the
“Times” expressed it, “all eyes were turned with expectancy<span class="pagenum"><a name="Page_ii_221" id="Page_ii_221">[Pg 221]</a></span>
towards the orchestra in order to greet <i>Spohr</i> upon his appearance
with an enthusiastic applause....” “A deep
silence of suspense and expectancy reigned at the commencement
of his concertino, which he has called “<span lang="de" xml:lang="de">Sonst und Jetzt</span>,”
in order to express the opposite character of the themes which
therein denote the different style of the more ancient and modern
compositions.” The opinion upon <i>Spohr’s</i> play then follows
in terms of the highest praise, and concludes with the words:
“His instrument speaks as eloquently to the heart as the finest
melody. The accomplished mastery of his bow as of his fingers,
is yet surpassed by the wonderful power of his <i lang="la" xml:lang="la">mens divinior</i>.
The concertino, after a short but beautiful prelude, begins with
a charming minuet of the old school, adorned with a whole
wealth of harmonies, which seem to flow of themselves from
<i>Spohr’s</i> pen; then follows a Turkish allegro, replete with fancy
and overflowing with the brilliant lustre of modern execution.”</p>

<p>A letter written home and others describe the succeeding
concerts: “The first sacred concert on Wednesday morning was
wonderful; it lasted from half-past 12 to 4 clock, and comprised
in the first part many fine old things of <i>Purcell</i>, <i>Palästrina</i>
and others; and in the second and third parts the
magnificent oratorio of <i>Händel</i>: “Israel in Egypt;” in which
the choruses were executed with immense power, and the
soli by the English church-singers in the most perfect manner.
<i>Spohr</i> was inexpressibly delighted with it, and said, “English
church-singers only are capable of rendering <i>Händel’s</i> sublime
music in all its grandeur.” A peculiar custom which pleases
me greatly is, that every time a chorus expresses the praise
of God, or in any way adverts to God or Christ, the whole
mass of people rise from their seats, and listen to it <i>standing</i>.&mdash;The
order of the musical pieces in the evening concert
was very much the same as in the previous one. It began
with <i>Mozart’s</i> symphony in <i>E flat major</i>, which was followed by
twenty other different subjects, among which were some pieces
from operas by <i>Mozart</i> and <i>Weber</i>, and <i>Spohr’s</i> terzet from
“Zemira and Azor,” which is never omitted at any English<span class="pagenum"><a name="Page_ii_222" id="Page_ii_222">[Pg 222]</a></span>
musical festival. <i>Spohr</i> played with his former pupil <i>Blagrove</i>
his charming concertante in a surpassingly fine manner, and
the effect was if possible greater than yesterday. Our hospitable
host, who is exceedingly assiduous in his attentions, and
accompanies <i>Spohr</i> every time on going and returning, seems
also extremely happy to be near him, and to joy in his
high repute. To-day is, in the opinion of everybody, the
grand and most important day, on which <i>Spohr’s</i> oratorio is
to be given. You all know that music, and how grand it is,
but no one who was not present, can picture to himself what
it was <i>here</i>, heard in such a place, faultlessly executed by
such a mass, and listened to with such religious attention and
enthusiasm. At and after the first part one remarked several
exclamations of delight and wonder, but at the second a solemn
emotion seemed to reign throughout the whole auditory,
and more and more eyes became suffused with tears; not the
women only, but strong men were deeply moved. And such
an effect I consider as the highest and purest praise. They
were happy moments for me also when afterwards crowds of
gentlemen and ladies who did not like to intrude upon <i>Spohr</i>,
came to me, to congratulate me, and assured me with much
emotion, that this was the most sublime and beautiful thing
that was ever composed, with many other similar expressions.
The third part, which <i>Spohr</i> listened to with us with the
greatest delight, comprised the requiem of <i>Mozart</i> and other
pieces of sacred-music by <i>Mozart</i> and <i>Bach</i>....”</p>

<p>The public papers gave a detailed account of the deep
impression made by <i>Spohr’s</i> oratorio, and among others the
“Norwich Mercury” said: “The beautiful hall was crowded,
nevertheless, even before the commencement, a breathless silence
prevailed; a solemn religious sentiment reigned throughout the
assembly. The inspired composer raised his staff&mdash;the staff
descended&mdash;and mournful tones, low and faintly heard like
distant wailings felt upon the ear, and made a powerful impression
on the feelings: the brilliant hall seemed as though changed to
a solemn temple&mdash;and every worldly thought was in an<span class="pagenum"><a name="Page_ii_223" id="Page_ii_223">[Pg 223]</a></span>
instant dissipated.&mdash;The overture reveals the character of
the whole; the succeeding introductory chorus of the most
agreeable softness and purity seems to foreshadow a peace momentarily
witheld from us by a characteristic sentiment of
sadness. The ensuing recitative of St. John relates the treason
of Judas, and this is immediately followed in striking contrast
by the aria of the betrayer, in which the disorder of the mind
induced by the reproofs of conscience is expressed with great
power and truth by the accompaniment. Now begins the part
of Mary, with a charming air accompanied by the female chorus,
and which, replete with tenderest devotion, appeals to our
inmost feelings. In a difficult but very expressive recitative
St. John prepares us for the entry of St. Peter, who has denied
his master, and in the air sung by him, replete with intensity
of expression, the composer in good taste and with correct
judgment expresses the distinction between the reproving
conscience of the erring apostle and the preceding hopeless
agony of spirit in the betrayer. In the succeeding chorus reigns
a simple majesty, a confidant reliance upon the justice of God,
the expression of which is eminently successful.&mdash;In the scene
which follows, in which the judgment hall is opened to us and
Christ denounced before Caiphas, the inspiration of the composer
has reached its culminating point: the manifold contending
passions&mdash;the fiendish excitement of the populace, the
humble resignation in the sorrow of the disciples, the exalted
resignation of the saviour&mdash;all these are brought by him
with such painful truthfulness of expression before the mind,
that we feel it impossible to approach in music nearer to
reality and truth than <i>Spohr</i> has succeeded in doing in his
treatment of this pre-eminently tragic moment of the Redeemer’s
life.</p>

<p>The second part begins with an introductory funeral
march, and a striking chorus of the disciples expressive of
their sympathy with and lamentations for the fate of their
master. The ensuing chorus of the priests and people, who
wildly and savagely taunt the redeemer upon the cross, is in<span class="pagenum"><a name="Page_ii_224" id="Page_ii_224">[Pg 224]</a></span>
our opinion almost the most powerful and wonderful passage
in the whole work. The moving recitative of John and Mary is,
moreover, intense in its effect, and their aria full of melody
and grace, close upon which follows the gem of the whole
oratorio, the unsurpassable terzet for two soprani and an alto,
“<span lang="de" xml:lang="de">Jesus, himmlische Liebe</span>” (Jesus, heavenly love), with its sweetly
soothing harmonies. This terzet is a master-piece of the
purest finish; <i>Spohr</i> himself never wrote any thing more beautiful.
The solemn earnestness of the chorus: “<span lang="de" xml:lang="de">Allgütiger Gott</span>,”
with the canonic entrata at the words: “<span lang="de" xml:lang="de">In seiner Todesnoth</span>,”
is indeed in conception and form the most original. In masterly
recitatives John prepares us for the concluding scene, and after
the last words of Jesus: “It is fulfilled,” the low sound of distant
thunder is heard, which continues as though warningly during
the fine and truly pious quartet. And now the orchestra seems
to burst all bounds, and to contend in one wild storm, which
the powerful hand of the composer can alone direct and allay.
We have already heard many musical representations of storm
and tempest, but as yet nothing at all like this; and we think
that this immense effect is derived from <i>Spohr’s</i> seizing the
powerful phenomena of nature more in their general grandeur
than in their detail. We are struck with awe at the overpowering
effect itself and with wonder at the mind that could so
apply and direct all the resources of art. A recitative with
splendid modulations leads to the short choral passage of the
disciples, in which the divinity of the Redeemer is proclaimed,
simply, firmly and powerfully. The final chorus, a prayer
of the disciples full of sorrow and hopeful faith, is simple,
melodious and elevated; a poetical outpouring in music, which
must excite the sympathy of every human being who has a
trusting belief in a future life.&mdash;When the last accord died
away in its tragic grandeur, we looked around us&mdash;not a
breath was to be heard, deep silence everywhere&mdash;all were
impressed with feelings more powerful than they could express.
It was a moment of holy reverential exstacy&mdash;no noisy outburst
of rapture,&mdash;the impression was too overpowering for<span class="pagenum"><a name="Page_ii_225" id="Page_ii_225">[Pg 225]</a></span>
earthly utterance,&mdash;but it was a lasting one, and will assuredly
never be forgotten.”</p>

<p>The English newspapers spoke also respecting <i>Spohr’s</i>
manner of conducting, and the “Spectator” said on the subject:
“It is truly delightful, wonderful in precision and firmness
of tact, and at the same time accompanied by motions plainly
indicative of the effect proposed.” And again: “We see in
<i>Spohr</i>, a man who has a clear comprehension of his object,
and knows his work as thoroughly in all its details as in the
whole. At the rehearsal, whenever a note was missed, he sang
it, in whatever harmony it might chance to be, and in doing
so his voice was very melodious.”</p>

<p>The letter previously referred to says further, in reference
to the following days, under the date of September 20th:
“Yesterday, before the commencement of the evening concert,
a deputation from the committee waited upon <i>Spohr</i> with the
request to play his concertino once more; this, however, he
decidedly begged to be excused compliance with, and the more
so, as he had already agreed to direct in person the overture
to and air from “Faust,” with which the second part of the
concert began. Immediately he entered the orchestra for that
purpose, he was again greeted with loud and long continued
applause, in which doubtless the audience expressed, besides,
their sense of admiration of his oratorio, which, according to
English custom, could not be applauded at the time of performance.
To-day <i>Händel’s</i> splendid “Messiah” was given for
finale, which here also never fails to make its constant impression.
And now at length the grand festival has terminated
with all its pleasures and magnificences! It indeed required
an inspired and corporeal strength of frame such as <i>Spohr</i>
fortunately possesses, to hear in the short space of so few
days the ordeal of six concerts of four and a half hours’ duration
each, besides rehearsals and daily dinner parties, with unimpaired
freshness of spirit&mdash;not to speak of all the visits paid
him and the strangest requests from far and near, with which he
complied as far as he could. The last day with its scenes of<span class="pagenum"><a name="Page_ii_226" id="Page_ii_226">[Pg 226]</a></span>
leavetaking, was also a very trying one to the feelings, and cost
me I must confess, many tears.&mdash;The parting from all the
kind people who, although we were strangers to them, had received
us with such great heartiness, was very painful. When
next I see you I will relate many wonderful instances of the
amiability of these Englishmen, and of their admiration of
<i>Spohr</i>, which even extended itself to me. But the estimation in
which <i>Spohr</i> is held here in England, and the manner in which
this is evinced on all sides is almost incredible”....</p>

<p>After so brilliant a success of <i>Spohr’s</i> oratorio, and after
he had himself witnessed, as the “Spectator” expresses it&mdash;“How
the orchestra and singers competed to shew him that
England was the country of all others best fitted for the performance
of his oratorio,” nothing could be more agreeable to
him than the proposal made to him during his stay, to compose
especially a new oratorio for the next Norwich musical
festival, which would take place in 1842.</p>

<p>Scarcely was he returned to Cassel than professor
<i>Taylor</i> sent him the English text of “The fall of Babylon,”
of his composition, the text of which, though much to
<i>Spohr’s</i> liking, it was necessary first to have translated into
German, as he had not confidence sufficient in his knowledge
of the English language to undertake the composition from
the original text. Though the translation did not so completely
succeed in a truthful rendering of the expressions and rhythm
of the English text, as that this could subsequently be adapted
to the composition without much alteration, it nevertheless
sufficed so well for the desired object that <i>Spohr</i> could proceed
at once upon a work which so greatly interested him.
Filled with real inspiration for the task, he devoted thereto
every leisure hour that remained to him from his numerous
professional duties, nor did he rest until he had completed the
whole and satisfied himself with its performance on the pianoforte
at the St. Cecilia festival of 1840, that he had fully succeeded
in it. In pursuance of an understanding with the
Norwich committee a public performance of it with full or<span class="pagenum"><a name="Page_ii_227" id="Page_ii_227">[Pg 227]</a></span>chestra
was to take place in Cassel on the ensuing Good
Friday of 1841 and a second at Easter 1842, but with these
exceptions the work was to remain unused and in abeyance
until the Norwich festival in the autumn of the latter year,
and then first be made public simultaneously in England and
Germany in both <span class="lock">languages.&mdash;</span></p>

<p>But to return to the year 1840, which <i>Spohr</i> entered
upon with great activity in the preparatory studies for the
representation of the opera “The Lovers’ Duel,” which till
then had never been performed in Cassel; for the principal
characters of which he had just then found suitable performers.
The first representation took place for the benefit
of the relief fund, and with a very full house brought unusually
good receipts, which however unfortunately were extracted
from the treasury of the theatre on the following night in the
most incomprehensible manner, and despite the well-secured
locality in which the money was deposited. But a very small
amount could then be collected to replace this loss to the relief
fund, a circumstance which greatly marred the satisfaction
<i>Spohr</i> had derived from the success of his opera, which had
met with a most gratifying reception from the public.</p>

<p>About this time <i>Spohr</i> received an invitation from Aix-la-Chapelle
to direct the musical festival of the district of the
Lower Rhine, which was to be held there; on which occasion
a very pressing solicitation for his leave of absence was addressed
to the Prince on the part of the committee. This
memorial had the desired effect; for shortly afterwards the
Prince sent for <i>Spohr</i>, and tendered him of his own accord in
the most friendly manner the leave of absence he had not yet
solicited.</p>

<p>As every obstacle was now smoothed away, <i>Spohr</i> set out
upon his journey at the end of May, and was not only received
upon his arrival in Aix-la-Chapelle with serenades of welcome,
but also on his putting up for each night at Frankfort and
Cologne on his journey through. In the splendidly furnished
house of the notary <i>Pascal</i>, in which Mr. and Mrs. <i>Spohr</i> found<span class="pagenum"><a name="Page_ii_228" id="Page_ii_228">[Pg 228]</a></span>
a most hospitable reception, the succeeding days devoted to
the necessary rehearsals passed quickly and agreeably. On
Whitsunday, in the theatre, which had been converted into
a music saloon, <i>Händel’s</i> “Judas Maccabeus” was performed,
of which some epistolary notices spoke as follows: “When
<i>Spohr</i> entered the orchestra to conduct the oratorio he was
received with enthusiastic applause; we had the best places
in the first row reserved for us, exactly opposite to where the
very prettily arranged mass of five hundred and forty-seven
co-operators, brilliantly illuminated, presented a very charming
coup d’œil. The music, which had already greatly pleased us
by its splendid effect in the rehearsals, was now naturally
heard to yet greater advantage. The solo singers&mdash;Mrs. <i>Fischer-Achten</i>,
<i>Albertazzi</i> and <i>Müller</i>, Mr. <i>de Vrucht</i> from Amsterdam
and Mr. <i>Fischer</i>&mdash;good as they were on the whole, did not make
upon us the same impression of <i>finished</i> excellence as did the
choruses, which completely charmed us. In the second concert
also, in which besides <i>Spohr’s</i> “Lord’s Prayer,” the overture to
“Medea,” the <i>A major</i> symphony of <i>Beethoven</i>, and <i>Mozart’s
Davidde penitente</i>, were performed, <i>Spohr</i> upon every entry
and exit was greeted with unbounded applause, and at the
termination a wreath of laurel was presented to him by two
young ladies. In the third concert, of a mixed character,
Mrs. <i>Fischer-Achten</i>, and <i>Albertazzi</i>, with the celebrated
<i>Staudigl</i> of Vienna, were respectively heard and excited general
admiration. The singing of all three, was each in its kind
what may be termed of the most perfect finish. As worthy
finale to the whole, the repetition of the last magnificent chorus
from <i>Spohr’s</i> “Lord’s Prayer” followed, which again drew from
the audience the most enthusiastic bursts of applause....”</p>

<p>As on the following forenoon the brothers <i>Müller</i> of Brunswick
gave a quartet concert in the “<span lang="de" xml:lang="de">Redoutensaal</span>,” <i>Spohr</i>
delayed his departure, at their urgent entreaty, in order to play
his third double quartet with them, which was again also
rewarded with its usual rapturous ovation. In this manner
was this grand festival brought to a successful termination,<span class="pagenum"><a name="Page_ii_229" id="Page_ii_229">[Pg 229]</a></span>
and the general satisfaction which it had elicited was but
little detracted from by the reproving voice of Mr. <i>A. Schindler</i>,
whose <i>cartes de visites</i> made him known as “<i>ami de Beethoven</i>,”
and who in previous musical festivals had begun to distinguish
himself by his disputes with <i>Mendelssohn</i> respecting his slow
tempi in the conducting of works of <i>Beethoven’s</i>, and now also
in a similar manner found fault with <i>Spohr</i> for his manner
of conducting the <i>A major</i> symphony. This&mdash;with the exception
of the general disapprobation that it elicited&mdash;had
no further result than that <i>Spohr</i>, at the urgent and
reiterated desire of the committee, replied to <i>Schindler</i> in a
short but decisive letter, but which, couched in <i>Spohr’s</i> usual
mild language, did not disturb the personal understanding of
either during the festival.</p>

<p>After a few week’s return only, to Cassel, and during the
theatrical vacation, <i>Spohr</i> set out upon another journey and
proceeded first to Gandersheim, where all his brothers with their
families were assembled, to pay a last visit to their mother,
who was dangerously ill, and who, in spite of her suffering
condition, felt extreme pleasure in seeing them round her.
Although she had not left her room for several weeks, and
had therefore been unable to go up stairs to the upper
story of the house, yet when she heard that <i>Spohr</i> was going
to play something with his wife in the music-room there, she
requested to be assisted to get up there, “to hear her loved son
for the last time, and in fancy to dream away in listening to his
tones;” and upon that occasion, seated in the midst of her
children, listened to him with joyful emotion and interest. As
on the days immediately ensuing a visible improvement in her
condition seemed to have taken place <i>Spohr</i>, in full hopes of
greeting his mother once more upon his return, continued
his journey to Lübeck with a mind more at rest. But
alas! his hopes were not realised, for before he returned to
Gandersheim he received the lamentable announcement of her
death!</p>

<p>From Lübeck <i>Spohr</i> proceeded to Hamburg, where he<span class="pagenum"><a name="Page_ii_230" id="Page_ii_230">[Pg 230]</a></span>
arrived just in time to undertake the direction of his opera
“Jessonda.” The performance of the opera, in which Mrs. <i>Walker</i>
as Jessonda, and Mr. <i>Reichel</i> as Dandau, especially distinguished
themselves, was in every respect a great success, and there
were immense applause and loud demonstrations in honour of
<i>Spohr</i>. As it took place immediately after the close of the
performances of the Italian operas, the “<span lang="de" xml:lang="de">Hamburger Zeitung</span>”
gave a comparative notice in its next issue of these two different
kinds of musical entertainment. It began with the
words: “On Saturday the whole song-loving company of Italian
operatic performers departed in high spirits; on Sunday,
<i>Spohr</i> the German master took the director’s chair in the
town theatre to conduct his splendid “Jessonda” in person.
With the <i>former</i>, abundance of noise, merriment, and
somewhat of dissension, to-do, and submissive politeness&mdash;but
<i>here</i>, calm, noble dignity, honest thanks, becoming demeanour,
and permanent merit &amp;c.” Further on it adds: “The
lovers of music in Hamburg celebrated on Sunday a real
musical festival in the theatre; they were not only enabled to
express aloud their recognition of the German master, but they
had the opportunity also of drawing a comparison between
‘Jessonda’ and ‘Lucretia Borgia.’ In ‘Jessonda’ all is tender
yearning, and sweet hope, the golden age of fond first love: in
“Lucretia Borgia” Hyena-like cunning in the poison-envenomed
breast; nothing of love’s purity, love’s grosser passion alone;
and in the same relative characteristic proportion is the poesy
of the music.” No one experienced more delight at this new
triumph of <i>Spohr</i> than his enthusiastic admirer <i>Julius Schuberth</i>,
the well-known music publisher, under whose hospitable
roof <i>Spohr</i> and his travelling companions spent most agreeably
the four days of their stay in Hamburgh, which their kind
host strove by every possible means, to render a series of
festive pleasures and of distinguishing attentions. Among
others a brilliant musical party was got up in which <i>Spohr</i>
performed some of his quartetts, and was greatly charmed with
Miss <i>Unna’s</i> beautiful execution in his quintet for the pianoforte.</p>

<p><span class="pagenum"><a name="Page_ii_231" id="Page_ii_231">[Pg 231]</a></span></p>

<p>Upon this occasion <i>Schuberth</i> expressed so great a wish to
publish some similar grander pianoforte pieces of <i>Spohr’s</i> composition,
that the latter was induced to write shortly after his
return from Hamburg, his first trio for pianoforte, violin and
violincello, and therewith at the same time fulfilled a wish
that had been for years reiterated by Mrs. <i>de Malsburg</i>, the
distinguished dilettante pianiste, to whom he then dedicated
the work. This first trio by <i>Spohr</i> (Op. 119) was welcomed with
great satisfaction by the musical world, and numerous journals
far and near expressed their delight and thanks upon its appearance.
The “Leipzic New Musical Journal” speaks of it in
the following terms: “Although the great master has never
written any thing of this kind until now, he nevertheless moves
in this new <i>genre</i> with true artistic consciousness of power,
and with genial freedom. The trio is one of the finest productions
of the genius of <i>Spohr</i>, in which together with the
greatest possible finish in form, a profusion of beauties of the
first class, and master strokes of genius stand out in prominent
relief. As the gem of the whole the scherzo and its
trio must be mentioned. Here, as though at the stroke of the
magician’s wand, a fairy island of the blessed rises to the
imagination,&mdash;we are environed as though by a garden of
wonders, a blooming oasis of sound full of the deep glowing
splendour of oriental colouring!... It is moreover exceedingly
remarkable how <i>Spohr</i> here understood the way to
unite two elements which are otherwise strangers and indeed
usually antagonistic to each other: the <i>humoristic</i> and the <i>impassioned</i>,
<i>elegiacally tender</i> element of <i>feeling</i>....”</p>

<p>At the commencement of the year 1841 <i>Spohr</i> wrote a
fantasia for pianoforte and violin on themes from his opera
“<span lang="de" xml:lang="de">Der Alchymist</span>” (The Alchymist), the charming melodies
of which were especially favourable to such a reconstruction
(Op. 117, Vienna, published by <i>Mechetti</i>); an English
psalm for soli, with chorus and organ accompaniment
(Op. 122, published by <i>Simrock</i> of Bonn); and a song,<span class="pagenum"><a name="Page_ii_232" id="Page_ii_232">[Pg 232]</a></span>
“Schill,” for men’s voices, with accompaniment of military
music, written for the inauguration of <i>Schill’s</i> asylum for invalids
at Brunswick, and which was next publicly given by
the Casseler glee society at a concert for charitable purposes,
and met with such general approbation that <i>Spohr</i> conceived
the idea of sending it to Frankfort and therewith fulfil his
promise of a contribution to the “Collection of small compositions
to the <i>Mozart</i> institution.” Upon the same occasion
he replied to a question which had been put to him concerning
a qualified candidate to the first stipend paid by that institution,
by recommending <i>Jean Bott</i> of Cassel, although but 14 years
of age, and wrote of him in the following terms: “<i>Bott</i> is a
virtuose on the violin and pianoforte and even now displays
so remarkable a talent for composition, that I anticipate for
him a brilliant future. He has been a pupil of mine on the
violin for the last six months, and I never yet had one so
clever. <i>Hauptmann</i> (his instructor in composition) says the
same of him.” Supported by such distinguished recommendations
the young musician, after the works which he had sent
in had been submitted to the test, received the desired stipend
for one year, followed up his studies under <i>Spohr</i> and <i>Hauptmann</i>
with great zeal, and while yet a boy received an appointment
in the Cassel “<span lang="de" xml:lang="de">Hofkapelle</span>.”</p>

<p>As <i>Spohr</i> had proposed to himself to pass the theatrical
vacation this time in a trip to Switzerland, he determined
upon going thither by the way of Stuttgard and Hechingen,
in order to make the personal acquaintance of the reigning
Prince of Hohenzollern-Hechingen, who at various times had
written to him, and shown himself to be an enthusiastic lover
of music by expressing his admiration of <i>Spohr’s</i> “<span lang="de" xml:lang="de">Weihe der
Töne</span>” in terms of great praise.</p>

<p>As <i>Spohr’s</i> intended visit at Hechingen was known beforehand
he was welcomed there upon his arrival in the most
heartfelt manner. What took place during their stay here was
thus described in a letter written home: “On the very first
evening Kapellmeister <i>Täglichsbeck</i> and Court-Councillor <i>Schilling</i><span class="pagenum"><a name="Page_ii_233" id="Page_ii_233">[Pg 233]</a></span>
came to fetch us from Stuttgard, to drive us about
the town, and for the purpose, as they said, of showing us the
new concert-hall. But on our arrival there, to our surprise
we found a numerous company assembled, and we were received
by the Prince in the most gracious and friendly manner.
After a short conversation, he led <i>Spohr</i> to an elevated platform,
upon which the whole orchestra were assembled, and in
front the <i>head Pastor, Reiners</i> (who was also contrebassist
in the orchestra), who then adressed <i>Spohr</i> in a solemn and
very impressive speech of welcome, at the conclusion of which
the hall resounded with such an outburst of enthusiastic greetings,
accompanied by music, that one might have thought it
was filled with thousands of spectators. After this the Prince
seated himself near <i>Spohr</i>, and to our great surprise and
pleasure his splendid fifth symphony (<i>C minor</i>) fell upon the
ear, and was performed throughout with the greatest finish and
inspiration. During its performance the Prince evinced feelings
of delight such as we had never yet witnessed, he could scarcely
control himself; held <i>Spohr</i> constantly by the arm or hand,
and not only whispered to him his admiration at every passage,
but frequently gave expression to his feelings aloud....</p>

<p>When the Prince had ascertained whether <i>Spohr</i> would
sup or not in the dining-room below, he gave orders for a
place to be reserved for him next to <i>Spohr</i>, although, as
sovereign Prince, he had never yet partaken of a meal in a
tavern. This supper was most remarkable and amusing: besides
the Prince, who sat between me and <i>Spohr</i>, and was
very lively, the whole <i>beau monde</i> of Hechingen was assembled
to see <i>Spohr</i>, and each ordered supper according to his
own fancy. Gentlemen of the chamber, clergymen, councillors,
and their wives, mingled <i>pêle mêle</i>, did and said a thousand
humorous things, and evinced an extraordinary musical enthusiasm.
<i>Spohr</i> also was greatly pleased to have made the
acquaintance of this happy, music-mad little spot of Germany.
Music, particularly that of <i>Spohr</i>, is everything here, and
ladies and gentlemen know his symphonies and quartets in a<span class="pagenum"><a name="Page_ii_234" id="Page_ii_234">[Pg 234]</a></span>
manner such as very few in Cassel know them. If at eleven
o’clock at night we had not risen to depart, in spite of the
Prince, he would not have done so, for he is quite in love
with <i>Spohr</i>. On the following morning before eight o’clock
some one knocked again at our door, and his serene highness
entered to enquire how we had slept in Hechingen. He then
took us into the palace gardens and into the very pretty little
palace itself, where we were to rehearse our trio for the music
party that had been agreed upon for the evening. When we had
played through the first part, he availed himself of the short
pause to fetch his wife also, that she might share his pleasure,
and thus we were saved the already arranged formalities of
a court presentation.... We were invited to dinner at <i>Täglichsbeck’s</i>;
but scarcely was the dinner over, than the Prince
came again with two court carriages, in which the whole company
drove to the charming country palace “Lindig,” the beautiful
view round which filled us all, and <i>Spohr</i> especially,
with the greatest delight....” Of the evening court-party
that followed, the same letter says: “In a vaulted saloon built
especially for musical performances a double quartet was first
played by <i>Spohr</i> in a manner quite wonderful, then the Prince
sang several songs with much expression, and at last came
our trio. The company, consisting mostly of officials and of
but few musicians, was in raptures of delight, and gave evidence
in their remarks of much musical intelligence. At last
supper was served up at small separate tables each accommodating
four persons; at the chief table <i>Spohr</i> was shewn
to a seat next to the Princess, who evinced great amiability
and kindness towards him, while the Prince in the best of
spirits was my neighbour.</p>

<p>Our departure was fixed for the following morning, but
the Prince declaring that he could not yet part with <i>Spohr</i>,
expressed the intention of accompanying him one post, and
then of dining with us once more, and “not to appear egotistical,
to enjoy the pleasure alone,” invited a whole party,
who were to accompany us in his carriage. Two gentlemen<span class="pagenum"><a name="Page_ii_235" id="Page_ii_235">[Pg 235]</a></span>
were sent on in our carriage, to order a dinner for sixteen
persons at the small town of Balingen three leagues distant....
During the dinner, which consisted of a great number of
excellent dishes, and at which also the champaign, brought
from the Prince’s cellars, was not wanting, the conversation
was extremely lively and seasoned with many witty sallies,
but always intermingled with the prominent sentiment of that
musical enthusiasm, in which the Prince is really imbued to
a singular degree.</p>

<p>At length however the long-deferred parting moment arrived!
The cheerful voice grew silent, and a mournful stillness
came over all; the Prince was quite beside himself; he
embraced <i>Spohr</i> repeatedly, and when we had at length taken
our seats in the carriage, he was once more surrounded by the
company, and the Prince declared in the name of all that
these days which had brought such happiness to Hechingen
should be commemorated the following year by a festival.”</p>

<p>Carrying with him the most agreable recollections of the
time they had passed there, <i>Spohr</i> and his wife now resumed
their journey to Switzerland, the chief object of which was to
enjoy the beauties of nature; but they were also enabled to
combine therewith a visit to the musical festival which was about
to take place at Lucerne. Although <i>Spohr</i> had declined the
invitation which he had received at Cassel to direct at the
festival, it afforded him nevertheless much pleasure to be
present at it among the auditory. On the first day his oratorio:
“<span lang="de" xml:lang="de">Des Heilands letzte Stunden</span>,” was performed in the fine
church of St. Xavier, in which the solo parts were sustained
chiefly by dilettanti, with the exception of that of Mary, by
Mrs. <i>Stockhausen</i>, who had already acquired great celebrity
in it at the Norwich festival, and all of whom sang “with
truly angelic voices.” The choruses also, were excellent, and
the orchestra only did not quite satisfy <i>Spohr’s</i> artistic expectations.
The oratorio excited here also general enthusiasm,
but the travellers missed here “the deep devotion, the
christian-like comprehension and pious mental resignation,”<span class="pagenum"><a name="Page_ii_236" id="Page_ii_236">[Pg 236]</a></span>
which they had remarked in the English auditory of the year
before. The oratorio was followed by a brilliant festal overture
by <i>Lindpaintner</i> and another oratorio, the “<span lang="de" xml:lang="de">Christi Himmelfahrt</span>”
(the Ascension), by <i>Neukomm</i>, at which the composer was
also present, and was greatly gratified by <i>Spohr’s</i> approbation,
who praised the choruses and the fugues. In the second concert,
which was a miscellaneous one, the songs sung by Mrs. <i>Stockhausen</i>
(mother of the recently celebrated baritone) were
the points of attraction; but two distinguished dilletanti,
doctor <i>Ziegler</i> and his sister, from Winterthur, were likewise
much applauded in the duet from “Jessonda.”</p>

<p>On the return journey from Switzerland, <i>Spohr</i> stopped for
a few days in Frankfort, in order to be present at the performance
of <i>Gluck’s</i> “Iphigenia in Aulis.” The chief characters, Iphigenia
and Agamemnon were ably represented by Miss <i>Capitän</i> and Mr.
<i>Pischek</i>, and it afforded the more pleasure to <i>Spohr</i> to hear the
noble simplicity of this fine music rendered in a satisfactory
manner, as his repeated endeavours to introduce an opera of
<i>Gluck</i> into the repertory of the Cassel theatre had been
always unsuccessful, and he could not hope for any better
success for the future.</p>

<p>Scarcely was <i>Spohr</i> returned to Cassel than he began
with great zeal a new work, the plan of which he had conceived
upon the journey, while in view of the magnificent
Swiss mountains and lakes. When once more seated with his
wife in the carriage, on his return from the Lucern musical
festival, he told her with the greatest joy, that, inspired and
refreshed with all the beautiful and pleasing impressions made
upon him by nature and art combined,&mdash;he felt the strongest
impulse to write a truly grand orchestral work, and if possible
in some new and more extended form of the symphony. On
the half-sportive reply which she made to him: “If the simple
symphony does not give sufficient scope to your creative faculty,
then write a double symphony for two orchestras, in the style
of the double quartet,” he seized the suggestion immediately
with much warmth and thereupon sank into a deep reverie,<span class="pagenum"><a name="Page_ii_237" id="Page_ii_237">[Pg 237]</a></span>
as though he were already beginning the composition, but
soon after, added: that, exceedingly attractive as the problem
was, it could only be successfully carried out if made subservient
to the expression of a determinate idea&mdash;and that
two orchestras should have given to them respectively the
expression of a meaning and sentiment in strong contrast with
each other. After long reflection and study; and after successive
rejection of many self-proposed formulæ, he at length,
as though by inspiration, seized the idea: to represent the two
principles of good and evil in the human heart by the two
orchestras, and to give the name to the double symphony of
“<span lang="de" xml:lang="de">Irdisches und Göttliches im Menschenleben</span>” (the earthly and
the divine in the life of man). The first subject should be
called “<span lang="de" xml:lang="de">Kinderwelt</span>” (the world of childhood); the second “<span lang="de" xml:lang="de">Zeit
der Leidenschaften</span>” (the age of the passions); the third “<span lang="de" xml:lang="de">Endlicher
Sieg des Göttlichen</span>” (the final victory of the divine
principle); besides which a special explanatory motto was to be
given to each theme. After this manner the plan was conceived
with a heart overflowing with pleasure, and then carried
out with real enthusiasm. As regards the opinion respecting
the degree of success with which he achieved the performance
of so extremely difficult a task&mdash;that was of course a matter
to be left entirely to the individuality of the hearers; but in
the first performance of the work in Cassel under his own
direction and in the spirit of its composer, it excited the
greatest admiration in an attentively listening auditory; for
while connoisseurs acknowledged the excellence of the music,
apart from its special motive or subject, the feelings of the
uninitiated were in a high degree moved and satisfied. Such is
the report of it contained in one letter out of many written
at that time: “Last evening <i>Spohr’s</i> new double symphony for
two orchestras took place; the larger and more numerously
filled orchestra represented the evil principle, the small one,
consisting only of eleven solo instruments represented on the
contrary the principle of good. In the subject “The world of
childhood” the latter orchestra maintains the superiority in a<span class="pagenum"><a name="Page_ii_238" id="Page_ii_238">[Pg 238]</a></span>
marked and especial manner; sweet, innocent melodies bring
back to us in the most enchanting manner the joys of childhood&mdash;its
pretty sports, and wiles seem to rise before our
vision, and we feel ourselves wholly wrapped in the bright dreams
of the past; but the tones of the great orchestra remind us
sorrowfully of the reality, and of the struggles of an earthly
life scarcely yet begun. This subject, although gaiety is
the prominent characteristic, yet speaks to us with a peculiar
purity and tenderness of sentiment; and of a surety only a
soul as pure and loving as that of our <i>Spohr</i> could so depict
in tones the tenderness of the world of childhood.</p>

<p>The second subject: “The victory of the passions,” begins
with a very beautiful soft duet between hautboy and clarinet
(depicting the first awakening of love), then soon the two
orchestras mingle, as it were, wildly and stormily, a true picture
of the human heart in the contests of this life; now here
now there, the small orchestra is carried away with it, but
even then it does not wholly cease to intervene as the good
genius with moving and at times warning tones of tenderness.
This subject, which is very rich in ideas and harmonies, appeared
most to carry away the mass of the public, but the
deepest impression made upon every sensitive heart was that
made by the third theme: “Eventual victory of the divine
principle.” In this, the warning voice of the small orchestra
becomes continually more impressive, the earthly passions for
the most part become gradually subdued, one almost seems
to feel how their force is broken, and then again at frequent
intervals they seem to rally, until the solemn moment, in
which after a general pause both orchestras at length, in
solemn unison of accords announce the victory achieved by the
good genius in all its power. From that point nothing but
pious, pleasing sounds, as though from the realms of bliss, are
heard, now alternately and now from both orchestras in unison,
leading as it were the strangely-moved feelings of the auditory
to the soft consolatory finale.”</p>

<p>Notices of a similar character&mdash;sometimes estimating<span class="pagenum"><a name="Page_ii_239" id="Page_ii_239">[Pg 239]</a></span>
the work from a purely human, at others from an artistic
point of view were received from all sides after the appearance of
the symphony, published as Op. 121, by <i>Schuberth</i> of Hamburgh;
and then it soon became extensively circulated in the larger
towns of Germany and England. This sufficed to afford <i>Spohr</i>
the personal satisfaction, that in whichever way his intentions
were considered, they were upon the whole rightly understood
and estimated.</p>

<p>In November of the same year the Cassel musical world
was thrown into a state of joyful excitement by the arrival of
<i>Lisst</i>, who had gained the most enthusiastic applause in two
concerts, which he gave in the theatre. Previous to his appearance
in public, the more restricted circle of the lovers
of music, had been greatly gratified by hearing him execute
<i>Spohr’s</i> quintet for the pianoforte at a music party given by
<i>Spohr</i> for his entertainment, at which he played also several
of his own compositions in an insurpassibly masterly style.
<i>Spohr</i> took the liveliest interest in the performances of his
colleague in art, but he paid him the tribute of his highest
admiration for his wonderful playing <i>at sight</i>; and in after years,
as a proof of <i>Lisst’s</i> eminent talent in this respect also, he
would cheerfully relate, how at a private soiree at Mrs. <i>von
der Malsburg’s</i>, accompanied by <i>Spohr</i> on the violin, <i>Lisst</i>
played his “<span lang="de" xml:lang="de">Reisesonata</span>” and his only just then published
fantasia from the “Alchymist,” which was therefore <i>wholly
unknown</i> to <i>Lisst</i>, but which to the great astonishment of
all the auditory he played at sight with the most perfect
finish.</p>

<p>On the 5th. December of this year the fiftieth anniversary
of the death of <i>Mozart</i> was everywhere solemnized by the
lovers of music; but as no public festival could be held in
Cassel, <i>Spohr</i> got up a private performance of the society of
St. Cecilia for the benefit of the poor, which was of a most
solemn and impressive character. In the centre of the saloon
the bust of <i>Mozart</i>, crowned with a laurel wreath, surmounted
an altar hung with black drapery; on one side of the altar<span class="pagenum"><a name="Page_ii_240" id="Page_ii_240">[Pg 240]</a></span>
was assembled the numerous auditory, and on the other the
singers in deep mourning. The “<i lang="la" xml:lang="la">Ave verum</i>” of <i>Mozart</i> was first
sung; then a short oration <i>in memoriam</i> followed, and the
conclusion was formed by the swan-song of the departed master,
his immortal requiem.</p>

<p>In the beginning of the year 1842, <i>Spohr</i> composed six
four part-songs, for soprano, alto, tenor and bass (Op. 120,
published by <i>Appel</i> in Cassel), then his second trio for pianoforte,
violin and violincello, which in the course of the year
was followed by a third. These were published by <i>J. Schuberth</i>
as Op. 123 and 124.</p>

<p>As during the winter <i>Spohr</i> had felt returning symptoms
of his former liver-complaint, he availed himself this time of
the summer vacation to go to Carlsbad, to drink the waters;
but on the journey thither, at the pressing invitation of Mr.
<i>von Holleben</i>, an acquaintance of his youth, and now, grand-master
of the hunt at Rudolstadt, he paid him a visit. In
the amiable family circle of his early friend the hours passed
quickly and pleasantly in the retrospect of their youthful associations,
and in the interchange of narratives and incidents
of their later life; but amid all these, music was not wanting;
and to hear it each time, an increased number of the lovers
of music were invited. At these parties <i>Spohr</i> willingly played
several of his newest compositions, and more especially afforded
universal pleasure with the two trios, in which his wife took
the pianoforte part. Upon these occasions he had more
especially an enthusiastic auditress in the Princess von Bückeburg,
who then resided in Rudolstadt, and who was very desirous
of giving a fête at her own house in honour <i>Spohr</i>, had not
Mrs. <i>von Holleben</i>, as she afterwards related with much triumph,
following the example of the mayor of Norwich (whose comical
proceeding towards the bishop of that place <i>Spohr</i> had previously
narrated with much humour), declined in the name of her
guests, although without previously enquiring of them, every
invitation that they received.</p>

<p>During the succeeding month’s stay in Carlsbad, <i>Spohr</i><span class="pagenum"><a name="Page_ii_241" id="Page_ii_241">[Pg 241]</a></span>
followed up most conscientiously the prescribed use of the
baths and waters, and, besides the enjoined morning walks
of several hours’ duration, he after dinner made more distant
excursions into the beautiful and by him already previously so
much admired environs. Between whiles, however, he managed
to devote many hours to the study and practice of
his noble art, playing assiduously with his wife, and charming
the circle of his more immediate acquaintance with his play.
He was forbidden, while taking the waters, to indulge even
in a slight degree his constant impulse to the composition of
something new; nevertheless during this time he composed
a song: “Tears,” by <i>Chamisso</i>, which afterwards appeared
in the “Album of Song” of <i>Rudolf Hirsch</i> (published by
<i>Bösenberg</i> of Leipzic).</p>

<p>On his return to Cassel, <i>Spohr</i> was painfully moved by
the intelligence of the approaching departure of his friend
<i>Hauptmann</i>, who had accepted the proffered appointment of
Cantor at the <i>Thomas School</i> in Leipzic. However heartily
he might have rejoiced to see <i>Hauptmann</i> exchange his place
in the court orchestra of Cassel for one so much more befitting
and worthy of him, yet for the moment the sentiment of
sorrow was the prominent feeling, he that would thenceforth
be bereft of the society and intercourse of a man, who through
a period of twenty years had stood so near to him both as
friend and as colleague in art. As <i>Hauptmann</i> was an active and
highly esteemed member of the St. Cecilia society, upon <i>Spohr’s</i>
proposition, a farewell festival in his honour was given, at
which the musical part of the entertainment consisted chiefly
of <i>Hauptmann’s</i> compositions. But as <i>Spohr</i> was desirous of
contributing at least one musical piece having especial reference
to the occasion, he made choice of the pretty cantata composed
by him for the “Golden Wedding” of his parents,
which, with altogether new and appropriate words, inspired all
hearers with the more interest as <i>Spohr</i> took upon himself
the violin obligato part that formed the accompaniment to the
pianoforte.</p>

<p><span class="pagenum"><a name="Page_ii_242" id="Page_ii_242">[Pg 242]</a></span></p>

<p>Towards the end of the year <i>Spohr</i> wrote a “concert
overture in the serious style” (Op. 121, at <i>Siegel’s</i>, in Leipzic),
which was performed at the first of the Casseler subscription
concerts, and shortly afterwards at the Gewandhaus concert
in Leipzic, and at both places produced the earnest and
grandiose effect which the composer had in view. He next, at
the repeated solicitations of publisher and friends, tried his
hand at a species of composition which he had never till then
tried, a sonata for the <i>pianoforte alone</i>, which after having
accomplished to his satisfaction, he resolved to dedicate to his
friend <i>Mendelssohn</i>. The latter having been made acquainted
with it, wrote to him immediately and accompanied the expression
of his thanks “for the high and distinguishing honour”
with the following words: “If I could but express to you, how
deeply I feel what it is to be thus able to call one of your
works one’s own particular property, and how my heart joys
not alone in the distinction conferred, but equally in your
friendly thought of me, and your constant desire for my welfare.
A thousand thanks to you for it, dear Mr. Kapellmeister, and
rest assured that to the best of my ability I will endeavour
to make my now obstinate fingers bring out the beauties of
the sonata properly. But that is again only a pleasure that
I shall be doing myself, and I should so like to render you one
in return for it,” &amp;c. The “obstinate fingers” must nevertheless
have soon succumbed to the will of the master, for when upon
a subsequent visit to Leipzic, <i>Spohr</i> had the gratification of
hearing him play the sonata, it was everything he could have
wished, and he recognised in such an execution the ideal
which when composing it his fancy had conceived. Shortly
afterwards, when it was brought out by <i>Mechetti</i> of Vienna, as
Op. 125, and thereby became more widely known, <i>Spohr</i> received
many gratifying notices of it from all sides. But he
was especially taken by surprise on the receipt of a letter
from Hungary, enthusiastic in admiration of the sonata, from
the to him wholly unknown director of the choir, <i>Seyler</i>, of
the Cathedral of Gran, in which he says among other things:<span class="pagenum"><a name="Page_ii_243" id="Page_ii_243">[Pg 243]</a></span>
“Times innumerable, in the hours when my duties permit me
some relaxation, do I charm myself at the piano with that
sonata you dedicated to Mr. <i>Mendelssohn-Bartholdy</i>. Carried
away by the magic of its tones I now take up the pen, in behalf
of all pianists of feeling who may not always have the opportunity
to be enchanted by your greater musical productions,
to render you the warmest thanks for this beautiful work....
I would moreover earnestly entreat you to let me know whether
we pianists may encourage the hope of having such another
composition, with which with two hands alone, we may discourse
with the spirit of the world-famed German hero of
musical science?” &amp;c. Although this and many other similar
testimonies might have fully removed <i>Spohr’s</i> former doubts
as to whether he could contribute anything sufficiently satisfactory
as a composer for the pianoforte, yet as may be readily
imagined it was more in his interest to give his sole attention
to the violin as concerted with pianoforte music; and his next
works were six duets for pianoforte and violin (Op. 127),
but which he could not finish and send in to his publisher
<i>Julius Schuberth</i> of Hamburgh, who awaited them with much
impatience, till after the lapse of several months, as just at
that time he was more than usually occupied in perfecting his
orchestra in the study of several larger works. He first of
all wished to give <i>Bach’s</i> “Passion” on the coming Good
Friday, and although, with the same intention he had previously
rehearsed it several times with all the musical strength he could
enlist in Cassel, yet years had since then elapsed; and it cost
him a very great exertion of his patience and perseverance
to bring his orchestra and singers up to such a pitch of excellence
as to ensure the public performance of that extremely
difficult music in a creditable and worthy manner.</p>

<p>After <i>Spohr</i> had toiled for long months in practising the
choruses and the long-wished-for day of performance was
drawing nearer and nearer, the required permission of the
Prince was suddenly refused, without any reason being assigned
for it; and it was not until a second application had been sent<span class="pagenum"><a name="Page_ii_244" id="Page_ii_244">[Pg 244]</a></span>
in, accompanied (to meet all eventualities) by a certificate of
the clergyman, that he considered “the music selected for performance
perfectly fitted for the church and for the day,” that
the desired permission was granted; and that to the great
satisfaction of <i>Spohr</i> and every lover of music in Cassel, it
could be performed on the day appointed. But these obstacles
repeatedly thrown in the way of its production were very
nearly the cause of <i>Spohr’s</i> total departure from Cassel, for
at that very time he again received from Prague a very advantageous
offer of appointment there, respecting which he
wrote as follows to his friend <i>Hauptmann</i>: “I am so weary of
all the vexations I meet with here that even at my time of
life I could almost make up my mind to leave this place, were
not my wife so much attached to her family, and that she
would be unhappy away from her friends. The opportunity
now presents itself in an offer from the states of Bohemia of
the post of director of the Prague conservatory of music vacant
by the death of <i>Dionys Weber</i>, as an indemnifaction for the
salary I should throw up here. Such a field for exertion and
a residence in musical Prague would suit me well. But under
the circumstances adverted to above I must of course decline
it....” In <i>Hauptmann’s</i> very explicit reply to this he
says among other things: “By <i>Spohr’s</i> leaving under the pressure
of such existing circumstances, Cassel will become a
desert as regards music,” but he nevertheless advises him to
leave it without hesitation, and “will not yet relinquish the
thought to see him move away from good, beautiful but <i>oppressed</i>
Cassel, to majestic Prague.”</p>

<p>But as <i>Spohr</i> in the meanwhile had come to a decision,
and of his own impulse allowed his kindly consideration for
his wife and her parents to prevail with him, their daily intercourse
having become with him also a pleasurable habit, he
wrote back in his reply the following few but characteristic
words: “The interest and sympathy, which breathes throughout
your kind letter was most gratifying to me also in regard to
the Prague business. But I had already made up my mind<span class="pagenum"><a name="Page_ii_245" id="Page_ii_245">[Pg 245]</a></span>
in the interim, and I am glad that my answer declining the
offer had been sent to Prague, before my father-in-law knew
anything about it, or with tears in his eyes could have to
thank me for my decision....”&mdash;In this manner <i>Spohr</i> remained
in Cassel, to which he had become attached as to a
second home, and he continued to discharge his duties with
his customary zeal.</p>

<p>He now again gave his attention to the study of a difficult
work: “The flying Dutchman” of <i>Richard Wagner</i>, which
<i>Spohr</i> proposed to himself to bring out as a festival opera for
Whitmonday, having heard much in its praise from Dresden,
and upon perusal of the libretto, which had been sent to him,
had found the subject so satisfactory in every respect, that he
pronounced it a little master-piece, and regretted, “not to
have met with a similar and as good a one to set to music,
ten years before.” When at the rehearsals he had become more
closely acquainted with the opera, he wrote to <i>Lüder</i> respecting
it, and invited him to the approaching performance in Cassel:
“This work, although somewhat approaching the new-romantic
music <i>à la Berlioz</i>, and although it has given me immense work
on account of its extreme difficulty, interests me nevertheless
in the highest degree, for it is written apparently with true
inspiration&mdash;and unlike so much of the modern opera music,
does not display in every bar the striving after effect, or
effort to please. There is a great deal of the fanciful therein;
a noble conception throughout, it is well written for the singer;
enormously difficult it is true, and somewhat overcharged in
the instrumentation, but full of new effects, and will assuredly,
when it once comes to be performed in the greater space of
a theatre be thoroughly clear and intelligible. The theatre
rehearsals begin at the end of this week, and I am exceedingly
desirous to see how the fantastic subject and the still
more fantastic music will come off <i>en scène</i>. I think I am
so far correct in my judgment, when I consider <i>Wagner</i> as
the most gifted of all our <i>dramatic</i> composers of the present
time. In this work at least his aspirations are noble, and that<span class="pagenum"><a name="Page_ii_246" id="Page_ii_246">[Pg 246]</a></span>
pleases me at a time when all depends upon creating a
sensation, or in effecting the merest ear-tickling,” &amp;c. Notwithstanding
the apparent almost insurmountable difficulties,
<i>Spohr</i> succeeded in giving one performance, which left nothing
to be desired, and the work was most favourably received by the
public. In full satisfaction to the author he felt impelled to write
to <i>Wagner</i> to make him acquainted with it; upon which the
latter in the fulness of his joy replied: “My very esteemed
sir and master, I was really obliged to recover myself somewhat
from the joy&mdash;from the rapture I may say&mdash;which your
extremely kind letter afforded me, before I could undertake
to write, and express to you the gratitude of my heart....
In order to enable you to understand the extraordinary emotion
your intelligence produced in me, I must first calmly explain
what were my expectations in regard to the success of this
opera. From the unusually great difficulties which it presented
I could expect but little from it, however good the musical
and dramatic strength with which it might be put upon the
stage, unless there was a man at their head who, endowed
with peculiar energetic capacity and goodwill, would espouse
my interests with predilection and in the face of every obstacle.
That you, my highly-esteemed master, possessed beyond all
others the qualifications for so energetic a direction, I well
knew,&mdash;but whether you would consider my work sufficiently
worthy of your attention to take so decided an interest in it,
that was certainly the very natural doubt that made me
despair more and more, the nearer the day of its announced
performance approached; so that I confess I had not the courage
to go to Cassel, to become personally a witness to my shame
and to the realisation of all my fears. But I now see indeed
that a lucky star has risen over me, since I have gained the
sympathy of a man from whom an indulgent notice only would
have been sufficient fame for me:&mdash;but to see him take the
most decisive and crowning measures in my behalf, is a piece of
good fortune which assuredly distinguishes me above many, and
which really for the first time fills me with a sentiment of<span class="pagenum"><a name="Page_ii_247" id="Page_ii_247">[Pg 247]</a></span>
pride, such as hitherto no applause of the public could have
awakened in me” &amp;c. With equal gratitude and kindliness
<i>Wagner</i> acknowledged the correctness of the omissions made
by <i>Spohr</i> in the opera, in the which he “recognised but further
proof of the true interest he had evinced for him,” and this
he reiterated in all his subsequent letters with the warmest
expressions of attachment and esteem.</p>

<p>With the commencement of the theatrical vacation, <i>Spohr</i>
made preparations for the journey to London, where he hoped
to receive satisfaction for the disappointment of the refusal of
leave absence in the previous autumn, to proceed to Norwich
to conduct the much-talked-of performance of his oratorio,
“The fall of Babylon.” For months previously the committee
had applied to that effect through the embassy at Cassel, to
the Prince, but had met with a summary refusal, upon which
<i>Spohr</i> received several letters from England, expressing how
much they felt aggrieved by it, and lord <i>Aberdeen</i> especially,
who had authorised the application to the Prince through the
medium of the English embassy. Upon this the committee
met in Norwich and sent a deputation to London to the duke
of Cambridge, who expressed himself willing to write personally
to the Prince in the most pressing terms. But without avail;
after a lapse of two months his application was refused also,
and both he and the whole royal family were not a little hurt
by it. In Norwich, meanwhile, it was thought that every means
had not yet been exhausted, and to <i>Spohr’s</i> extreme surprise
he suddenly received an enormous petition signed by a considerable
number of the inhabitants of Norwich, beseeching
the Prince in the interests of that city to allow <i>Spohr</i> to
direct his oratorio there. Although he himself had now little
hope of a favourable issue to this prayer, he was nevertheless
greatly moved by the receipt of so imposing a document, and
awaited a reply with the greatest anxiety. This however did
not come; but the Hessian minister for foreign affairs, <i>von
Steuber</i>, wrote the following letter to the wife of Mr. <i>von der
Malsburg</i>, grand marshall of the court, by whom the petition<span class="pagenum"><a name="Page_ii_248" id="Page_ii_248">[Pg 248]</a></span>
had been presented: “I have to announce to your Excellency
that I delivered the petition in question, and urged personally
all the circumstances detailed therein, but as you yourself
feared, there is no hope of a successful result” <span class="lock">&amp;c.&mdash;</span></p>

<p>Although <i>Spohr</i> could not personally share in the triumph
which this new oratorio achieved for him in England, he
nevertheless received almost daily detailed epistolary accounts
of the success of the festival, and at length also a whole box
full of newspapers of every shade of politics, which seemed
almost to vie with each other in expressions of admiration of
his work. Of these, some few of the most conspicuous and characteristic
in style of comment may here be cited: “The Times”
says among other things: “The gem of the festival was <i>Spohr’s</i>
oratorio. The text is written with especial regard to the
nature and the character of an oratorio, and the subject which
<i>Spohr</i> has illustrated by the exercise of his talent is especially
favourable to its exhibition. Three nations are represented:
the captive Hebrews, the luxurious Babylonians and the Persians
in their pride of conquest: these furnish materials for the most
varied musical treatment by the composer, of which he has
availed himself in the most admirable manner, and thoroughly
understood how to adhere throughout the music to the identity
and nationality of the different nations. His peculiar genius
for the invention of beautiful melodies, and his power to
enrich these with appropriate harmonies is also preminently
conspicuous in this splendid work.” After a detailed analysis
of the separate “numbers” it is further said: “The general
opinion of the oratorio is this: It is a master piece of art,
worthy to rank with “<span lang="de" xml:lang="de">Die letzten Dingen</span>” and “<span lang="de" xml:lang="de">Des Heilands
letzten Stunden</span>.” Emphatic as this praise may be, it is nevertheless
just. Though from the same hand, the work is
nevertheless essentially different from these. The former excite
feelings of deep devotion and christian piety, in the latter we
distinguish the character of the deity more in its majesty
and omnipotence; Jehovah displays himself to us in acts of
power by dooming the ungodly to punishment. The work<span class="pagenum"><a name="Page_ii_249" id="Page_ii_249">[Pg 249]</a></span>
fulfils all the conditions of a true oratorio, and its performance
was a triumph of English art. One thing only was
deeply and generally deplored, that <i>Spohr</i> was prevented from
being present at this triumph.” In the Morning Chronicle, after
similar enthusiastic expressions of opinion, follows: “In a word,
the music is characterised by the whole power and peculiarity of
<i>Spohr’s</i> genius, and we may boldly assert that it is the grandest
work written since the days of <i>Händel</i>.”&mdash;The immense
crowd that pressed forward to the hall to witness the performance
is adverted to by all the papers, and the Morning
Herald especially, speaks of it thus: “Although to hear <i>Spohr’s</i>
oratorio an unusually numerous auditory was to be expected,
yet no one could have formed an idea of what actually occurred.
From an early hour in the morning carriages arrived
in numbers, filled with the rank and beauty of the county....
The whole interior of the building was immediately
filled; where a resting-place could be found for one foot only,
fool-hardy individuals were to be seen located in the most
dangerous situations, and every one seemed determined to
endure the greatest inconvenience rather than forego the
pleasure of hearing <i>Spohr’s</i> oratorio. Many persons clambered
up to the roof, and from thence in at the window, but numbers
were compelled to remain outside, and content themselves with
looking down from their dizzy height upon the crowds below.
This is no exaggeration, but strictly true; and that such a
degree of interest should have been evinced for a new musical
work, is certainly an event that stands alone in the history
of music,” &amp;c. While <i>Spohr</i> found at home a cheering distraction
in these gratifying accounts, his admirers and friends
in England were considering how to make him some compensation
for his loss, and before the close of the year he received
an invitation to London during his next vacation, to conduct
his oratorio.</p>

<p>Upon <i>Spohr’s</i> arrival in London in June 1843, Professor
<i>Taylor</i>, who had conducted his oratorio at Norwich, in his
stead, and who had discharged that difficult task most credit<span class="pagenum"><a name="Page_ii_250" id="Page_ii_250">[Pg 250]</a></span>ably,
had so far made all the preliminary preparations that
after a few rehearsals, its performance could take place at
the Hanover Square Rooms to his full satisfaction. The public
also gave vent to their enthusiasm, with the most reiterated
and demonstrative applause, and at the conclusion greeted
him with three cheers. Nevertheless all those who had been
present at the festival in the fine St. Andrew’s Hall at Norwich,
were not by any means satisfied that <i>Spohr</i> had not been
permitted to hear his work under equally favourable circumstances,
in all its grandeur, and he received the invitation to
direct a second grander performance, which the Sacred Harmonic
Society were desirous of giving with their chorus of five
hundred voices in the large concert-room of Exeter Hall.
But as he had proposed to himself to devote the yet remaining
week’s leave of absence to a journey to Wales, of the scenery
of which he had heard so much spoken in praise, and as
the time moreover appeared to him much too short for a
careful study of his oratorio, he returned an answer declining
the invitation. Upon subsequent pressing solicitation, nevertheless,
and repeated conferences, he at length yielded, and it
was then agreed that the requisite rehearsals should be made
during <i>Spohr’s</i> absence, so that he would have nothing more
to do than to take upon himself the direction of the performance,
and meanwhile he could proceed undisturbed upon his
projected journey. Highly necessary to him, also, was such a
refreshing change of scene after the almost overwhelming
fatigues of the musical entertainments and dinner-parties of
the preceding weeks, at the greater part of which he himself
took an active share in the performances. At the last concert
of the Philharmonic Society, in which he directed the performance
of several of his compositions: “<span lang="de" xml:lang="de">Die Weihe der Töne</span>,”
the overture to the “Alchymist,” and the flower duet from
“Jessonda,” but first himself executed his concertino in <i>E major</i>
upon the violin, he was, as recorded by the “Spectator”&mdash;“welcomed
like a Prince, the whole company rising spontaneously
from their seats to salute him” ... and when he<span class="pagenum"><a name="Page_ii_251" id="Page_ii_251">[Pg 251]</a></span>
had concluded his artistic and indescribably charming play, the
irrepressible outbursts of delight shewed how completely he
had touched the heart-strings of his auditory. At the end of
the concert the directors conveyed to him moreover the wishes
of the queen, that he would play once more in an extra-concert
to be given for that purpose. As he could not well refuse this,
the concert took place a week afterwards, and comprised in
its compendious programme among other things a symphony
of Mozart, the ninth symphony of <i>Beethoven</i>, with the choruses,
and three of <i>Spohr’s</i> compositions: concertino in <i>A major</i>, the
overture to “Macbeth,” and Tristan’s air in “Jessonda,” in
which <i>Staudigl</i> was twice encored.</p>

<p>Respecting the further circumstances of the concert a
letter written home contains the following: “The extra-concert
of yesterday was a very brilliant success, and afforded us high
enjoyment. The appearance there of the Queen was an event
of which all the newspapers and everybody also spoke beforehand
with much interest; as since her coronation she had
never yet appeared at one. When she entered the room,
dressed in a plain black robe, but wearing a good many
diamonds, the public clapped their hands and rose from their
seats, upon which the soli and chorus sang “God save the
Queen” with great effect. During the entre-acte, the Queen
sent for <i>Spohr</i> to the adjoining apartment, where she discoursed
with him for some time in a very flattering manner,
and advised him during his further journey in England to
travel <i>incognito</i>, otherwise in every town he would be annoyed
and intruded upon in the same manner as in London. Prince
Albert and the King of the Belgians entered also into conversation
with him, and he was much edified by their remarks.
Several persons whom we knew, who sat near the Queen, laid
great stress upon the circumstance that upon <i>Spohr’s</i> appearance
in the orchestra, she and her husband bowed very profoundly,
and clapped their hands very warmly,” &amp;c. At further music
parties he experienced great pleasure in hearing his trios,
quartets, airs and duets from his operas, and songs, executed<span class="pagenum"><a name="Page_ii_252" id="Page_ii_252">[Pg 252]</a></span>
with the most perfect finish, and was always much delighted
with the wonderfully pure execution of the favorite English
glees. Upon these occasions he was not at all disturbed by
the enormous quantity of musical pieces which were brought
forward, for with his inexhaustible nerve and power of endurance
he was fortunately enabled to compete with the English.</p>

<p>As a curiosity of the kind the following programme may
be adduced, of a musical festival got up by Mr. <i>Alsager</i>, then
co-editor of the Times, in honour of <i>Spohr</i>:</p>

<p class="center">Queen Square Select Society.</p>

<p class="center"><b>Musical Festival in Honour of the arrival
of Spohr in London.</b></p>

<p class="center">Sunday July 2, 1843.</p>



<div class="center">
<table class="left" border="0" cellpadding="4" cellspacing="0" summary="">
<tr><td colspan="2" class="center">Act. 1.</td></tr>
<tr><td>Double Quartet No. 1</td><td>Spohr.</td></tr>
<tr><td>Quintet-Pianoforte, Flute, Clarinet, Horn and Bassoon</td><td>Spohr.</td></tr>
<tr><td>Double Quartet No. 2</td><td>Spohr.</td></tr>
<tr><td>Nonetto</td><td>Spohr.</td></tr>
<tr><td colspan="2" class="center">Déjeuner à la fourchette.</td></tr>
<tr><td colspan="2" class="center">Act. 2.</td></tr>
<tr><td>Quintet</td><td>Spohr.</td></tr>
<tr><td>Ottetto</td><td>Spohr.</td></tr>
<tr><td>Double Quartet No. 3</td><td>Spohr.</td></tr>
<tr><td colspan="2" class="center">

To commence at 2 o’clock&mdash;Déjeuneur at 5&mdash;<br />
Second act to commence at 7.</td></tr>
</table></div>

<p>This festival, which was in every respect successful, and
got up with princely magnificence, must have been the more
gratifying to <i>Spohr</i>, when he saw how the company, consisting
of fifty persons, listened until late in the evening with admirable
perseverance and wrapped attention to his tones, without evincing
the least sign of weariness. When gratified beyond measure
by a festive testimonial so unusual, he felt called upon to
express his very great thanks to Mr. <i>Alsager</i>, he found to his
great surprise on the following day among the mass of letters
which he constantly received, one also from him expressing
his heartfelt thanks, which concluded as follows: “May you<span class="pagenum"><a name="Page_ii_253" id="Page_ii_253">[Pg 253]</a></span>
enjoy all the happiness that can result from the consciousness
that you are a benefactor to the world and communicate
happiness to others in a circle still increasing and never
ending.”</p>

<p>Upon their pleasure trip on the 12th July <i>Spohr</i> and his
wife were accompanied by Professor <i>Taylor</i>, in whom they
found both a well-informed and amiable guide and companion.
They visited Winchester, Portsmouth, Southampton, Bath,
Bristol and Wales. With the natural beauties of the latter
<i>Spohr</i> was so much charmed that in many parts he considered
them to surpass Switzerland, and all that he had ever seen.
On the return journey to London, he was loud in his expressions
of admiration of the beauties of Cheltenham, and of
the fine university of Oxford. Though in accordance with the
advice of the Queen he had thought to make this little journey
<i>incognito</i>; nevertheless his arrival soon became known in
each town, and the composer of “<span lang="de" xml:lang="de">Die letzten Dinge</span>,” the pianoforte
arrangement of which he found in almost every house,
was received by every one after his own manner, with the
highest honours, upon which occasions many incidents occurred
that either greatly amused or moved him. Meanwhile, in
London, every possible exertion had been made, and upon his
return, <i>Spohr</i> found that his oratorio had been studied with
such faultless precision, that as he wrote word in a letter home
“at the grand rehearsal he was really much moved both with
its excellent execution, and the conviction that such a number
of persons totally stranger to him, and for the most part
engaged in business (who in London have indeed but little
leisure time) should have devoted their evenings to a late hour,
during his absence of eight days, to the study of this difficult
work, from pure love of it, and to afford him an agreeable
surprise.”</p>

<p>The performance itself is then thus described: “Imagine a
gigantic hall with places for 3000 persons, crammed full, head
above head; in a balcony apart, as the bill expresses it<span class="pagenum"><a name="Page_ii_254" id="Page_ii_254">[Pg 254]</a></span>
‘Madame <i>Spohr</i> and Friends’ looking down upon the scene.
Opposite the magnificent and stupendous organ and on all sides
around it, an orchestra and choir of singers numbering five
hundred persons, grouped in the most charming manner; in that
orchestra <i>Spohr</i> enters, and at the same moment the whole public
and orchestra rise from their seats, all waving handkerchiefs
and hats and shouting long and loudly altogether “Bravo, Hurrah!”
But no sooner did <i>Spohr</i> lift his <i>baton</i> than all sat down,
and a deep silence of anxious attention reigned. Then resounded
through the spacious hall the first moving accords of the overture,
like music from another sphere. The whole performance
proceeded now grandly and as though with one impulsive
inspiration in all. A solemn thrilling emotion pervaded us,
and at many powerful passages, such as “<span lang="de" xml:lang="de">Er regiert auf ewig</span>
(he rules for ever) Hallelujah!”&mdash;“<span lang="de" xml:lang="de">Du nur allein bist Gott</span>” &amp;c.
(Thou, and Thou only art God),&mdash;then it was as though
all mankind had assembled to praise God with the purest
harmony. But doubly wonderful at such outbursts of powerful
grandeur is the ever-recurring entry at the right moment of
the tenderest shades of expression.... Three airs and the
grand chorus of the Persians were encored with vehement
acclamation. At the conclusion the people, at a loss to find
a new and further way of expressing their rapture, demonstrated
it more prominently by mounting at once upon the
benches. When at length <i>Spohr</i> had made his way through
the mass of those who pressed forward to shake hands with
and congratulate him as he passed on to the door of the hall,
I observed with astonishment that the whole company remained
behind, and whispered to each other, which induced me to
think something important was still to take place; when after
a time the noise broke out anew and <i>Spohr</i> was again vehemently
called for. Upon this two gentlemen led him back
once more, and having informed him that the public much
wished him to address a few words to them, he at length
determined to do so, and made a short speech in <em class="gesperrt">German</em>,
which although they did not understand, was very gratefully<span class="pagenum"><a name="Page_ii_255" id="Page_ii_255">[Pg 255]</a></span>
received by the assembly. Hereupon the President stepped
forward, and having delivered a long address to <i>Spohr</i> in
English, which was repeatedly interrupted by applause and
cries of “Hear! hear!” he presented to him in the name of the
company a large silver salver with a beautifully engraved inscription
commemorative of the evening festival,” &amp;c.&mdash;This
solemn concluding scene crowned all that <i>Spohr</i> had yet experienced,
and the sad moment of parting from hospitable
England now approached. <i>Spohr</i> himself was painfully moved
by it, although the earnest solicitations of every kind which
poured in upon him, gave him little time for calm reflection.
Daily from various quarters did he receive the blank sheets
of albums with the request for some souvenir from his own
hand, many of which yet awaited their execution and kept
him occupied at his writing-table up to the time of his departure.
After he had satisfied these last requests even, and
at length embarked on board the steamer, he good humouredly
remarked to the crowd of friends and admirers who had collected
to bid him farewell: “There is now indeed scarcely a
lover of music in England who has not my autograph,”&mdash;the
steamer was hailed from the shore, and on looking in that
direction he saw a boat rowing fast towards them, and shortly,
several gentlemen came on board, bearing numerous albums
that had arrived too late, with the entreaty that <i>Spohr</i> would
write something in each during the journey down to Gravesend,
whither they would accompany him with that view! Actually
also, did <i>Spohr</i> comply, and writing, he left the shores of
England, and so made the parting moments somewhat less
painful to him!</p>

<hr class="tb" />

<p>Early in the month of October 1843, a meeting of the
Philological Society was to take place in Cassel, and the
generally expressed wish to honour the same with some
musical performances was the more natural, from the means<span class="pagenum"><a name="Page_ii_256" id="Page_ii_256">[Pg 256]</a></span>
necessary thereto being more especially at command there.
Upon <i>Spohr’s</i> recommendation the president of the society and
Gymnasial-Director <i>Weber</i> proposed the performance of “Antigone”
at the theatre, with <i>Mendelssohn’s</i> choruses; and
<i>Spohr</i> expressed himself ready to comply with the wishes of
the magistracy to give a performance of his oratorio: “<span lang="de" xml:lang="de">Der
Fall Babylons</span>” in the church, for the benefit of the poor of
the city. As, however, the permission of the Prince could not
be obtained for both, the foreign guests were obliged to content
themselves with a private performance of “Antigone” in the
spacious hall where they held their sittings, upon which occasion
Councillor <i>Niemeyer</i> read the tragedy, and the choruses
were sung with accompaniment of two pianofortes by the singers
of the men’s choral society under <i>Spohr’s</i> direction. In this
manner all went off very effectingly, and the strangers were
so well content that they not only expressed their most heartfelt
thanks to <i>Spohr</i> for his exertions, but at their next sitting,
(at which he assisted with much interest) unanimously voted
also a letter of thanks to <i>Mendelssohn</i>. <i>Spohr</i> himself was
also so much pleased with the spirited and truly original
music “that he now exceedingly desired to hear it also with
full orchestral treatment.” But as under the present overruling
circumstances in Cassel this was not to be achieved, he shortly
afterwards gave a repetition of the reading of the tragedy
in the same manner, for a charitable purpose, but in a more
spacious building, by which means a wider circle of the lovers
of music were enabled for the first time to become acquainted
with the interesting work.</p>

<p>About this time <i>Spohr</i> began to turn his mind seriously
to the composition of another opera, which probably arose
from the frequency with which the libretto of operas were
sent to him. But as none of them satisfied him, and as
upon a closer examination, either the treatment of the subject
or the form of the musical pieces did not suit him, he conceived
the idea of writing with the assistance of his wife the
text of a libretto, and chose for subject the once favorite drama<span class="pagenum"><a name="Page_ii_257" id="Page_ii_257">[Pg 257]</a></span>
of Kotzebue: “The Crusaders,” which seemed to him particularly
adapted to the object he had this time in view,
namely, an entire deviation from the customary form, as well
as from the style, of his own previous opera music; in composing
the whole throughout as a musical drama, without
unnecessary repetitions of the text and ornamentations, and
with a constantly progressing development in the treatment.
As soon as the libretto was completed, he set to work with
great spirit, and in a short time completed the first act, which
he immediately arranged for the pianoforte, and had performed
in his house by a select number of the best dilettanti, in order
to convince himself of the success of his work, before he proceeded
further with it. When he became satisfied how clearly
and intelligibly, even without the aid of scenic representations,
the lifelike expression of his music depicted the different
characters and situations, and how powerfully both singers and
auditory were impressed by it, he proceeded with confidence
with the next act, and finished that also, all but the instrumentation,
before the commencement of the theatrical vacation.</p>

<p>As object of his customary summer journey <i>Spohr</i> had
selected Paris, in order to shew his wife the grandeur of
that brilliant capital, and to visit at the same time the
international exhibition of industry, which, as the first of
its kind, had so greatly excited public attention, that strangers
from every quarter of the globe flocked to it to behold the
endless treasures in every department of manufacturing industry,
and to admire the products of art. With the daily concourse
of the visitors it was however almost impossible to obtain an
undisturbed and attentive view; it was therefore matter of no
small self-congratulation for <i>Spohr</i> and his wife to receive
a ticket of admission procured by especial favour upon a day
that had been set apart for the King’s visit to the exhibition,
when exhibitors only were permitted to be present. By this
means they were also furnished with the rare opportunity of
seeing the venerable <i>Louis Philippe</i>, accompanied by his wife,
his sister <i>Adelaide</i>, and the then still very youthful Duke <i>de<span class="pagenum"><a name="Page_ii_258" id="Page_ii_258">[Pg 258]</a></span>
Montpensier</i>, pass close before them, and to hear distinctly the
King’s remarks upon the various manufactures displayed.</p>

<p>At a season of the year so unfavourable for musical
performances of any consequence, <i>Spohr</i> could scarcely hope
to enjoy that gratification, but there, in a foreign land he
had the unhoped-for satisfaction of an enjoyment he had vainly
endeavoured to obtain at home, that namely of assisting at
a performance of “Antigone” with <i>Mendelssohn’s</i> choruses,
which on that evening had been given for the thirty-second
time in succession at the Odéon theatre to constantly crowded
houses, and <i>Spohr</i> was deeply impressed with the excellence
of the music and of the scenic arrangements.</p>

<p>But although the best musicians were for the most part
absent from Paris, he nevertheless passed some very pleasant
hours in the society of Mr. <i>Habenec</i> (director of the conservatory),
<i>Panseron</i>, <i>Halevy</i>, <i>Auber</i>, <i>Berlioz</i>, <i>Adam</i>, &amp;c. On
the part of the conservatory it was also greatly wished
to shew him some mark of attention, although under the
circumstances some difficulty was experienced in doing so,
as appears from a notice in a Parisian journal, in the following
words: “<span lang="fr" xml:lang="fr">Mais que faire pour prouver à l’auteur de
‘Faust’ et de ‘Jessonda’ que la France sait apprécier dignement
ses belles compositions et leur auteur? Une idée vient soudain
à un ami de Mr. <i>Habenec</i>: ‘L’époque des magnifiques concerts
du Conservatoire est passée! dit-il; eh bien! écrivons partout,
réunissons une partie de nos artistes, et essayons de tresser
une petite couronne à <i>Spohr</i>, en exécutant devant lui un de
ses plus beaux morceaux.’ Le projet est approuvé, on n’avait
que quelques jours pour le mettre en œuvre. Des circulaires
sont adressées à vingt, trente lieues de Paris. Des hommes
d’un talent supérieur, qui n’auraient pas quitté leur <i>dolce far
niente</i> à prix d’argent, se hâtent d’accourir, et la Société des
Concerts, à l’exception de deux de ses membres qui sont maintenant
en Italie, se trouve réunie à Paris comme un seul
homme. La salle du Conservatoire est ouverte, tons les exécutants
s’y rendent, et <i>Spohr</i> y est amené comme spectateur<span class="pagenum"><a name="Page_ii_259" id="Page_ii_259">[Pg 259]</a></span>
unique; c’est pour lui seul que soixante-dix-huit musiciens sont
là, c’est aux pieds de sa gloire qu’ils viennent se prosterner,
et lui font entendre son chef-d’œuvre symphonique: ‘La création
de la Musique’</span> (‘<span lang="de" xml:lang="de">Weihe der Töne</span>’).”</p>

<p>Upon <i>Spohr’s</i> entry into the room he was greeted with
loud applause, and addressed in a speech by Mr. <i>Habenec</i>, who
invited him to direct his symphony in person, as at the next
winter concerts, the society intended to perform it, and it
would therefore be of the utmost value to all, to be initiated
by the personal direction of the composer himself into its
mode of performance. In reality, also, many indications and
repetitions were necessary upon the occasion, until every thing,
went satisfactorily; but <i>Beethoven’s</i> pastoral symphony, which
followed, and had been frequently played, was executed with
that masterly precision for which that orchestra was so celebrated.</p>

<p>On the following day <i>Spohr</i> set out on his return to Cassel,
which he again left after the lapse of a few weeks, to comply
with an invitation from his native town of Brunswick, where they
had long desired to give a grand musical festival in his honour,
and had therefore made arrangements to have a performance
of his oratorio the “Fall of Babylon,” at the end of September.</p>

<p>On his way thither he received a foretaste of the Brunswick
festivities, at Seesen, where he slept the first night, and
where he had passed the first years of his childhood; the inhabitants
of that place having been thereby induced to believe
that it was really his birth-place. He was greatly surprised at
being welcomed immediately upon his arrival here with a kind
and most hearty address and ushered with much ceremony
into the handsomely decorated grand room of the hotel, where
he found disposed in a wide semicircle, symmetrically arranged,
a selection from all the musical talent of the young folks of
Seesen, with the members of the choral society of that place;
who, besides singing several songs, executed a chorus from “<span lang="de" xml:lang="de">Die
letzten Dingen</span>” and a pleasing poem composed especially for
the occasion, addressed to <i>Spohr</i>, and arranged for four voices.</p>

<p><span class="pagenum"><a name="Page_ii_260" id="Page_ii_260">[Pg 260]</a></span></p>

<p>Brunswick was no less demonstrative in celebrating the
presence of its illustrious guest, and detailed notices of an
impromptu festival given to <i>Spohr</i> are furnished by several
letters, in which the brilliant external display, as well as the
expressive and appropriately arranged musical entertainment,
appealed with equal force and charm to the heart and mind.
A cantata set to music by <i>Methfessel</i> for female voices and chorus,
“Welcome to <i>Spohr</i>,” was first sung, with a soft accompaniment
of wind instruments placed out of sight in the background,
and executed by them in the most finished manner.
But scarcely had the guest so honoured time to express his
thanks at the conclusion of this pretty song, when quite unexpectedly,
and in striking contrast with it, a powerful chorus of
male voices from the opposite side of the hall began a second
“festive song to <i>Spohr</i>,” which prepared the minds of all for
the enjoyment of the subsequent more exhilarating festivities.</p>

<p>On the following day <i>Spohr</i> directed the performance of
his oratorio: “The fall of Babylon,” in the Ægydian church,
which was here also executed with great spirit, and was well
received. The circumstance that its performance took place
in the same church in which more than 60 years before he
was baptised as an infant greatly increased the interest of the
day, and gave occasion to several other poetic effusions.</p>

<p>A grand concert of a mixed kind concluded the festivities
of the day; the first part of which comprised the overture to
“King Lear” by <i>Berlioz</i>, directed by Kapellmeister <i>Müller</i>,
airs from “Oberon” and “Jessonda” an adagio for violin by <i>Spohr</i>,
executed by concert-director <i>Müller</i>, and <i>Maurer’s</i> concertante
for four violins (played by <i>Müller</i>, <i>Zimmermann</i>, <i>C. Müller jun.</i>
and <i>Jean Bott</i> of Cassel); the second part consisted of <i>Spohr’s</i> fifth
symphony, <i>C minor</i>. Thus ended this pleasing festival, the heartfelt
pleasure at which was alone saddened to <i>Spohr</i> by thoughts
of his beloved father, who, up to the few months preceeding his
death in Brunswick had passed the last years of his life in
Seesen, but who, after watching for years at a distance the
career of his son with pleasurable pride, could now no longer<span class="pagenum"><a name="Page_ii_261" id="Page_ii_261">[Pg 261]</a></span>
be a witness of the high esteem and honour shewn to him by
his native town.</p>

<p>At the end of the year <i>Spohr</i> received an invitation to a
grand musical festival at New-York&mdash;the first from that side
of the Ocean, to the direction of which he had been unanimously
selected at a general meeting of the society of music
of that city, “as the first of all living composers and directors
of music.” There were to be two performances of sacred and
two of secular music, and above all his oratorio of the “Fall
of Babylon”&mdash;“the fame of which had spread from England
to the new world,” was to take precedence. Although such a
proposal might have had great attractions for <i>Spohr</i>, and have yet
more incited his constant love of travel; and although in New
York he would have moreover the pleasure of seeing again his
daughter <i>Emily</i>, who with her husband and child had emigrated
there some years before, yet he soon made up his mind to
decline it, as a residence there of the few weeks only which
the duties of his place would have perhaps permitted, would
scarcely have compensated for the fatigues of a long voyage.</p>

<p>On New Year’s Day 1845, <i>Spohr’s</i> new opera, “The Crusaders,”
was performed for the first time; and not only upon
the first night, but upon the quickly succeeding further performances,
it met with an unexampled brilliant reception for
Cassel. <i>Spohr</i>, who had looked forward with particularly anxious
expectation to the success of this work, was much gratified
at this result, and wrote to his friend <i>Hesse</i> as follows:
“That my opera should have made so deep and lasting an
impression upon the public, the lesser number of which only
consisted of musically educated persons, I ascribe to the truthful
character of my music, which aims only at representing the
situation perfectly, and discards all the flimsy parade of
modern opera-music, such as florid instrumental soli and
noisy effects.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> And I was furthermore exceedingly pleased<span class="pagenum"><a name="Page_ii_262" id="Page_ii_262">[Pg 262]</a></span>
that the singers, who did not find in their parts anything of
that which usually gains for them the applause of the crowd,
evinced nevertheless at every rehearsal a greater interest in it,
and a zeal to study such as I never before observed in them.
But the result shews also, that this style of song, which is so
convenient for every one, and affords the opportunity of displaying
the best tones, and the degree of feeling and expression which
each is capable of, is a very grateful one; for never were our
singers so applauded, and after the second performance they
were all called for together on the stage.” The newspapers
having circulated a great deal in praise of the new opera,
and it having become more extensively known by the pianoforte
arrangement which was shortly afterwards published by
<i>J. Schuberth</i>, it was soon announced for performance at other
theatres in Germany, viz. at Berlin, Dresden, Brunswick and
Detmold; but in other (catholic) cities, like Munich, Vienna &amp;c.,
objection was taken to the libretto, which had been asked
for examination, and therefore the performance was abstained
from.</p>

<p>As <i>Spohr</i> was invited to direct personally the first performance
of his “Crusaders” at Berlin, he was desirous that
this should take place during his theatrical vacation; and
although he was apprised from there that it was the most
unfavourable season of the year for it, as the chief characters
of his opera could not be satisfactorily represented till after
the return of the absent principal singers, he nevertheless
though it more advisable to do without their assistance, than
by a longer delay to make the possibility of his coming a
matter of uncertainty.</p>

<p>At the beginning of the holidays he therefore set out on
the journey, but first to Oldenburg, to direct a grand concert
there, the receipts from which were destined for the institution
of a pension fund for the members of the orchestra there.</p>

<p>The programme had been previously cast by <i>A. Pott</i>,
the resident director, his former pupil and enthusiastic admirer,
and consisted wholly of <i>Spohr’s</i> compositions, viz.<span class="pagenum"><a name="Page_ii_263" id="Page_ii_263">[Pg 263]</a></span>
concert overture in the serious style; latest violin concerts in
<i>E minor</i>, executed by the composer; duett from “Jessonda” sung
by Mrs. <i>Schmidt</i> of Bremen and Mr. **; clarinet concerto,
played by Mr. <i>Köhn</i>, member of the ducal orchestra; grand
symphony in <i>C minor</i> (No. 5); the “Lord’s Prayer,” for solo,
chorus, and orchestra.</p>

<p>Upon <i>Spohr’s</i> arrival he found the whole of the musical
pieces (the last two of which he himself directed) so well
practised under <i>Pott’s</i> direction, that at the rehearsal he was
greatly pleased by it. At the public performance, also, every
thing went off so well, that Mrs. <i>Spohr</i> expresses herself in
a letter home as follows: “We felt as though we had been
suddenly transported to England. The music, the finished
execution, the spacious, densely filled, and splendidly acoustic
building, the enthusiastic applause and admiration&mdash;all were
in truth <i>grandly English</i>. And all this was doubly surprising
and gratifying when one thinks that this took place in a small
town with a population of only 12,000. Orchestra and singers,
three hundred persons in all, worked together with wonderful
harmony. Every piece of music was excellent, but the impression
made by the ‘Lord’s Prayer’ was <i>quite indescribable</i>, and
the words in which <i>Pott</i> shortly before expressed himself to
<i>Spohr</i>, after a rehearsal of it: ‘Happy is the man who can
pray with such intense devotion; peace must indeed dwell in
his soul,’ presented themselves here in their full import to my
mind. <i>Spohr</i>, also, was of my opinion that he had never heard
the piece so well played, for even in the finest shades of the
expression there was nothing more to be desired. The whole
platform from which <i>Spohr</i> led the orchestra, and the steps
leading to it, were strewn with the finest roses; the whole front
of the orchestra was decorated with wreaths; and beneath his bust,
crowned with laurel, were the words ‘<i>Louis Spohr</i>’ in gigantic letters,
composed of roses and laurel artistically interwoven. While
the assembly were listening with the deepest attention to the
splendid tones, it was little imagined by any one how every
enjoyment was embittered to <i>Spohr</i>, by a sudden seizure with<span class="pagenum"><a name="Page_ii_264" id="Page_ii_264">[Pg 264]</a></span>
cramp in the stomach, which soon became so intense, as he
himself afterwards related, that when conducting the symphony
and the ‘Lord’s Prayer’ he had great difficultly in keeping himself
erect. After the concert we were to have assisted at
another <i>fête</i>, given by the minister <i>von Beaulieu</i> at his house,
in honour of <i>Spohr</i>; but under the circumstances this became
impossible, and we hastened home with all speed, where, having
arrived, <i>Spohr</i> went immediately to bed, and was obliged to
resort to sedatives; but the cramp would not yield to them,
and the doctor who was called in, vainly endeavoured to afford
him relief, so that the pain became intense. At this very
moment when <i>Spohr</i> lay in such a sad condition of suffering that
he expected every moment would be his last, a singular and
striking contrast was presented to his position, by a monster
torch-light procession followed by a large concourse of the
inhabitants of Oldenburg, which halted under our windows,
and began a grand serenade with the overture and several
choruses from ‘Jessonda,’ performed by all the native and
foreign musicians then in Oldenburg, together with three choral
societies. Many other pieces were to have been performed,
but by <i>Spohr’s</i> wish, <i>Pott</i> availed himself of the opportunity
when a loud cheer was raised by the crowd, to address them
in his name from the window in a speech of thanks, which,
although improvised, was as well put together and delivered
as though he had long previously studied it. But when he
acquainted them with <i>Spohr’s</i> illness also, a general depression
spread immediately through all present, and the previously so
joyous assembled serenaders, withdrew in silent sadness. In
our house, meanwhile, all was remarkably lively: the hostess,
Mrs. <i>Oppermann</i>, wife of the Councillor <i>Oppermann</i> of the
high court of appeal, was entertaining two carriage-loads of
guests who had come to the concert, together with all her
acquaintance, who had assembled below to be enabled to hear
the serenade music better. In strange contrast with these intervened
the various attendances to the necessities of our<span class="pagenum"><a name="Page_ii_265" id="Page_ii_265">[Pg 265]</a></span>
patient, the messages to the apothecary, my agony of mind&mdash;in fact,
it was a situation singular indeed of its kind.</p>

<p>“At midnight the physician came again, wrote some new
prescriptions, and gave fresh instructions, but all in vain; the
attacks of the cramp lasted till near 3 o’clock, when they
became at length less violent, and by degrees entirely ceased.
But as the doctor was of opinion this morning that the motion
of the carriage might be prejudicial to the invalid, we have
deferred our departure, and the more so, as we could be
nowhere better off than here, where we receive the kindest attention
and care from the whole household, and everything
that the heart can wish is at our service. To-day, <i>Spohr</i> received
from the Grand-duke a splendid diamond ring as a
‘souvenir of Oldenburg,’ which greatly surprised and pleased
him. The Grand-duke had intended to place the ring himself
on his finger at the dinner to which he had invited him, but
this also was defeated by the illness that overtook him,” &amp;c.</p>

<p><i>Spohr</i> having determined by the advice of the physician
to proceed as soon as possible direct from Oldenburg to the
baths of Carlsbad, and devote the remainder of his vacation
to the re-establishment of his health by drinking the waters,
he thought he should no longer be able to fulfill his promises&mdash;to
direct his “Jessonda” at Bremen, and the first performance
of the “Crusaders” at Berlin&mdash;wherefore with a heavy
heart he sent off letters announcing his inability to proceed
to those places.</p>

<p>Meanwhile, however, the remarkable efficacy of the Carlsbad
waters, which he had already several times experienced,
evinced itself again upon him in so satisfactory a manner, that
in the very first week of his stay the idea suggested itself to
him, to remain for the present but a fortnight only in Carlsbad,
and defer following up the cure of its waters to the
following summer, so that his so unwillingly abandoned purpose
of proceeding to Berlin might yet be carried out. In
this hope he continued the course of baths with such un<span class="pagenum"><a name="Page_ii_266" id="Page_ii_266">[Pg 266]</a></span>wearied
perseverance and unswerving confidence that he was
enabled to reach Berlin in sufficient time to assume personally
the direction of his “Crusaders.”</p>

<p>At the first grand rehearsal, in which he was introduced by
<i>Meyerbeer</i> and Councillor <i>Küstner</i> to the assembled company of
the theatre, he became convinced that his work had been studied
with particular pleasure and predilection, and the song parts,
although not filled by stars of the first magnitude, were nevertheless
impersonated, as regarded the chief and secondary
characters, in a thoroughly satisfactory manner. On the evening
of the performance he was received upon his appearance with
the greatest enthusiasm by the public, and loudly called for
after every act. On the following night the opera was repeated
with the same brilliant success. The public papers contained
also the most favourable notices of each, and the “<span lang="de" xml:lang="de">Vossische
Zeitung</span>” especially gave an article from the pen of <i>Rellstab</i>
to this effect: “We have to speak of an event in art that will
occupy one of the most prominent and honourable places in
the history of our stage&mdash;the first performance of <i>Louis Spohr’s</i>
new opera, “The Crusaders.” The merits of the master have
already made themselves so prominently conspicuous, and the
worth of that which we possess in him is so fully acknowledged,
that it is not necessary even to speak of the character of his
music nor of its effects upon the development of art in the
present day.... What we had to expect as a whole, every
body knew who knows the artistic direction of <i>Spohr’s</i> genius&mdash;and
who does not know it? That we should hear a work
that might be ranked with the noblest of the kind to which
the composer has adhered throughout his whole life, was to be
expected. But we must frankly confess, we had not dared to
hope for so much freshness, so many instances of fiery power,
as the now more than sexagenarian master actually gives us!
Throughout the whole, he is the same we have long known;
but in many circumstances of the detail he presents us with
numerous gifts of new and finished excellence&mdash;and also of<span class="pagenum"><a name="Page_ii_267" id="Page_ii_267">[Pg 267]</a></span>
frequent brilliancy. His muse has never addressed herself to
the crowd: she never sought to seduce by coquettish and
alluring advances; her language, her movements have been
alone animated by a noble spiritual inspiration, and sought to
win the heart by purity and dignity. We had at first intended
to indicate the most prominently beautiful passages, which we
consider it just to particularise; but we soon found them so
numerous, that we were compelled to content ourselves with
a selection. In the first act we recall to mind the singular
freshness of Baldwin’s greeting; Emma’s devout song: “<span lang="de" xml:lang="de">Dass
ich die Braut des Himmels bin</span>,” the effective and ominous
mingling of the tolling of the funeral bell in the discourse
with the porteress; the first strong physiognomic delineations
of the abbess Celestina, in the words: “<span lang="de" xml:lang="de">Ich kenne Dein Geschlecht&mdash;Dein
Schicksal führt Dich her</span>;” we remember
some features that designate the same character and its impassioned
ebullition, as: the soft transition of the orchestra
after the words: “<span lang="de" xml:lang="de">Ihr sollt das Mädchen lieben</span>;” and the
subsequent words: “<span lang="de" xml:lang="de">Gerichtet hat ihn Gott!&mdash;die Mutter
weint,&mdash;die Tochter büsst,&mdash;dem Todten sei verziehen</span>;”
which are of the deepest and most impressive effect from their
musical treatment.&mdash;The march of the Saracens in this act
is also of most original colouring, and recurs again in the
third act, where it is connected with that which has gone
before, and is handled in so startling and beautiful a manner
in the orchestra, that the public expressed their delight at the
return to it there by a general outburst of applause.&mdash;If we
cite fewer passages in the subsequent acts, it is not that these
were poorer, but not to weary the reader’s patience with the
enumeration of individual parts; and indeed the power of the
music increases with the interest of the subject treated. The
recognition scene between Balduin and Emma, Balduin’s threat
at its conclusion, and the whole finale of the second act, form
striking moments, which always ensure the admiration of the
hearer. In the third act, the duet between Balduin and Bruno<span class="pagenum"><a name="Page_ii_268" id="Page_ii_268">[Pg 268]</a></span>
is a fine master-piece of music, and the conclusion, the despair
of Balduin, replete with energetic force, and instrumented in
a truly powerful manner. The battle chorus of the Turks,
from its prominent difference of colouring, excited the enthusiasm
of the auditory, who followed the conformity of the
opera well sustained throughout from that part to the end,
with the most lively interest.... We must also acknowledge
the zeal of all the performers.... But no
less are thanks and honour due to the public! They
have this time shewn themselves fully sensible of their
office of judge and reward-giver, and gave that unremitting
attention to the work throughout which is most expressive
of the admiration and interest it awakened. Scarcely
any fine passage passed unnoticed by more or less warm demonstrations....
The day thus terminated in a triumph for
long years of meritorious services, and in a day of honour
for this particular work, which bears witness to the wealth in
artistic riches possessed by the composer, and in what sure
keeping and governance they are in the hands of our highly
esteemed master;” &amp;c.&mdash;Passing over other similar notices,
a criticism (signed H. T.) may be adverted to here, for its
strikingly harsh contrast with the former; overflowing with
dissatisfaction and every kind of reproach of this opera, and
which although not among the other papers now before us, is
still remembered by the family as one that greatly surprised
them by its contents. In cases of this kind <i>Spohr</i> always
laughed at the angry zeal of his friends, affirming that every
one had a right to express his personal opinion freely, but at
the same time with the remark: “When a piece of music is
really good, no reviling critic can take from it an atom of its
<span class="lock">merit!”&mdash;</span></p>

<p>Though the brilliant success of this opera, which <i>Spohr</i>
had written under circumstances of particular predilection,
constituted the most important moment of his eight days’ visit
to Berlin, he passed the previous and subsequent days in the<span class="pagenum"><a name="Page_ii_269" id="Page_ii_269">[Pg 269]</a></span>
most agreeable manner in the amiable family circle of Professor
<i>Wichmann</i>. But not alone in the hospitable reception accorded
him and his wife, which afforded them all the delights of a
charming domesticity, did <i>Spohr</i> experience the highest gratification;
for from other quarters also marks of attention were
shown him yet more demonstrative of the honour in which his
genius was held.</p>

<p>Especially gratifying as were to him the attentions of his
colleagues in art, <i>Meyerbeer</i>, <i>Taubert</i>, <i>Hub. Riess</i>, and others,
he was not insensible to the tribute of acknowledgment paid
to him by the King; and the honour of an invitation to the
royal table was yet more enhanced in worth to him, from its
being communicated to him at the King’s request in a personal
visit from the celebrated <i>Alexander v. Humboldt</i>. Of this
royal dinner party, at which, besides <i>Humboldt</i>, <i>Tiek</i>, <i>v. Savigny</i>,
and other personages of note were present, who emulated with
each other in pleasing and intellectual conversation with the
King and Queen, <i>Spohr</i> always spoke with much pleasure in
later years. More especially, however, he would recur to the
following amusing incident:</p>

<p>Between the King and <i>Spohr</i>, who was seated opposite to
him, rose an ornamental centre-piece of considerable height, in
the shape of a costly flower-vase, which whenever the King
was desirous of addressing his conversation to <i>Spohr</i>, greatly interfered
and prevented him from seeing his face. Upon each
occasion, the King was obliged to stoop in order to look round
the inconveniently intervening object, until growing impatient,
after having made several signs to the servants to remove it,
which they appeared not to have understood, the King seized
it with his own hand, and removing the obtrusive ornament
procured for himself an unimpeded view across the table to
<i>Spohr</i>.&mdash;On the last evening, while the <i>Wichmann</i> family
and their guests were seated in the illuminated garden saloon
in friendly chat, they were greatly surprised by the sudden
entry from the obscurity of the garden of several dark figures,
which were followed by a constantly increasing number, until<span class="pagenum"><a name="Page_ii_270" id="Page_ii_270">[Pg 270]</a></span>
the whole of the members of the royal orchestra, with <i>Meyerbeer</i>
and <i>Taubert</i> at their head, assembled, upon which the
senior member presented <i>Spohr</i> with a beautifully executed
golden laurel-wreath, while <i>Meyerbeer</i>, in a speech of much
feeling, thanked him “for all the grand and beautiful things
which in his enthusiastic love of true German art he had
hitherto created, and especially for this his excellent work,
“The Crusaders,” &amp;c. This discourse upon the evening of his
taking leave, spoken with warmth and sincerity by such a
man, could not fail to make a deep impression upon <i>Spohr</i>
and every person present, and it was followed by a silence
the most profound; until professor <i>Wichmann</i>, who was the
first to recover his self-possession, approached <i>Meyerbeer</i>, and
to the just praises conveyed in his excellent speech, replied
with much humour in the words: “Positively, <i>Demosthenes</i>
was a mere stump orator in comparison to you!” at which
the cheerful tone of the company was magically restored,
and <i>Spohr</i> then returned thanks in a concise yet feeling
manner. Besides this handsome present from the royal Berlin
orchestra, he took back with him to Cassel another souvenir
of his stay there, viz. his own bust executed by professor <i>Wichmann</i>,
which on account of its speaking resemblance and
artistic excellence has always been greatly admired both by
connoisseurs and the general public.</p>

<p>Scarcely had <i>Spohr</i> returned to Cassel than he was again
upon the move, and this time to Bonn, where on the 11th. of August
the inauguration of the monument to <i>Beethoven</i> was to be
celebrated. To the invitation that had been sent to him many
weeks before, to conduct a portion of the musical performance
upon the occasion, he had at first, it is true, replied declining
it, as a special leave of absence would have been necessary
for him to proceed thither, and after having already applied
for one the year before to direct the Brunswick musical festival,
he did not like to make a similar application so soon. It was
however shortly announced to him in a second letter, that
the committee of the festival having been informed that the<span class="pagenum"><a name="Page_ii_271" id="Page_ii_271">[Pg 271]</a></span>
Prince was then staying at Cologne for a few days, they had
despatched a deputation thither to invite him and the Countess
<i>Schaumburg</i> to the approaching ceremony in her native town of
Bonn, and to solicit at the same a leave of absence for <i>Spohr</i>,
which had been graciously granted. As no further obstacle
now intervened, <i>Spohr</i> lost no time in proceeding thither, to lend
his personal assistance at the grand festival, which had drawn
together from far and near the musical youth of Germany, to
do honour to the great master whose memorial was to be
inaugurated.</p>

<p>Of the festivities preceding and subsequent to the uncovering
of the statue&mdash;the launching of the steam-boat “<i>Ludwig van
Beethoven</i>,” the excursion to Nonnenwerth, the grand procession,
the pyrotechnic display, illumination, banquet and ball&mdash;all
these things have been so frequently described verbally
and in writing by many who were present at the festival, that
we will here only concisely advert to its musical features.</p>

<p>In the first grand concert <i>Beethoven’s</i> mass in <i>D major</i>
and the ninth symphony were performed under <i>Spohr’s</i> direction,
and as the published accounts of the festival express it, “both
these works, which present very great difficulties, were performed
with the most finished execution, so that this concert
alone, combined with the sight of the hall in which it took
place, was well worth the journey to Bonn.” On the following
day, <i>Beethoven’s</i> grand mass in <i>C major</i> was performed at the
celebration of divine service in the minster church, and upon
the uncovering of the statue a festive cantata by <i>Breitenstein</i>
was performed under his direction. At the second grand
concert in the hall <i>Spohr</i>, by the desire of <i>Lisst</i>, again directed
a part, while the services of the latter, as an active member
of the committee, being continually required in various departments,
with the exception of his performance of <i>Beethoven’s</i> pianoforte
concerto in <i>E major</i>, he confined himself to the direction
of the <i>C minor</i> symphony and some “numbers” of the Fidelio.
The third, so-called musicians’ concert, was subjected of a
necessity to many changes of the fourteen pieces of which<span class="pagenum"><a name="Page_ii_272" id="Page_ii_272">[Pg 272]</a></span>
its programme consisted, as, besides the Princes who were
already arrived, the King and Queen of Prussia, the Queen of
England with her consort, and other exalted personages were
expected at the solemnities of the inauguration of the statue,
and <i>Lisst</i> did not like to begin his festive cantata before
their arrival. But it became at length necessary to make
a beginning, and scarcely was the first “number” of <i>Lisst’s</i>
cantata concluded, than the royal personages made their appearance,
and the assembled company saluted them with the
national-hymn: “<span lang="de" xml:lang="de">Heil Dir im Siegerkranz</span>;” after which
<i>Lisst</i> had the whole cantata repeated; upon the conclusion
of which it was left to the two Queens to make the
selection of the next musical-pieces which were to be performed
in their presence. It was thus, that not only the pieces of the
programme were changed from their announced order of succession,
but several of the pieces were necessarily wholly
omitted on account of the delay that had thus occurred; and
the musical part of the festival was brought to a termination
in a somewhat unsatisfactory manner, and without a real and
proper conclusion in the opinion of a majority of the auditory.
A chosen few, however, among whom was <i>Spohr</i>, received an
invitation to the grand court concert, given by the King of
Prussia in honour of his exalted guests at his palace of the
Brühl, in the neighbourhood. <i>Meyerbeer</i> directed, and the
programme consisted, with the exception of some pianoforte-pieces
performed by <i>Lisst</i>, of song-pieces only, sung by the
most eminent vocalists, Messrs. <i>Mantius</i>, <i>Pischeck</i> and <i>Staudigl</i>,
with Mdmes. <i>Lind</i>, <i>Garcia</i> and <i>Tuczek</i>.</p>

<p>After a summer so busily occupied, and in which <i>Spohr</i>
was deprived of all leisure for composing, the impulse to write
something new was awakened but the more strongly upon his
return to Cassel, and several instrumental compositions followed
each other in quick succession, to which style of art, since the
termination of his opera, his whole mind again more especially
addressed itself. About this period he wrote his 15th.
violin-concerto (<i>E minor</i>, Op. 128, published by <i>Schuberth</i>),<span class="pagenum"><a name="Page_ii_273" id="Page_ii_273">[Pg 273]</a></span>
which he first played at the subscription-concerts in Cassel,
and in July 1845 at the previously mentioned musical festival
at Oldenburg, and then in commemoration of that event dedicated
it to <i>Poll</i> the music director of that place. This was
followed by the sixth quintet for stringed instruments (<i>E minor</i>
Op. 129, published by <i>Breitkopf &amp; Härtel</i>); and in the course
of the winter by a quintet for pianoforte, two violins, viola
and violincello, in <i>D minor</i> (Op. 130, published by <i>Schuberth</i>);
the 30th. quartet for stringed instruments (Op. 132, published
by <i>Breitkopf</i>); and a quartet concerto for two violins, viola
and violincello, with orchestra&mdash;the latter of which was played
at the next subscription concerts, and by the addition of the
rich instrumental accompaniment proved especially adapted as a
simple quartet for performance at a concert in a spacious building.
Before it had appeared in print (Op. 130, at <i>Schuberth’s</i>), it was
sent for from London and Vienna, and especially asked for at
Leipzic, at which place the directors of the Gewandhaus
concerts were always extremely desirous of being able to
announce in their programme a new composition in manuscript
by <i>Spohr</i>. Such upon this occasion was also the sentiment
of <i>M. Hauptmann</i> in a letter to <i>Spohr</i>: “Everything coming
from you, old or new, always finds the most favourable reception
here: one can easily judge from the applause whether a thing
merely pleases, or whether it makes a deep pleasurable impression,
and that is always the case with your things. Either
song or instrumental music of yours is always listened to with
real predilection, the concert-loving public finds itself then in
an atmosphere that suits it; and in this manner also the
quartet concerto (with the execution of which I was not altogether
satisfied) met with a very warm approval. To my mind
it is perfectly <i>Spohrisch</i>, i. e. as masterly, as it is replete with
feeling: the great difficulties attending such an undertaking are
not in the least perceptible when listening to it, and as in
your double quartets, the greatest clearness is always apparent
in the most scientific combinations, which cannot always be
said of other compositions that overstep the limits of the ordinary;<span class="pagenum"><a name="Page_ii_274" id="Page_ii_274">[Pg 274]</a></span>
that is, what the initiated understand and consider as high
art, but which the mere hearer of feeling finds pleasing and
which put him in good humour,” &amp;c. The correspondence
upon these subjects was chiefly conducted by <i>Mendelssohn</i>, who
also made the proposition to introduce the third act of
the Crusaders as a whole, in one of the concerts there, and
afterwards announced to <i>Spohr</i>, who was of opinion that <i>this</i>
opera in particular was not very suited to the purpose, his
entire satisfaction: “The first time I saw your work in Berlin,
the third act appeared to me the most spirited, and finest in
the whole opera, and I was convinced that it would be very
effective in a concert. You seemed to doubt it, and therefore
I am the more pleased that yesterday’s performance of it made
so great an impression, which, to judge from the attention
of the auditory, the applause and their observations, appears to
me very evident... The chorus was about two hundred strong,
and the hymn in <i>H major</i>, the chorus for male voices in <i>C major</i>,
and then the scene in the convent, sounded wonderfully fine.
A thousand hearty thanks for this enjoyment, and for all the
many beautiful things for which we are indebted to you....
Unfortunately I was not able so to manage that the direction
of this concert would fall to me; but it went so well under
<i>Gade</i>, and he had made himself so well acquainted with the
whole work, that even you would scarcely have desired more,” &amp;c.</p>

<p>In striking contrast with these friendly words of acknowledgement
from so competent a judge, a circumstance occurred about
the same time, which from being considered by <i>Spohr</i> himself
as the only one of the kind throughout his long musical career,
may not be undeserving of special mention here. Though the
opera of the Crusaders had been sent by special request to
Dresden for performance there, upwards of a twelvemonth, it
had never yet been put upon the stage; and during that time
the directors <i>Reissiger</i> and <i>Wagner</i>, as also the celebrated
tenor <i>Tichatscheck</i>, for whose splendid voice the part of
Balduin seemed almost purposely written, had repeatedly
expressed by letter their pleasure with the work, and their<span class="pagenum"><a name="Page_ii_275" id="Page_ii_275">[Pg 275]</a></span>
regret at the constantly recurring delays, which deprived them
of all hope of <i>Spohr’s</i> proceeding there to direct it&mdash;when
suddenly, to his great astonishment, the score, not a little worn
and defaced, was sent back from Dresden, without honorarium,
and even without the libretto, to which <i>Spohr</i> had with much
trouble appended many remarks and directions in writing; accompanied
only with a letter from the manager, Mr. <i>von
Lüttichau</i>, the very unsatisfactory contents of which may be
inferred from the following accidentally preserved copy of
<i>Spohr’s</i> reply:</p>

<p>“Your Excellency’s letter of the 15th. inst. has very much
surprised me. I never could have believed, after my long, and
I think I may say honourable, career as a musician, that I
should have lived to experience the indignity to have the score
of one of my works&mdash;not sent in as the first essay of a beginner
for examination and trial, but <i>ordered</i> by previous application&mdash;sent
back to me in such a manner. What you are
pleased to assign by way of explanation or excuse for so
strange a proceeding, I cannot possibly accept; for it was no
fault of mine that the opera was not brought out at the appointed
time, and both soon enough and frequently enough had
I drawn attention to the circumstance that I could obtain no
leave of absence out of my vacation time. How the opera,
which is known by nobody in Dresden, should now have lost
the charm of novelty I can as little understand, as that the contents
of the opera, which were already known to you when you
ordered it, should now all at once be found objectionable,
while here and in Berlin, it has not met with the least objection
in its present form, nor formerly, when performed in
the shape of a play throughout Germany. Had your excellency
felt any anxiety lest the opera would not remunerate for the
time given to its study, and the expenses it might entail, you
could assuredly have found some relief for your doubts in the
many numerously attended performances which have already
taken place here, in Berlin, Brunswick, &amp;c. It is difficult for
me also to conceive how the work of an old experienced com<span class="pagenum"><a name="Page_ii_276" id="Page_ii_276">[Pg 276]</a></span>poser
should be rejected by a theatre which does not disdain
the rapid works of beginners and dilettanti such as .... and .... The
insult that has been offered to me is therefore
wholly inexplicable, and I must console myself with the reflexion,
<i>that it is the only one of the kind offered to me during
my long career as a composer</i>, and I congratulate myself that
I am not under a theatrical directorship which so little understands
how to respect the feelings of a veteran artist,” &amp;c.
To this a reply was received from the vice-manager, <i>K. Winkler</i>,
who at the request of Mr. <i>von Lüttichau</i>, expressed his regret
that the return of his score, which had become necessary,
should have so much offended <i>Spohr</i>, assuring him furthermore,
that the chief reason for it was the words and subject
of the opera, during the ecclesiastical excitement.</p>

<p>But that <i>Spohr’s</i> view of the matter was not much changed
by this attempt at exculpation is evident from a letter he wrote
to <i>Richard Wagner</i>, in which he opens his whole mind to him,
and having first expressed his disappointment that <i>Wagner’s</i>
opera “Tannhäuser,” which he had proposed to the Prince to
have performed in celebration of his birth day, had not received
the official sanction, he avails himself of the opportunity
to detail fully to him the incomprehensible conduct of the
Dresden theatrical directorship. <i>Wagner</i>, who then first was
made acquainted with all the particulars, gave expression to
his anger thereat, in so plainspoken a manner, that the publication
of his letter, highly interesting as it is, would perhaps
be unadvisable. After the prospect of a meeting with <i>Wagner</i>
in Dresden had been dispelled in so vexatious a manner,
<i>Spohr</i> proposed to him a <i>rendez-vous</i> at Leipzic, where he
intended making a stay of a few days on his contemplated
journey with his wife to Carlsbad. As <i>Wagner</i> seized the idea
with much pleasure, the long desired personal acquaintance
was at length made with the greatest mutual satisfaction, and
letters addressed to the family at home speak among other
things of this meeting, and other interesting circumstances that
occurred during their stay there:</p>

<p><span class="pagenum"><a name="Page_ii_277" id="Page_ii_277">[Pg 277]</a></span></p>

<p>“We are passing our time here most delightfully, and
enjoying a very feast of the finest music. On the very first
evening we had a music party at <i>Hauptmann’s</i>, where trios by
<i>Mendelssohn</i> and <i>Spohr</i>, in which each master took part, were
played; and the company, consisting chiefly of connoisseurs in
art, were highly delighted indeed. On the following day a
very charming dinner-party was given at <i>Wagner’s</i> suggestion,
who has himself no means of entertaining friends at Leipzic, by
his brother-in-law, Professor <i>Brockhaus</i>, in honour of <i>Spohr</i>.
We there made the acquaintance of his sister and several
others of his relatives, all of them most intellectual creatures,
and enjoyed ourselves greatly. Besides the members of the
family, <i>Heinrich Laube</i>, the author, and his very learned wife,
were present, who gave a yet more lively impress to the conversation.
We were most pleased with <i>Wagner</i>, who seems
every time more and more amiable, and whose intellectual
culture on every variety of subject is really wonderful. Among
other things he gave expression to his sentiments on political
matters with a warmth and depth of interest that quite surprised
us, and pleased us of course the more from the great
liberality of feeling he displayed. We passed the evening most
delightfully at <i>Mendelssohn’s</i>, who did his utmost to entertain
and please <i>Spohr</i>. This family has for me something very
idealistic about them, they present a combination of inward
and external features, and withal so much beautiful domestic
happiness, that one seldom sees the like of in actual life. In
their establishment and whole manner of living there is so
much unassuming modesty amid all the obvious luxury and
wealth around them, that one cannot but feel at one’s ease.
And to me most gratifying is his unmistakable attachment to
and esteem for <i>Spohr</i>. He himself played a most extremely
difficult and highly characteristic composition of his own, called
‘<span lang="de" xml:lang="de">Siebenzehn ernste Variationen</span>’ (seventeen serious variations),
with immense effect; then followed two of <i>Spohr’s</i> quartets&mdash;among
them the newest (the 30th.)&mdash;on which occasion
<i>Mendelssohn</i> and <i>Wagner</i> read from the score with countenances<span class="pagenum"><a name="Page_ii_278" id="Page_ii_278">[Pg 278]</a></span>
expressive of their delight. Besides these, the wife of doctor
<i>Frege</i> sang some of <i>Spohr’s</i> songs, which <i>Mendelssohn</i> accompanied
beautifully; and in this manner the hours passed rapidly
and delightfully with alternate music and lively conversation,
till midnight drew on unobserved, and at length gave
impressive warning to break up. <i>Wagner</i>, who was obliged to
return to Dresden the following day, came to take leave of
us, which both to us and to him was a sad moment. But
after he had left, he was frequently the subject of our conversation,
for he left us the words of a new opera which he
had written (Lohengrin) to read, and which is exceedingly
original and interesting.... Yesterday at the dinner-table
we made another agreeable acquaintance, that of the poet
<i>Robert Prutz</i>, who being seated exactly opposite to us, introduced
himself, sustained a very lively conversation, and appeared
quite charmed at meeting with <i>Spohr</i>. After dinner a performance
was arranged in the church by the pupils of the
Thomas School, where, without any accompaniment <i>Spohr’s</i> psalm
with double choir, ‘<span lang="de" xml:lang="de">Aus der Tiefe</span>’ (out of the deep) and his
favorite motet by <i>Bach</i>: ‘<span lang="de" xml:lang="de">Ich lasse Dich nicht</span>’ (I will not
leave thee) were sung.... Last evening an extra concert was
given for <i>Spohr</i> in the well-known Gewandhaus, which, under
<i>Mendelssohn’s</i> direction, was in every respect a brilliant entertainment.
The programme consisted wholly of <i>Spohr’s</i> compositions,
of which we had not been apprized before hand,
and which was on purpose to take us by surprise. It comprised:
1stly. The overture to Faust; 2dly. An air from Jessonda
sung by the prima donna, Mrs. <i>Meyer</i>; 3dly. Grand violin
concerto played to <i>Spohr’s</i> complete satisfaction by the
wonderful boy <i>Joachim</i>; 4thly. Songs with clarinet accompaniment,
by the wife of doctor <i>Frege</i>, <i>Mendelssohn</i>, and a first-rate
clarinetist, so wonderfully executed that it went to the
very heart; 5thly. ‘<span lang="de" xml:lang="de">Weihe der Töne</span>,’ which for years has been
a bright-shining star with the Leipzic orchestra. At the
request of <i>Mendelssohn</i>, <i>Spohr</i>, although he would rather have
remained a hearer only, took the direction of the two last<span class="pagenum"><a name="Page_ii_279" id="Page_ii_279">[Pg 279]</a></span>
subjects, on which occasion he was greeted by the orchestra
and the auditory, which consisted of about two hundred select
guests, with a storm of applause, as he had also been saluted
with upon his entrance. The whole was a grand elevating
festival, and for <i>Spohr</i> a deeply-felt gratification. <i>Mendelssohn</i>
was extremely amiable, and the whole evening as though intensely
happy, which proved how foreign to his mind is every
feeling of jealousy. This evening the last music party will
meet at <i>Vogt’s</i>, where <i>Mendelssohn</i> proposes to himself an
especial pleasure, not only in taking part in <i>Spohr’s</i> first trio
as pianist, but as <i>viol</i> in his splendid third double quartet.”</p>

<p>In this manner up to the last moment was <i>Mendelssohn’s</i>
thoughtful and kind attention evinced to <i>Spohr</i>, and upon his
departure on the following morning, when the numerous friends
who had accompanied us to the railway-station had taken leave
of him, he was, as the further accounts of the journey express
it, “the last of all, who, as the train at first proceeded slowly,
ran for a considerable distance by the side of the carriage,
until he could no longer keep up with it, and his kindly
beaming eyes were the last that left their expression on the
minds of the travellers from Leipzic,” little anticipating indeed
that it was to be their last meeting on this side of the grave!</p>

<p>Scarcely had <i>Spohr</i> arrived in Carlsbad, than he received
a pressing invitation from the Landgrave of <i>Fürstenberg</i>, president
of the society of music of Vienna, to direct there two
grand performances of his renowned oratorio, “The Fall of
Babylon,” upon the occasion of a festival at which 1000 singers
would assist. But as this was to take place in November,
and it would be necessary to ask for another “extraordinary”
leave of absence to comply with the invitation, this
was applied for through the Austrian embassy. But notwithstanding
the signature of “<i>Metternich</i>” gave its imposing weight
to the application, the Prince refused compliance, and thus
not only was <i>Spohr</i> prevented going, but the performance of
his oratorio was necessarily deferred to a more favourable
opportunity.</p>

<p><span class="pagenum"><a name="Page_ii_280" id="Page_ii_280">[Pg 280]</a></span></p>

<p>Among the various incidents which this time occurred in
agreeable relief and interruption to the daily routine prescribed
for taking the baths, was first a concert given by the violinist
<i>Ernst</i>, of which a letter speaks as follows: “The concert
of so celebrated a virtuoso was quite an event for Carlsbad,
and afforded us much pleasure. Besides the song
scene of <i>Spohr</i>, he played several of his own things, some
of which were very beautiful, curious compositions replete
with all manner of difficulties and wonderful artistic resorts
for display, and which he executed with great precision
and ease; but although he played <i>Spohr’s</i> concerts with much
care and great expression, yet we have not only heard it
played by <i>Spohr</i> himself, but by his talented pupil <i>Jean
Bott</i>, much more correctly. The overcrowded house presented
a curious spectacle, for not only was the space
allotted to the spectators, but the whole stage also, occupied
by the public, which sat round disposed in a large semi-circle,”
&amp;c. But amusing scenes of another kind also occurred
at Carlsbad. One day a good-natured invalid visitor of the
baths took it into his head to give a little treat to the fifteen
young serving-women attached to the baths, at which several
hundred spectators were present; and above all, <i>Spohr</i>, with his
characteristic good humour, took great pleasure at the sight
of the assembled girls, dressed in their uniform (white gowns,
green spencers, and pink aprons), each with a fresh-gathered
rose in her hair, seated at a long table, and looking around
on all the spectators with eyes beaming with pleasure as they
partook of their treat of coffee and cake. At another time, by
a similar but anonymous kind-hearted individual a parcel was
sent to <i>Spohr</i> containing two enormous herrings, remarkable
samples of their species, with the laconic inscription appended
to them: “I love <i>Spohr’s</i> music! The great German <i>Spohr</i>
will not despise the accompanying quite fresh herrings, a very
rare, but permitted dish here. Carlsbad June 6.” Though
<i>Spohr</i> had always been used to receive a great variety of
presents, and frequently of the strangest kind, as tokens of<span class="pagenum"><a name="Page_ii_281" id="Page_ii_281">[Pg 281]</a></span>
esteem and admiration, yet he had never before received one
of so surprising and comical a kind, at which, with <i>Ernst</i>, who
happened to be present at the moment he received them, he
laughed very heartily, and then without much speculation or
care as to who the anonymous donor might be, ate with much
relish the delicious fish, as a change from the scant prescriptive
supper permitted to the bath patients. As the greatest
moderation not only in physical but mental exertions and
enjoyments formed part of the bathing cure, <i>Spohr</i>, as a conscientious
patient, had at first considered it a duty to refrain
from every musical excitement, particularly from that of composing,
until the impulse became so strong within him that
he thought it more prejudicial to suppress by force than to
give some form to the vivid ideas that floated across his fancy;
and thus with unforced readiness flowed from his pen the last
part yet wanting to complete the fourth pianoforte trio which
he had already begun in Cassel; and it being as it were the
bubbling and overflow of the gaiety of his spirits, he was accustomed
to call it by way of souvenir of the benefit he derived
from the bubbling springs of Carlsbad, “<i lang="de" xml:lang="de">Der Sprudelsatz</i>” (The
bubble piece). As however there was no good player on
the violincello in Carlsbad, he thought he should be obliged
to wait till his return to Cassel for a thorough performance
of the trio; but during a short stay at Meiningen
on his return journey, <i>Edward Grund</i>, the already frequently
mentioned music director, with incredible diligence took all
the requisite measures for getting up a quartet party on the
same evening in his house, where <i>Spohr</i> had the unexpected
opportunity of hearing his trio, with the aid of his wife and the
distinguished violincellist <i>Metzner</i>, for the first time, which
afforded also no little delight to the company present. As it
also soon became a favorite piece with the musical circles of
Cassel, <i>Spohr</i> kept it by him for a long time in manuscript,
before he sent it to his publisher, <i>Schuberth</i>, who looked forward
with truly restless impatience to the appearance of this trio
of <i>Spohr’s</i> in order to make it public. (Op. 135.)</p>

<p><span class="pagenum"><a name="Page_ii_282" id="Page_ii_282">[Pg 282]</a></span></p>

<p>In the beginning of the year 1847 the day drew near at
length, the celebration of which had for weeks beforehand set
the natives of Cassel on the tip-toe of pleasurable expectation,
that, namely, of his twenty-fifth year’s jubilee as director
at the court theatre of Cassel. The lively interest taken far
and near in this festival evinced itself in so many demonstrations
of attachment and esteem towards the individual
thus honoured, that a published account of them written by
Dr. <i>Frederick Oetker</i>, the proceeds of which were devoted to
charitable purposes, formed a complete pamphlet, for a short
extract from which we have alone room here:</p>

<p>“Early on the morning of the 20th. January, the recipient
of the day’s honours was awakened from his slumbers by a
serenade played by his pupils <i>Jean Bott</i> and <i>A. Malibran</i>,
who, assisted by musicians of the court orchestra, performed his
second double quartet. This was followed by a long succession
of congratulatory visits from relatives, friends, pupils, and
admirers of all classes and from every quarter, who came to express
their wishes for his health and happiness. From the society
of St. Cecilia there came a well selected deputation, composed
of representatives of soprani, alti, tenori and bass, in whose
name the secretary <i>Knyrim</i>, the only remaining original
member, expressed in hearty words their grateful acknowledgement
of the many services rendered to art, and to the society
in particular, by the honoured jubilant. These were succeeded
by the postmaster-general <i>Nebelthau</i>, as member of the council
of state, who presented <i>Spohr</i> a congratulatory address in
writing from the chief magistrate of Cassel, and then the
music director from Göttingen, Mr. <i>Wehner</i>, delivered a wreath
of laurel from that place, accompanied with a congratulatory
poem, and with a diploma nominating <i>Spohr</i> an honorary
member of the singing association of Göttingen. Accompanied
with a most obliging letter the King of Prussia sent to him
the order of the red eagle, third class, and the Prince, who
had some years before already conferred upon him the Hessian
order of the lion, forwarded to him upon this occasion a<span class="pagenum"><a name="Page_ii_283" id="Page_ii_283">[Pg 283]</a></span>
further mark of distinction, nominating him music director-general,
with grant of official character at court. The rescript
of this patent was personally handed to <i>Spohr</i> by the chamberlain
<i>von Heeringen</i>, who the previous year had been nominated
intendant-general of the court theatre, in order at
the same time to express both his good wishes and the high
esteem he felt for <i>Spohr</i> as a man and as an artist, which
he moreover proved upon this occasion by the splendid festal
performances he had ordered at the theatre in celebration of
this day. This consisted in a musical-dramatic production “of
scenically connected music-pieces from the operas of <i>Spohr</i>,”
the tickets of admission to which, besides those to the extra
standing places, had been issued many days before, so that the
house was actually crammed. When <i>Spohr</i> made his appearance
in the box in the first tier, which had been appropriated to
him and his family, he was received with the most tumultuous
demonstrations of joy, with which the strains of his overture
to the opera of “Alruna” soon mingled. This was followed
by a tableau from “Zemira and Azor,” representing the union
of the lovers. After the conclusion of this tableau, as also
after each of the following scenes from <i>Spohr’s</i> operas: “Zemira”,
“<span lang="de" xml:lang="de">Zweikampf</span>,” “Jessonda,” “<span lang="de" xml:lang="de">Berggeist</span>,” “<span lang="de" xml:lang="de">Pietro von
Abano</span>,” “Alchymist,” and “<span lang="de" xml:lang="de">Kreuzfahrer</span>,” the fairy with her
golden magic wand came upon the stage and introduced the
succeeding scene each time with appropriate verses. After
each piece of music the outburst of applause was repeated,
and at its conclusion redoubled in energy, to be again resumed
with equal perseverance as in succession the two overtures to the
“Mountain Sprite” and to “Faust” were executed with remarkable
precision under the direction of <i>Bochmann</i> the military band-master.
Then followed an appropriately conceived festal-play
called “<span lang="de" xml:lang="de">Die Huldigung</span>” (The Homage). The scene represented
a handsome park ornamented with statues, vases
and garlands; in the back ground a modest dwelling, but
richly decorated with garlands of flowers: <i>The house, in which
Spohr was born</i>, in Brunswick. Gardeners and maidens are<span class="pagenum"><a name="Page_ii_284" id="Page_ii_284">[Pg 284]</a></span>
busied in decorating the garden; to their question as to the
purpose and occasion of the festival the steward informs them,
telling them the name of the honoured jubilant, and in citing
his works speaks also of ‘<span lang="de" xml:lang="de">Die letzten Dinge</span>’ and ‘<span lang="de" xml:lang="de">Der Fall
Babylons</span>.’</p>

<p>“All now set up a shout of joy, and from every part of
the house rang the enthusiastic cheers of the excited assembly.
Upon this the orchestra struck up the polonaise in “Faust,”
while the committee of the fete waited on <i>Spohr</i> to conduct
him to a throne of flowers, where he was again greeted with
a poetical address, and a crown of laurel placed upon his
head “as Apollo’s favoured son,” amid the joyful vivats of
the public. After the fete at the theatre was over, and
he proceeded to partake of a family supper at the house of
his son-in-law <i>Wolff</i>, he received late in the evening a brilliant
serenade from the members of the lyrical association, who had
assembled before the house by the light of numerous coloured
lamps. The singing being concluded they then sent up a deputation
to present the diploma of an honorary member of
the society to the jubilant. Thus terminated this eventful day,
but not the festivities; for the following day brought further
congratulatory addresses in prosa and verse with honours of
every kind, among which the presentation of the freedom of the
city from the chief magistrate of Cassel, and as also worthy
of mention, the gift of a costly silver vase from the joint
members of the orchestra and theatrical company, presented
by the committee of the festival.”</p>

<p>On the twenty-second of January another grand fete took
place, given as a surprise to their friend and master by the
members of the quartet circle, so frequently adverted to.
After <i>Spohr</i> had been conducted with great ceremony into the
presence of the company, composed of about seventy persons,
a congratulatory poem composed by Dr. <i>Oetker</i> was read.</p>

<p>The musical part of the fete which now followed consisted
of <i>Spohr’s</i> third double quartet, executed under the direction of
his pupil <i>Jean Bott</i>; of two of his incomparable songs with<span class="pagenum"><a name="Page_ii_285" id="Page_ii_285">[Pg 285]</a></span>
clarinet accompaniment, sung by a distinguished dilettante; and
the pianoforte quintet with wind-instrument accompaniment.
After the conclusion of these extremely successful performances,
all adjourned in the best spirits to the supper-room, where,
seasoned with toasts both of earnest and mirthful import, the
happy evening was brought to a close in an appropriate
manner.</p>

<p>The account of this jubilee published shortly after by
<i>Fr. Oetker</i> gave occasion at the same time to <i>Spohr</i> for the
commencement of his autobiography. The author of that
pamphlet having at the same time expressed the intention of
following it up with a detailed account of his life, requested
<i>Spohr</i> to furnish him first with the necessary notes; but he
himself, while making the necessary sketch of it, took so much
pleasure in recalling the varied events of each year as they
presented themselves to his memory, that he conceived the
idea of preferring to undertake its full detail himself.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> With
a lively interest he now immediately set himself to this work,
which nevertheless proceeded but slowly, when the impulse
for musical composition assumed again its mastery. He
then first wrote six <i lang="fr" xml:lang="fr">pièces de salon</i> for violin and pianoforte,
distinguished by the titles: <i>Barcarole</i>, <i>Scherzo</i>, <i>Sarabande</i>,
<i>Siciliano</i>, <i>Air varié</i> and <i>Mazurka</i>, collected in one volume as
Op. 135, published by <i>J. Schuberth</i>; these were followed by
his fourth double quartet, and some months later, at the express
wish of the Philharmonic Society of London, by the eighth
symphony (<i>G minor</i>), which appeared at Leipzic as Op. 137
(<i>Peters</i>), in score and arranged for four hands for the pianoforte.</p>
<p><span class="pagenum"><a name="Page_ii_286" id="Page_ii_286">[Pg 286]</a></span></p>
<p>Subsequently also, <i>Spohr’s</i> activity was unusually taxed
at the theatre, as he was required for the approaching Whitsuntide
holidays to prepare not only the usual opera but also (an
exceptional case) a grand concert, in which among other things
his double symphony and his first concertante were executed
by himself and his pupil <i>Jean Bott</i>. For Whitmonday a new
opera, “Arria,” by <i>Hugo Stähle</i>, had been selected, which as
the maiden-work of a young composer who had grown up amid
them had greatly awakened the interest of all lovers of music
in Cassel. Already when a boy the young musician had exhibited
such prominent talent, that <i>Spohr</i> was induced, at the
wish of his father, Major <i>Stähle</i> of Cassel, to take him as a
pupil in composition. With constantly increasing interest he
now watched the progress of his talented pupil, who, already
a good pianist, soon tried his hand at greater pianoforte-compositions,
among which a quartet in <i>A major</i> (Op. 1, published
by <i>Schuberth</i>) is especially remarkable as a success. Encouraged
by this, he then, though not yet one and twenty years
of age, ventured under <i>Spohr’s</i> guidance upon the composition
of music to the opera above named, written by his friend <i>Jac.
Hofmeister</i>, and that so fully satisfied <i>Spohr</i>, that upon his
pressing recommendation its performance was determined upon
and soon put in process of execution. Though <i>Spohr</i> experienced
real satisfaction at the highly favourable reception
this opera met with from the public, and looked forward
hopefully to a brilliant future for the young composer, this
first triumph was unhappily his last; for after the lapse of a
year, he was seized with an inflammatory fever, which arrested
his career of promise by an early death!</p>

<p>After <i>Spohr</i> had several times deferred his last visit to
England to direct according to invitation the performance of
some of his works, he at length resolved in the summer of 1847,
to yield once more to the reiterated invitations he had received,
and to direct the three grand concerts, in which the Sacred
Harmonic Society proposed to give the whole of his sacred
pieces&mdash;oratorios, psalms, &amp;c. At the commencement of the<span class="pagenum"><a name="Page_ii_287" id="Page_ii_287">[Pg 287]</a></span>
theatrical vacation he therefore set out, accompanied on the
journey to England by his wife and sister-in-law, and
this time by way of the interesting cities of Brussel and
Ghent to Ostend, where he proposed to embark. A letter
written home adverts as follows to their stay in Ghent: “On
our way we had been informed that upon the very day of our
arrival a grand singing festival was to take place, of the united
Flemish and German lyrical societies; but as we did not arrive
here before 7 o’clock in the evening, some time after the chief
part of the concert had begun, we thought to avail ourselves
of the fine summer evening to take a walk through the town,
which we found large and handsome beyond our expectation.
Scarcely however had we proceeded above a hundred yards
when <i>Spohr</i> was recognised by some gentlemen, who hastened
towards him with the greatest surprise, and compelled us almost
by force to go with them and hear the second part of
the concert, the first part being just finished. In this
manner we were all three hurried into a fine building, the
‘<span lang="fr" xml:lang="fr">Palais de Justice</span>’ and stood suddenly in the immense hall
filled with several thousand persons, when at the same moment
one of the gentlemen who brought us in, a member of the
committee of the festival, with a loud voice called out: ‘<span lang="fr" xml:lang="fr">Messieurs,
le grand compositeur <i>Spohr</i> vient d’arriver dans notre
ville, le voici!</span>’ At this announcement the whole assembly rose
from their seats, and clapping their hands cried: ‘<span lang="fr" xml:lang="fr">Vive <i>Spohr</i>,
le grand <i>Spohr</i>!</span>’ and a perfect shower of flowers in the shape
of bouquets large and small were showered upon him from all
sides. It was long before the tumultuous applause ceased;
meanwhile seats were yielded to us in the best places, and
there we sat somewhat out of countenance in our dusty travelling
costume in the midst of handsomely dressed ladies.
But the whole scene, from its very unexpectedness, had something
extremely original and almost overpowering about it. We
then heard, with the rest, the second part of the concert, in
which the different lyrical associations sung in part with, and
partly without, orchestral accompaniment. They all met with the<span class="pagenum"><a name="Page_ii_288" id="Page_ii_288">[Pg 288]</a></span>
most lively applause, which their execution in reality also
deserved.</p>

<p>“It lasted until past 9 o’clock, and then a crowd of persons
pressed forward to salute <i>Spohr</i> and to speak to him, so that
it was late enough before we got home to supper, and retired
to rest. But this was again to be of short duration, for
between 11 and 12 o’clock we heard all manner of noises
and preparations for a grand serenade, which the Ghent society
‘<span lang="fr" xml:lang="fr">Des Mélomanes</span>’ had resolved upon giving to <i>Spohr</i>. <i>Nolens
volens</i> he was obliged to get out of bed and dress anew not
only in acknowledgement of the fine music and tremendous
vivats of the assembled crowd, but also to receive a deputation,
which at the solemn midnight hour announced to him his
nomination as honorary member of the society,” &amp;c.</p>

<p>Upon <i>Spohr’s</i> arrival in London he and his travelling
companions were again hospitably received in the friendly
family of Professor <i>Taylor</i>, and for them now began in every
respect a period of great enjoyment. The oratorio performances
in Exeter-Hall appointed for every Friday, went off with their
usual finished perfection; but the programme that had been
previously determined upon had suffered from the alteration,
that in place of the “Calvary,” which it was feared would
here also excite objection on the part of the clergy, a second
performance of the “Fall of Babylon” was announced; while in
the third concert, as it had been previously determined, “<span lang="de" xml:lang="de">Die
letzten Dinge</span>,” the “Lord’s Prayer,” and <i>Spohr’s</i> recently
composed 84th. Psalm after <i>Milton’s</i> metrical translation,
were given. The enthusiasm at all the three concerts, which
was scarcely susceptible of increase on all that had previously
been shewn, was evinced this time more particularly by rapturous
encores of a great number of choruses and solo pieces.
The intervening days were passed in a no less satisfactory
manner, in which all emulated in affording some enjoyment,
or in testifying their respect for <i>Spohr</i> in various ways. In
varied and constant interchange, invitations, festivities, promenades
and railway excursions succeeded each other, one of<span class="pagenum"><a name="Page_ii_289" id="Page_ii_289">[Pg 289]</a></span>
which extended as far as 70 English miles, to the celebrated
university city of Cambridge, with its grand and peculiar style
of architecture; and another to the city of Ely, remarkable for its
situation upon a beautiful and fruitful hill rising from the midst
of a low moorland, and yet more for its beautiful cathedral,
considered one of the finest specimens of Gothic architecture
in England. In this, as a remains of its former splendour, the
finest ecclesiastical psalmody is still chanted during divine
service by sixteen singers especially maintained for that purpose,
and seldom in that solitary place could perhaps be found
hearers so devoutly attentive and edified as were <i>Spohr</i> and
his travelling companions.</p>

<p>In pleasant reunions with the <i>Horsley</i>, <i>Benedict</i> and <i>Taylor</i>
families, his most intimately known friends, <i>Spohr</i> especially
passed many happy hours, in whose circles allied so intimately
to art and artists, fine music was a never-failing enjoyment,
and in which frequently, to the delight of his hearers, <i>Spohr</i>
contributed his personal aid. The more decidedly however,
did he decline every request to perform in public, and in one
exceptional instance only consented to assist at a concert
given in his honour by the <i>Beethoven</i> quartet society. The
programme of this concert, which displayed the heading
“Homage to <i>Spohr</i>,” comprised however on this occasion nothing
of <i>Beethoven</i>, and three compositions of <i>Spohr</i> only, selected
from different periods of his life, viz: 1st. A quartet (<i>G minor</i>),
a production of his early youth; 2dly. A duet composed about
20 years later, played by <i>Joachim</i> and <i>Sainton</i> in a masterly
manner, and 3rdly. The third double quartet (<i>E minor</i>), in
which <i>Spohr</i> took the first violin part, and by his play and by
the whole composition, the first “number” of which alone had
kindled the admiration of the public, drew down a very storm
of applause. The newspapers adverted in terms of the highest
praise to the selection of the three compositions and to their
separate beauties. Upon this occasion, respecting the duets
the “Times” said as follows: “These duets for two violins belong
to the greatest productions of <i>Spohr’s</i> richly inventive genius.<span class="pagenum"><a name="Page_ii_290" id="Page_ii_290">[Pg 290]</a></span>
Out of seemingly small materials the great composer has
achieved harmonic effects scarcely inferior in richness and
fullness to the quartet. The duet in <i>E flat</i> is positively overflowing
with beauties of melody and counterpoint, a perfect
masterpiece.”... And added further on: “The double quartet
in <i>E minor</i> is one of <i>Spohr’s</i> most surpassingly rich compositions....
Every separate theme bears the stamp of
genius, and is worked out with a perfection of finish that
displays the highest degree of intelligence.”... “If <i>Spohr</i>
had never written anything else, his fame would have been
established by this work alone, as one of the greatest composers
in the world.”... “<i>Spohr</i> plays now but seldom in
public, but both musicians, and the general public alike, eagerly
seize the rare opportunity of hearing the greatest violinist of the
present day. His style is a pattern of purity and taste....
He not alone produces difficulties of every kind, and handles
them with the ease of mere play toys,&mdash;but in his execution
displays moreover the full energy and inspiration of youth.”...</p>

<p>The end of the vacation was now rapidly drawing near,
and with it once more the hour of parting; and on the last
days of his sojourn so manifold were the demands made upon
his time and attention that all his habitual calm self possession
was taxed to the utmost. With heart and mind impressed
with happy and elevating reminiscences he returned
to his native country, where with his accustomed cheerfulness
and zeal he was soon re-engaged in the performance of the
duties of his post.</p>

<p>In the beginning of November he was plunged into grief
by the sudden intelligence of the death of his friend <i>Mendelssohn</i>,
deeply lamenting whose loss both as a man and a
musician, he expressed himself as follows in a letter to <i>M.
Hauptmann</i>: “What might <i>Mendelssohn</i> in the full maturity of
his genius not have written, had fate permitted him a longer
life! For his delicate frame the mental exertion was too great
and therefore destructive! His loss to art is much to be lamented,
for he was the most gifted of then living composers, and his<span class="pagenum"><a name="Page_ii_291" id="Page_ii_291">[Pg 291]</a></span>
efforts in art were of the noblest!”&mdash;His next thought was
to institute a festival <i>in memoriam</i> of the too early departed
one, but as he received for answer to his proposal to that
effect, from the intendant of the court theatre, that: “the
proposed festival in memory of the deceased could not be
permitted at the concerts of the court theatre, as it did not
find approval in the highest quarters,” he determined to give
it on a smaller scale at a private concert in celebration of
the 25th. anniversary of the St. Cecilia society on the 22nd.
November, and upon the occasion to inaugurate the fete with
a poem composed for the occasion with a chorus from <i>Mendelssohn’s</i>
“Paulus.” But after everything had been arranged
for the best and the grand rehearsal been held, intelligence
was suddenly received of the dangerous illness of the Elector
Wilhelm II., who resided in Frankfort, which was followed
by that of his death, and the order for a general mourning
throughout the Electorate and a desistance from every kind
of music on the following days. Hereupon, after a delay of a
month, the performance of the projected festival was again
about to take place, and <i>Spohr</i> had once more fixed the day
for it, when death once more intervened&mdash;this time afflicting
his own family with a very painful loss. On the 18th. December
<i>Spohr’s</i> mother-in-law was seized with illness, and
after a few days’ suffering was snatched from the disconsolate
family to which she had been bound by ties of the tenderest
affection. The Christmas holidays, which had usually been
with them a period of happy festivity, were now changed
to days of gloom and mourning, and the more so from the
circumstance that Mr. <i>Pfeiffer</i> (father) was laid on a sick-bed by
the unexpected blow, and the happy reunion in the paternal
house, where <i>Spohr</i> always felt so happy, and so well knew
how to make others so, seemed to be interrupted for a long
time, if not for ever! The subsequent weeks passed amid
cares and anxieties, and not until his father-in-law’s convalescence
could <i>Spohr</i> think of celebrating the long-prepared-for
festival.</p>

<p><span class="pagenum"><a name="Page_ii_292" id="Page_ii_292">[Pg 292]</a></span></p>

<p>The programme was so arranged, that it presented in
chronological order twelve music pieces of <i>Bach</i>, <i>Händel</i>,
<i>Haydn</i>, <i>Mozart</i>, <i>Beethoven</i>, <i>Hauptmann</i>, <i>Mendelssohn</i> and
<i>Spohr</i>, as specimens of the style of each of those masters,
to whose works the St. Cecilia society during its existence of
twenty-five years had especially devoted its efforts. After the
last song piece but one: “<span lang="de" xml:lang="de">Wir preisen selig die</span>” &amp;c., from
“Paulus,” a poem was recited, entitled: Feeling of sorrow upon
the early death of <i>Felix Mendelssohn-Bartholdy</i>.</p>

<p>This was followed by the presentation of a double
breast-pin set with diamonds, accompanied with a poetical
address to <i>Spohr</i>&mdash;the subject represented by the pin being
a violin, and bass-clef. A “Hymn to <i>Spohr</i>,” composed by
<i>H. Stähle</i>, was then sung; and in conclusion, at the banquet
which followed, a discourse was delivered relative to the
origin and services of the society for the prosperity of which
the speaker himself (Mr. <i>Weinrich</i>), in the triple character
of singer, librarian, and treasurer, had laboured with unwearied
zeal for many years.</p>

<p>In 1848, shortly after the outbreak of the disturbances
in France, <i>Spohr</i>, somewhat under the influence of ideas of
liberty, &amp;c., composed his sextet for two violins, two viols and two
violincellos (Op. 140, published by <i>C. Luckhardt</i> of Cassel), on
making entry of which in the list of his compositions, he appended
the words: “Written in March and April, at the time
of the glorious revolution of the peoples for the liberty, unity
and grandeur of Germany.” And this composition, so rich in
freshness of melodies, in genuine ætherial harmony, that scarcely
any other of <i>Spohr’s</i> works surpasses it, furnishes an eloquent
testimony to the state of his feelings and his aspirations, which,
soaring above the storms of the present, speak only of peace,
hope and concord, as in spirit he beheld them spring out of
the momentary struggles. Satisfied as <i>Spohr</i> might feel with
this composition&mdash;the first since the dawning of the new
æra upon Germany&mdash;he nevertheless for some time wholly
abandoned all further composition, feeling, as he complained<span class="pagenum"><a name="Page_ii_293" id="Page_ii_293">[Pg 293]</a></span>
in a letter to his friend <i>Hauptmann</i>, that “the excitement of
politics and the constant reading of the newspapers incapacitated
him from giving his attention to any serious and quiet study.”</p>

<p>On the 6th. August a grand popular festival took place
in Cassel, which kept the whole of the inhabitants in a state
of joyous mobility for the day. It commenced early in the
morning, with the public recognition of the imperial administrator
by the garrison assembled upon the “Forst.” This was
followed by the consecration and presentation of colours to
the newly-formed corps of body-guards, combined with a grand
church service in the presence of the Electoral family upon
the Bowling-green in the Karlsaue, and in the afternoon there
was a people’s festival, in which the whole population of Cassel&mdash;a
mixed troop of all classes&mdash;flocked to the Aue, either
as participators in, or spectators of, the popular games,
the dancing and the music. Towards evening, to the surprise
of everybody the Elector, in plain black dress-coat, was
seen threading his way among the joyous crowd, with looks
expressive of the cheerful interest with which he acknowledged
the cheers of the people who thronged every part of the park.
The festivities of the day were terminated by a concert under
<i>Spohr’s</i> direction, executed by the singers and members of the
choral societies of Cassel in front of the orangery, at which
also the Elector appeared, and after a lengthened conversation
with <i>Spohr</i>, asked him expressly for the song “<span lang="de" xml:lang="de">Was ist des
Deutschen Vaterland</span>.”</p>

<p>In June 1849 <i>Spohr</i> set out for Carlsbad, and stopped
on his way thither a few days at Leipzic, where in the
circle of his musical friends, he again passed many happy
hours devoted to his noble art. On the first evening, at the
house of his friend Mr. <i>Vogt</i>, two of his latest and as yet unpublished
compositions&mdash;the fourth double quartet (<i>G minor</i>)
and the but recently finished 31st. quartet (<i>C major</i>)&mdash;both of
which were subsequently published by <i>C. Luckhardt</i> in Cassel
as Op. 136 and 141. The double quartet was received more
especially with such warm admiration, that <i>Spohr</i> gratified<span class="pagenum"><a name="Page_ii_294" id="Page_ii_294">[Pg 294]</a></span>
the wish expressed by several of his auditors to repeat it
once more on the following day at the conservatory before a
large circle, among whom were the teachers and pupils of that
institution. On the last evening, his old friend <i>Moscheles</i>
prepared for him a brilliant fête, and embellished the musical
part of it by his own masterly performance of <i>Spohr’s</i> first
trio, and his pianoforte quintet with wind instruments, after
which the strains of a choral song, “Honour to <i>Spohr</i>,” were
suddenly heard from the garden in front of the house, and
some of his four-part songs, some of <i>Mendelssohn’s</i> and some
of <i>Hauptmann’s</i>, were executed in a most effective manner.</p>

<p>The now ensuing stay in Carlsbad, extending to several
weeks, was upon this occasion particularly pleasant in many
respects. In the intercourse with several distinguished men
well known for their public activity, <i>Spohr</i> took great pleasure.
Among these especially were <i>Hansemann</i> of Berlin and <i>Simson</i>
of Königsberg, to the latter of whom, from the thorough community
of sentiment in their mutual political creed, he was
especially attracted. As both men evinced at the same time
a warm love of music, they, together with their families
were soon admitted into the small circle of the
elect who had the <i>entrée</i> to the musical performances of
<i>Spohr</i> and his wife. With these and other charming families
the afternoons were then passed in excursions on all sides into
the beautiful environs, in which <i>Spohr</i>, although long since well
acquainted with every spot, always experienced a new delight
and one equally shared by his wife.</p>

<p>From his stay in Carlsbad <i>Spohr</i> also experienced the
most desirable benefit to his health, resulting in so complete
and permanent a relief to the liver complaint which had
recurred at previous frequent intervals, that, grateful as he
felt for the pleasant and health-restoring time he had passed
there, he had now no further necessity to resort to the
wonderful efficacity of its waters.</p>

<p>Strengthened and refreshed in body and mind, he returned
to Cassel, and shortly afterwards began the composition of his<span class="pagenum"><a name="Page_ii_295" id="Page_ii_295">[Pg 295]</a></span>
fifth pianoforte trio (<i>C minor</i>, Op. 141, published by <i>Schuberth</i>
in Hamburg); which was followed by three duets for two
soprani, published by <i>Peters</i> of Leipzic, which for their sweetly
expressive melodies and their ease of performance, like those
which had previously appeared from the pen of <i>Mendelssohn</i>,
soon became favorite pieces in musical circles.</p>

<p>Towards the end of the year 1849 <i>Spohr</i> was afflicted
by a heavy sorrow, in the sudden illness that befell his wife
the day after Christmas Day, and which increased so much in
severity as to imperil her life at the entry of the new year.
At length, however, her good and unimpaired constitution,
aided by the most unremitting care, overcame her malady,
and <i>Spohr</i> hailed once more with delight the day when she
could again resume her accustomed seat by his side at the
dinner-table. But on the next day (January 22) an untoward
accident befell himself. While on his usual daily way
to the theatre rehearsal, a sharp unexpected frost having set in
during the night, he slipped, and fell with such violence as to
inflict a very severe blow on his head, from the consequence of
which the unremitting care of his experienced medical attendant
Dr. <i>Harnier</i> did not re-establish him till after the lapse of
several weeks. Shortly after his recovery, he wrote his ninth
symphony, “<span lang="de" xml:lang="de">Die Jahreszeiten</span>” (The Seasons), the plan of which
had much occupied his mind during his illness, and as he
himself complained, “regularly haunted him during the long
sleepless and feverish nights.” He gave in so far a new form
to it, that he divided it into two grand themes, with the designations:
Part I.: Winter, transition to spring, spring. Part II.:
Summer, transition to autumn, autumn. Although <i>Spohr</i> wrote
the symphony in the dull cold days of winter, the result nevertheless
was just the least characteristic of his <i>winterly</i> intentions.
While in the <i>spring</i> theme every note rings joyous
with the glad awaking of nature,&mdash;in that of <i>summer</i>, the
sultry heat is expressed in tones the effect of which is such,
that the astonished hearer positively seems to <i>feel</i> it&mdash;and
lastly the <i>autumn</i>, with its exhilarating music of the chase,<span class="pagenum"><a name="Page_ii_296" id="Page_ii_296">[Pg 296]</a></span>
and the masterly interwoven <span lang="de" xml:lang="de">Rheinweinlied</span> (vintage song of the
Rhine)&mdash;can scarcely fail in inspiring the hearer with the
most lively enthusiasm.</p>

<p>About this time <i>Spohr</i>, with every lover of music in Cassel,
experienced great pleasure from the visit of a young female
artiste nearly related to him. This was <i>Rosalie Spohr</i>, the
second daughter of his brother <i>William</i>. From early childhood
she had evinced a passionate love of music, and subsequently
devoted herself with unwearying zeal to the study of the harp.
Although at first it was not the wish of her parents that their
daughter should perform in public, yet when they had subsequently
become convinced of her real artistic talent, they could
no longer oppose her ardent wishes, and at the age of 22
she proceeded, accompanied by her father, upon her first musical
tour. After she had given proof of her abilities in several
public performances at Hamburg and Leipzic, she visited
Cassel, where she played several times in private circles, and
at one concert at the theatre under the direction of <i>Spohr</i>,
on which occasion she not only earned the warmest approbation
of a delighted auditory but a yet more gratifying reward in
the commendatory words of her highly-esteemed uncle. The
young musician subsequently achieved many a brilliant triumph
in her further visits to the larger cities of Germany and Holland;
but her promising artistic career was shortly brought to an
unexpectedly early termination, first by deaths in her immediate
family circle, and afterwards by her marriage with
count <i>Xavier Sauerma</i>.</p>

<p>During the summer vacation, in order at length to pay
his long-promised visit to Breslau, <i>Spohr</i> proceeded thither by
way of Leipzic in the hope of hearing <i>Schumann’s</i> new opera of
“Genoveva;” but to his great regret, upon his arrival there, he
was informed of the delays that had intervened to defer its
performance, and was obliged to content himself with attending
several rehearsals, but which, on account of the frequently
interrupting repetitions, could naturally afford him but a very
imperfect conception of the whole work. Although by no<span class="pagenum"><a name="Page_ii_297" id="Page_ii_297">[Pg 297]</a></span>
means an admirer of the compositions of <i>Schumann</i> so far
known to him, in which he had frequently found a want of
euphony and melodious breadth of harmonies, he formed a
very favourable opinion of the opera, and it especially pleased
him to observe that the same method of treatment which he
had resorted to in the composition of the “Crusader” had been
followed, in that <i>Schumann</i> did not permit the unnatural interruption
of the action by a wearisome and constant repetition
of words. It was no less interesting to <i>Spohr</i> to become
acquainted with some of his larger pianoforte compositions,
the desired opportunity for which was afforded him at the
musical parties given to him, at which Mrs. <i>Clara Schumann</i>
played a trio and pianoforte-concerto of her husband’s
with the most finished excellence, with which exception all the
rest were compositions of <i>Spohr’s</i>, among which the sextet he
wrote during the March revolution: and at an extra-concert at
the Gewandhaus his newest symphony, “The seasons,” was
performed to the great delight of all who heard it.</p>

<p>The remainder of his stay in Breslau, which was there
expressively designated as a “fortnight-long <i>Spohr</i> festival,”
was a continuous round of entertainments, musical soirées, &amp;c.
The “<span lang="de" xml:lang="de">Neue Oder-Zeitung</span>” describes <i>Spohr’s</i> advent as “an event,
that had set all the educated classes of the town in commotion,”
and further adds: “Everybody crowds forward to see
the German master&mdash;all are anxious to say that they have
at least had the satisfaction of a personal meeting. There is
a peculiar gratification in standing opposite to the man who,
though his eye rests upon us with the coldness of the stranger,
has been long known to us in spirit as one of our best and
dearest friends&mdash;whose works have recalled to us the golden
dreams of our youth, and whose noble creations purify our
souls. All in Germany who love music and who play, recognise
the master to whom as musicians they are indebted for a
great part of their culture, for many elevating feelings, many
hours of happiness. Is it then to be wondered at that every<span class="pagenum"><a name="Page_ii_298" id="Page_ii_298">[Pg 298]</a></span>
one crowds around the master&mdash;that all are ready to acquit
part of that debt to him by loud and honourable acknowledgements?”</p>

<p>His festive reception, which commenced at the very railway
station, was followed in the evening by a grand serenade
and procession by torch-light, for which all the musical and
choral societies of Breslau had met to execute the choicest
pieces of music, chiefly selected from <i>Spohr’s</i> operas, and
which at intervals they gave singly, or executed in combination
and <i>en masse</i>. At the grand concert that took place under
his own direction at the spacious and handsome Aula, his own
compositions alone were given: Overture to and air from “<i>Faust</i>,”
the third symphony, with the “Lord’s Prayer;” and the “<span lang="de" xml:lang="de">Breslauer
Zeitung</span>” designates it as “a musical festival singular in its
kind in the city of Breslau, for that <i>Spohr</i> at the present
time was the <i>only</i> one who had so much distinguished himself
in every kind of composition, that the church, the concert room,
and the theatre, could equally boast of his works; and that
such a performance by such united powers (singing academy,
theatrical orchestra, society of musicians, &amp;c.) had never yet
taken place there.” At the different banquets that were given
to <i>Spohr</i>, his music in various ways formed part of the entertainment,
and the songs that were written in his honour for
the occasion had been adapted to appropriate melodies of his,
which greatly increased their effect and frequently took the
company by surprise.</p>

<p>At the express wish of the friends of music of Breslau,
he determined to assist personally at a concert given in the
smaller saloon of the Aula, before a great number of musical
amateurs who had been invited; in his sextet and third double
quartet, of which the “<span lang="de" xml:lang="de">Breslauer Zeitung</span>” speaks with much
enthusiasm, and after dwelling upon the generally acknowledged
specialities of his play, says further: “that the master at his
<i>present age</i> still possesses all those specialities; that he plays
with the fire and energy of a young man, and throws off the
greatest difficulties with a power and boldness that are astonishing&mdash;that<span class="pagenum"><a name="Page_ii_299" id="Page_ii_299">[Pg 299]</a></span>
it is a thing quite <i>unusual</i> and was never seen
there before.”</p>

<p>On the part of the directors of the theatre the happy
selection of <i>Spohr’s</i> opera “<span lang="de" xml:lang="de">Zemire und Azor</span>” was made in
his honour, which, with its charming melodies, never fails to
make the most pleasing impression on the public on the first
time of hearing; and with its music so truly appropriate to
its subject, opens to us as it were the bright world of fairy
land, which although more than ever fading away from the
materialistic age in which we live, yet idealised by such sweet
sounds, can never lose its fascination for the mind. This effect
was produced on this occasion in Breslau also, as demonstrated
by the brilliant reception with which it was welcomed, and
the generally expressed wish for its speedy repetition under
<i>Spohr’s</i> direction, who then also experienced great pleasure
in those two fine performances of his work.&mdash;He was no less
gratified by the organ concert given him by his friend <i>Hesse</i>
in the fine church of St. Bernard, in which he exhibited his
great mastery of that grand instrument in every possible
manner. Devoted admirer and adherent of <i>Spohr</i> as he was,
he was still loathe to part from him, when after a fortnight
passed in Breslau he departed with the purpose of making an
excursion in the Riesengebirge with his wife. As a guide intimate
with the localities <i>Hesse</i> accompanied them, and was not
a little gratified in witnessing the feelings of delight with which
<i>Spohr</i> was impressed by the natural beauties of his Silesian
fatherland. Neither was music, loved music forgotten, for
it was not only the subject of daily discourse, but in the
Riesengebirge itself the powerful serenades of the music
chorists of Warmbrunn and Hirschberg greeted their master,
<i>Spohr</i>.&mdash;The return journey to Cassel was made <i>viâ</i> Berlin,
where <i>Spohr</i> found an invitation from the conservatory, which,
although but thinly composed in summer, performed nevertheless
a part of his oratorio “Calvary” and his psalms with
double chorus in a brilliant manner, by way of compensation
both to themselves and him for his inability to comply with<span class="pagenum"><a name="Page_ii_300" id="Page_ii_300">[Pg 300]</a></span>
the invitation they had given him almost every winter to come
and either personally direct or hear his oratorio.</p>

<p>Meanwhile the political state of Germany, and more particularly
of Hesse greatly grieved <i>Spohr</i>, and as the best consolation
he abandoned himself to his musical studies, the zest
for which did not leave him even in this time of trouble and
sorrow. In the course of the months of October and November
he composed his seventh quintet for stringed instruments
(<i>G minor</i>, Op. 144, published by <i>Peters</i>), and three songs from
“One thousand and one days in the East,” by <i>Bodenstedt</i>
(also published by <i>Peters</i>).</p>

<p>It was in the summer of this year that <i>Spohr</i> experienced
the malice and chicanery of the court. He had intended to
start the first day of his vacation for a tour in Switzerland
and upper Italy. He accordingly sent in his request to the
Elector, which he considered a mere pro-formâ matter. To
<i>Spohr’s</i> great surprise the answer was in the negative&mdash;no
leave of absence would be granted. Hereupon <i>Spohr</i> set off
without leave. He passed through the <i>Via Mala</i>, over the
Splügen to Milan and Venice, and returned over the St. Gotthard
pass to Lucern, and so back to Cassel, where he arrived
before the vacation had expired. After a short repose he availed
himself of the remaining time to pay a long-promised visit to
<i>Wehner</i> the director of the orchestra at Göttingen, who, conjointly
with all the lovers of music at that place, used every exertion
to do honour and afford gratification to their esteemed guest.
A serenade given by the members of the choral society on the
first evening of his arrival was followed on the next morning
by a musical greeting performed by the band of the regiment
lying at Nordheim in the immediate neighbourhood. At a
grand concert given at the Aula <i>Spohr</i> directed in person his
symphony “<span lang="de" xml:lang="de">Die Weihe der Töne</span>,” which was followed by his
potpourri on themes from Jessonda, performed by one of his
most distinguished pupils, <i>Auguste Kömpel</i>, who when a boy had
awakened the warmest interest on the part of <i>Spohr</i> by his remarkable
talent, and after having studied under him for several<span class="pagenum"><a name="Page_ii_301" id="Page_ii_301">[Pg 301]</a></span>
years with the greatest success, was first appointed a member of
the court orchestra at Cassel and subsequently Kammermusicus
and member of the royal orchestra at Hanover.<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> As finale
to the concert <i>Mendelssohn’s</i> music to Athalia, combined with
a melodramatic poem, was executed by the members of the
Göttingen choral society; and thus <i>Spohr</i>, who had been present
at its grand rehearsal with the greatest interest, had the much
desired opportunity of becoming acquainted with the only one
of the grander lyrical compositions of <i>Mendelssohn</i> which he
had not yet heard. On the following day there was also some
excellent music.</p>

<p><i>Wehner</i> had made arrangements for quartet music at his
own house, and previous to a large dinner party, which he
gave as a mark of respect to <i>Spohr</i>, some exceedingly fine
music was performed with the most finished excellence, and
to the delight of all present <i>Spohr</i> himself took part in his
own sextet. The dinner was seasoned by a succession of
appropriate toasts and piquante speeches, the chief subjects
of which were music and politics, and lastly also “<i>Spohr’s</i> bold
stroke”&mdash;the journey without leave&mdash;was drank amid the clang
of glasses and the enthusiastic cheers of the company, who
highly approved of the spirit he had shown. But the “bold
stroke” was, as may be imagined, considered with much less
approbation in Cassel, and a few weeks after <i>Spohr’s</i> return he
was officially required by the general-intendant to explain and
justify “his absence from Cassel without leave.” His explanation
was considered unsatisfactory, and he was condemned to
pay a fine of 550 thaler (82 <i>l.</i> 10 <i>s.</i>). He went to law;
but the end of it was that he paid the money, which was
handed over to the pension fund instituted by him.</p>

<hr class="tb" />
<p><span class="pagenum"><a name="Page_ii_302" id="Page_ii_302">[Pg 302]</a></span></p>
<p>It was in the midst of these troubles that he wrote a
series of six <i lang="fr" xml:lang="fr">pieces de salon</i> for violin and piano and the 32nd.
violin quartet (Op. 145 and 146; Leipzig, <i>Peters</i>).</p>

<p>In the beginning of the year 1852 <i>Spohr</i> received a visit
from the director of the Italian opera in London, Mr. <i>Gye</i>,
who proposed to him to direct there his opera of “Faust”
during his summer vacation, and for that purpose to write a
connecting recitative instead of the dialogue in the original,
by which means alone the urgent wish of the Queen for the
performance of the opera on the Italian stage could be gratified.
As <i>Spohr</i> at first considered that such a change would
be impossible in many of the scenes, he felt compelled to
decline the proposal; but they were not so easily to be pacified
in London by so unexpected an answer, and after receiving
several further pressing letters upon the subject, <i>Spohr</i> set
himself to work, and, contrary to his own expectation, with
such satisfactory results, that after its completion he expressed
himself upon the subject in a letter of the 21st. May to
<i>Hauptmann</i> in the following words: “You have no doubt already
heard that at the express wish of the Queen of England
and of Prince Albert I have remodelled my opera “Faust”
for the grand opera. This work has afforded me great pleasure,
and agreeably engaged me for a period of three months, in
which I have been as it were transported completely back to
the happy days of my youth in Vienna. At first, with the
assistance of my wife, I had to alter the dialogue scenes in
such a manner as to adapt them to composition. In doing
this I have endeavoured to impart more interest to them than
they previously possessed, and to make elision of those things
which from the first had displeased me at many performances
I had seen of this opera. I think and hope that I have succeeded
in both. I had then to replace myself as it were in
the same mood, and style in which I wrote Faust, and I hope
that I have succeeded in this also, and that no one will observe
a difference of style between the old and the new. The
opera consists now of three acts; the second concludes with<span class="pagenum"><a name="Page_ii_303" id="Page_ii_303">[Pg 303]</a></span>
the wedding scene, and the third begins with a new entr’acte,
which depicts with reminiscences from the trio of the torch-dance
and the witches’ music the night of debauch passed by
Faust, and then passes into a grand recitative by Mephistopheles,
to which his air in <i>E major</i> is connected. After the
disappearance of the witches a recitative by Faust follows,
blended with intonations of former and later conception, and
hereupon a shorter one between him and <i>Wagner</i>, which is
succeeded by the concluding finale. My curiosity is now intense
to hear the opera in its new form! Should nothing come
of the journey to London, I hope to hear it soon at Weimar,
as <i>Lisst</i> has asked for it in its new form for the court theatre
there.”&mdash;The new recitatives thus reached London so early,
that weeks before <i>Spohr’s</i> arrival there the study of the parts
could be commenced; but at the first rehearsal he remarked
that the in every other respect so greatly distinguished Italian
singers, were not all he could have desired in their comprehension
of this to them wholly foreign style of music, for
which reason he immediately ordered daily thorough rehearsals
under his own direction, in which he soon had the satisfaction
of seeing that the whole of the singers entered more and more
into the conception and spirit of his musical intentions, and
submitted with the greatest willingness to his every nod, until
every thing went so faultlessly that after the four last grand
rehearsals which took place, and the lapse of three weeks, it
was possible to give a perfect public performance.</p>

<p>To avoid all seeming reiteration of the numerous musical
events and marks of respect, that in the interim were shewn
to <i>Spohr</i> on this visit, it will suffice to mention one agreeable
surprise only of which <i>Spohr</i> used to speak with delight in
after years. This was the magnificent performance of his
oratorio “Calvary” (<span lang="de" xml:lang="de">des Heilands letzte Stunden</span>) at Exeter
Hall, under the excellent conducting of <i>Costa</i>; and which, performed
by greater masses of assistants than at the memorable
Norwich festival (700 singers and musicians), completely overpowered
<i>Spohr</i> himself, as well as the enthusiastically delighted<span class="pagenum"><a name="Page_ii_304" id="Page_ii_304">[Pg 304]</a></span>
public; in so much, that he was obliged to agree in the remark
of his friends, that the effect in many parts, especially
that of the powerfully imposing choruses, was more immense
than the composer himself had even conceived.</p>

<p>On Sundays, on which days, according to English custom,
the theatres are closed, there are no concerts, and even all
private music is hushed, <i>Spohr</i> gladly availed himself of the invitations
he received to make excursions far away from the
gigantic town, to recruit his energies somewhat in the fresh
air, from the daily musical fatigue and excitement. Sometimes
it was to Clapham and Kensington, on a visit to the
<i>Sillem</i> and <i>Horsley</i> families; sometimes farther by railway to
Sir <i>George Smart’s</i> pleasant country-house at Chertsey, which
<i>Spohr</i> always called “the little paradise;” or to Professor
<i>Owen’s</i> in Richmond-park; from which he always returned
requickened in mind and body to the wear and tear of London
life. <i>Owen’s</i> charming residence and his amiable manners were
always subjects of agreeable recollection to <i>Spohr</i>, and he would
often relate how the celebrated naturalist, in his kindly unassuming
manner, would come out to welcome him on a hot
summer’s day, clad in a light summer jacket and a broad-brimmed
straw hat, but in honour of “his welcome renowned
guest,” decorated with the Prussian order “<span lang="fr" xml:lang="fr">pour le mérite</span>,” and
then till late in the evening devise every possible means of
affording him pleasure and entertainment.</p>

<p>Meanwhile the rehearsals of Faust had prospered so well,
that on the 15th. July the first public performance took place
under <i>Spohr’s</i> direction, and a letter written home refers to
it in the following manner:</p>

<p>“The opera went off incomparably well, and made a
wonderfully powerful effect upon everybody. Indeed to us
also it appeared in quite a new light&mdash;everything was so grand,
so splendid! The new additional themes blend charmingly
with the whole, and present singularly fine effects. Decorations,
scenery, all are new, exceedingly brilliant and got up at great
expense: orchestra, singers, and chorus, did their best, so that<span class="pagenum"><a name="Page_ii_305" id="Page_ii_305">[Pg 305]</a></span>
the Londoners say, that they have not seen so splendid an
operatic performance for many years; and it was received
throughout also with the most enthusiastic applause. That
the foreign (almost all Italian) singers would have sung this
German music with so much zest and pleasure, we could
scarcely have believed possible. Those who most distinguished
themselves were Mrs. <i>Castellan</i> (Kunigunda), <i>Ronconi</i> (Faust),
<i>Formes</i> (Mephistopheles), and <i>Tamberlik</i> (Hugo). The latter
charmed every body, for he has a splendid tenor voice with
immense power, and he executed the beautiful air, accompanied
by a magnificent chorus of forty male voices, with such fire and
irresistible power that a <i>da capo</i> was called for by general
acclamation. And <i>Formes</i> also, in his song in <i>A major</i>, which
had greatly gained by the newly composed exceedingly beautiful
introduction and recitative scene.... The whole house was
in ecstacy, and in the intervals between the acts, and at the end,
<i>Spohr</i> was warmly congratulated by a host of friends and admirers.”
With similar success and with yet more perfect execution,
the second and third performance of Faust, under <i>Spohr’s</i> direction,
took place within a few days; after which he once more
left England, accompanied to the place of embarcation by numerous
lovers of music, who up to the last moment projected
the most inviting plans for the next summer.</p>

<p>Agreeably impressed with the successful issue of his journey,
he returned to Germany, picturing to himself the happy hours
in which, as was his custom, he should again relate amid the
expectant circle at home the interesting incidents of his visit.
But this time the pleasure of once more meeting the members
of his family was but too soon overshadowed, and <i>Spohr</i> beheld
with much alarm the suffering constitution of his father-in-law,
whose declining bodily strength had for some time past excited
the utmost anxiety; but which assumed appearances so
threatening during the last few weeks, that the anxious members
of his family, despite their tender care and hopefulness, could
no longer deceive themselves as to the near approach of his
dissolution. With sorrowing hearts they beheld with every day<span class="pagenum"><a name="Page_ii_306" id="Page_ii_306">[Pg 306]</a></span>
the nearer approach of the long-dreaded moment; till on the
4th. October 1852, the loved and honoured parent breathed
his last. This sad event cast an enduring shadow over <i>Spohr’s</i>
life, for with his wife he not only lamented the loss of the
beloved father, but mourned thenceforth that of the truthful
friend whose feelings and sentiments had been so congenial
with his own.</p>

<hr class="tb" />

<p>In the autumn of 1852 the duties of <i>Spohr’s</i> office were
unexpectedly much alleviated by the nomination of a second
director; an appointment which indeed, with his great activity
and as yet unimpaired powers, he had never contemplated
as a thing to be desired; but which was nevertheless
the more agreeable to him from the circumstance that the
newly-created appointment was given to his favorite pupil,
concert-master <i>Jean Bott</i>, in order to secure his rejection of
the post of musical director at Hanover, which had been
offered to him under very favourable circumstances. By this
means the Cassel court orchestra was saved the loss of so distinguished
a member, and his services were fully secured. <i>Spohr</i>
consented also very willingly to the requisitions of the managers
of the theatre to abandon to the direction of the new co-director
the operas proposed, and suggested but few modifications
in this arrangement. By this means <i>Bott</i> assumed
the direction of a number of light operas, chiefly French and
Italian, but undertook as heretofore to lead as first violin in
the orchestra under <i>Spohr’s</i> direction in all grand German
operas, which were reserved to the latter. The repertory of
the new and zealous co-director soon received an interesting
addition, for in the beginning of the year 1853 <i>Shakspeare’s</i>
“Midsummernight’s Dream,” with <i>Mendelssohn’s</i> music, was performed
on the Cassel stage for the first time; on which occasion
<i>Spohr</i> expressed himself in the following words in a
letter to <i>Hauptmann</i>: “The most charming music that I know<span class="pagenum"><a name="Page_ii_307" id="Page_ii_307">[Pg 307]</a></span>
of <i>Mendelssohn</i> is indeed his music to the “Midsummernight’s
Dream,” which has at length been performed here also, and
right well. <i>Bott</i> practised the orchestra in the music most assiduously,
and for me it was a great enjoyment to be enabled
for once to listen as auditor to the performance of good
music.” In regard to <i>Spohr’s</i> own labours the same letter
then speaks further: “We are now studying ‘Tannhäuser,’
(which the Elector has at length permitted), and we shall give
that opera for the first time on Whitmonday. It will be put
on the stage with the greatest care and both decorations and
costumes will be rich. There is much that is new and beautiful
in the opera, but much also that is most distressing to the
ear. For the violins and basses it is more difficult than anything
I ever yet met with,” &amp;c.</p>

<p>After the first performances of this difficult work had
passed off in the most successful manner, <i>Spohr</i> wrote again
respecting it to his friend <i>Hauptmann</i>: “‘Tannhäuser’ was
performed last night for the third time, and again to a full
house. The opera has gained many admirers, by reason of
its earnestness and its subject-matter, and when I compare
it with others produced of late years, I am also of their way
of thinking. With much of what was at first very disagreeable
to me I have become familiarised from frequent hearing; but
the want of rhythm, and the frequent absence of rounded periods
is still to me very objectionable. The manner in which it is
performed here is really very fine, and in few places in Germany
can be heard with such precision. In the enormously
difficult ‘ensembles’ of the singers in the second act, not one
single note was omitted last night. But with all that, in
several parts these assume a shape which make a downright
horrifying music, particularly just before the part previous
to where Elizabeth throws herself upon the singers who rush
upon Tannhäuser.&mdash;What faces would <i>Haydn</i> and <i>Mozart</i>
make, were they obliged to hear the stunning noise that is now
given to us for music!&mdash;The choruses of pilgrims (but which
are here supported by clarinets and bassoons <i>p</i>.) were in<span class="pagenum"><a name="Page_ii_308" id="Page_ii_308">[Pg 308]</a></span>tonated
so purely last night, that I became somewhat reconciled
for the first time to their unnatural modulations. It is astonishing
what the human ear will by degrees become accustomed
to!” &amp;c.</p>

<p>Although, as may be inferred from the above remarks,
<i>Spohr</i>, with his preminent sentiment for harmony and beautiful,
regular forms in music, could not readily reconcile himself to
the tonic creations of more modern times, which so frequently
deviate from them, he nevertheless took a lively interest in
them, and was so anxious to become acquainted with <i>Wagner’s</i>
newest opera “Lohengrin,” that while awaiting the as yet
witheld permission of the Elector for a full theatrical performance,
he determined upon giving some scenes from it at
the ensuing winter concerts, and wrote to <i>Hauptmann</i> on the
subject as follows: “If you wish to afford us a pleasure by
sending something for our winter concerts, let me ask of you
the music to ‘Lohengrin.’ I was in correspondence with
<i>Wagner</i> this summer, and he knows that I am exerting myself
to put that opera upon the stage here, also. He will
therefore have no objection to a performance of some scenes
beforehand. I shall write to inform him of it also upon a fitting
occasion, but I do not like to renew the correspondence on
the subject, without being empowered to ask at the same time
for the score for our theatre, which will not be before next
summer, for the birthday of the Elector.” This expectation
was nevertheless not realised, for the Elector’s permission was
neither granted for the day appointed, nor upon a subsequent
reiterated solicitation; and in this manner <i>Spohr</i> was
never enabled to hear this opera, which both in Cassel and
other places he had repeatedly striven to do.</p>

<p>With the approach of the vacation of the summer 1853
<i>Spohr</i> made preparation once more (for the sixth and last
time) for the journey to England, whence in the month of
January he had received, (and as chance would have it upon
the same day) two letters of invitation from two wholly different
parties. One, from the theatre-director <i>Gye</i>, contained<span class="pagenum"><a name="Page_ii_309" id="Page_ii_309">[Pg 309]</a></span>
a recapitulation of the plan formed in the previous summer,
of bringing out an Italian translation of <i>Spohr’s</i> “Jessonda”
during the approaching season; the other, from Dr. <i>Wylde</i>,
the director of the recently instituted New Philharmonic Society,
contained a pressing invitation to <i>Spohr</i>, to undertake the
direction of the grand concerts which the society contemplated
giving during the summer months. The latter attractive invitation
was the one that decided his yet wavering resolution,
since it was of the greatest interest to him to procure
a hearing for his grander orchestral compositions, which would
there be performed with all that power which was already
known to him, before a public who, like all the performers,
understood so thoroughly the spirit of his music.</p>

<p>Scarcely had he arrived in London than an agreeable
musical surprise awaited him, for on his first visit to Dr.
<i>Wylde</i> he was pressed by him to proceed immediately to a
morning concert then about to take place, and arrived there
just in time to hear an excellent performance of his nonett,
and at the conclusion was warmly greeted by the audience,
to whom the announcement of the presence of the composer
was both an agreeable and sudden surprise. Under similar
circumstances he was present the next evening at the last
Philharmonic concert in the Hanover Square Rooms, where he
was greatly gratified by the very successful performance of his
historical symphony, which was enthusiastically applauded.
A few days afterwards the first of the concerts of the New
Philharmonic Society took place under his personal direction,
of which mention is made as follows in a letter written home:
“Last evening <i>Spohr</i> consummated the first of his great achievements;
the direction of the fine New Philharmonic concerts in
Exeter-Hall, where he was again received with the same enthusiasm
as formerly, and which was manifested throughout the
whole performance. We found our exalted expectations of
this gigantic orchestra, wholly composed of musicians of high
standing, fully realised, and the impression made by the immense
mass in the spacious and densely crowded hall was<span class="pagenum"><a name="Page_ii_310" id="Page_ii_310">[Pg 310]</a></span>
truly grand and imposing. Even the ninth symphony of
<i>Beethoven</i>, abnormal as are many things therein, and especially
the last subject, with the ‘song to pleasure,’ executed in the
finished manner it was, afforded a real enjoyment. <i>Spohr’s</i>
‘Overture in the severe style’ opened the concert, and had
a grand effect; as also that of ‘Jessonda,’ which was even
encored. This was followed by the tenor song in ‘Jessonda,’
splendidly sung by <i>Th. Formes</i>, and received with tumultuous
applause,” &amp;c.</p>

<p>Not less interesting also was the programme of the last
concert directed by <i>Spohr</i>; it comprised besides his own compositions&mdash;a
quartet concerto, a double symphony, and the
overture to the “Mountain Sprite,”&mdash;the <i>D major</i> symphony of
<i>Beethoven</i>, the overture to “Fidelio,” the duet for two pianofortes
of <i>Mendelssohn</i> and <i>Moscheles</i> (executed by Miss <i>Claus</i> and Miss
<i>Goddard</i>), and some other pieces. The performance of the whole
of the pieces of music was all that could be desired, and in
regard to the fine effect of <i>Spohr’s</i> symphony, a letter specially
remarks: “The double symphony seemed as though it had
been written expressly for such orchestral powers and for this
place. The lesser orchestra was, in accordance with several
trials made at the rehearsal, placed high up above, and apart;
and sometimes between the powerful and imposing masses of
tone of the larger orchestra it sounded really like music from
another sphere.”</p>

<p>The chief object of <i>Spohr’s</i> journey to London was thus
once more fully achieved: but on the other hand the projected
performance of “Jessonda” during the same time, met with
numerous unexpected obstacles. In order to allow <i>Spohr</i> the
number of rehearsals he considered necessary for the study
of the work, another opera, also a newly studied one, “Benvenuto
Cellini,” by <i>Berlioz</i>, was selected for performance during
the intervening opera nights; and as is the custom, was
to be repeated several times without further rehearsal. But
upon the very first night of its performance, it met with a
very unfavourable reception from the public, and <i>Spohr</i> himself,<span class="pagenum"><a name="Page_ii_311" id="Page_ii_311">[Pg 311]</a></span>
interested as he felt to hear this much-talked-of music, respecting
which opinions were so conflicting, was not much edified
thereby, as appears from a letter written to his friend Mr.
<i>Lüder</i>: “In the opera of <i>Berlioz</i>, which I heard in London
this summer, there are some fine things, but scarcely has one
begun to feel interested in it, than there comes a something
so bizarre and harsh, that all the pleasure one has felt is
destroyed. I have a special hatred of this eternal speculating
upon extraordinary instrumental effects, for his opera contains
without doubt many really happy conceptions both melodic
and dramatic, and these are always marred by them. This
it was also that displeased the London public, which was at
first very favourably disposed towards him, and received him
upon his entering the orchestra with loud applause; but as
the opera proceeded their dissatisfaction increased, until at
length, upon its conclusion, the audience broke out into one general
storm of hisses and whistling; a circumstance never known
to have occured before at the Italian opera in London in
presence of the Queen!&mdash;It is with <i>Berlioz</i> as with all the
other coryphées of the music of the future; they do not abandon
themselves to their natural feelings in their work, but speculate
on things which have never yet been. That is the reason
why these gifted musicians seldom write anything that is
enjoyable, particularly for people who in the last century grew
up in the knowledge of <i>Haydn</i>, <i>Mozart</i> and <i>Beethoven</i>,” &amp;c.
With so explicit an opinion as that pronounced by the London
public, the theatrical direction did not dare risk a second
performance of the opera, and other operas were obliged to
be substituted, which required also several rehearsals, and
“Jessonda,” which was as yet only in the first stage of study,
was still farther postponed. This, nevertheless, was no great
source of uneasiness to <i>Spohr</i>, and the time thus gained was
agreeably occupied by him in other musical enjoyments.</p>

<p>On this visit indeed <i>Spohr</i> and his wife found a home
replete with every domestic comfort in the house of Dr. <i>A.
Farre</i>, who emulated with his kind lady in his attentions towards<span class="pagenum"><a name="Page_ii_312" id="Page_ii_312">[Pg 312]</a></span>
them, and kindly devoted every hour that his professional
engagements permitted to the entertainment of his guests; in
this manner a warm friendship was soon established between
the two families, and the weeks passed under his roof were
ever recalled by <i>Spohr</i> as among the most pleasing of his
recollections. As Dr. <i>Farre</i> and several of his medical colleague
were very musical and good singers, they had formed
themselves, in conjunction with some other families devoted to
the art, into a musical circle, in which music of a high class
was zealously cultivated, and that of <i>Spohr</i> was more especially
the favorite. In a soirée of this kind he had one evening
the agreeable surprise to hear his oratorio “<span lang="de" xml:lang="de">Die letzten
Dinge</span>” performed by eight and twenty dilettanti with faultless
precision, a production which, in rare contrast with the habitual
English taste for massive instrumentation, appealed to the
feelings in the most pleasing manner by the <i>perfect purity</i>
and intensity of its expression. At a brilliant musical soirée
given by Dr. <i>Farre</i> himself, in compliment to his guests, a
succession of pieces selected from <i>Spohr’s</i> different operas was
also given in the most efficient manner, and was subject of no
small surprise and gratification both to him and the assembled
company.</p>

<p>Meanwhile, the rehearsals of “Jessonda” had slowly proceeded,
it is true, but there had arisen so many causes for a delay
in its production, that before this could take place, the period
of his vacation expired, and <i>Spohr</i> was obliged to leave London
for Germany; but in doing so he had the satisfaction of leaving
his opera in charge of a worthy representative, Mr. <i>Costa</i>,
under whose direction, a fortnight afterwards, it was performed
several times with the most brilliant success.</p>

<p>Upon his landing at Calais <i>Spohr</i> was warmly received
by the amateurs of music of that town, who had become apprised
of the day of his arrival, and he was invited by them
to a grand entertainment given in his honour. Its chief feature
was a luxurious banquet, but of which also an agreeable musical
surprise formed a part; for at the conclusion of the dinner<span class="pagenum"><a name="Page_ii_313" id="Page_ii_313">[Pg 313]</a></span>
the pleasing notes of <i>Spohr’s C minor</i> quartet were heard in
the adjoining apartment, which was followed by the execution
of several other pieces, and continued up to the departure of
the delighted guests at a late hour. This day, so unexpectedly
passed in Calais in the midst of musical and festive enjoyments,
was a subject of special gratification to <i>Spohr</i>, as he
had least of all expected, here, upon the soil of France, to have
met with such proofs of esteem and so much admiration for
his music.</p>

<p>On the return journey he was much occupied with an
idea which he had conceived in England of a new grand composition
for the pianoforte with instrumental accompaniment,
and which upon his arrival home he forthwith began with
zest and spirit. Thus was produced&mdash;in the seventieth year
of <i>Spohr’s</i> age&mdash;one of his finest masterpieces, the septet for
pianoforte, two stringed and four wind instruments, replete
with the freshness of youthful thought in every part, with a
<i>larghetto</i> which has scarcely its equal in bewitching harmony
and beauty of modulations. While yet in manuscript it was
publicly performed at the next subscription concert, on which
occasion both the composition and the excellence of the execution
met with the most favourable reception and acknowledgement.
The pianoforte part, which was as grateful as it
was difficult, was taken by <i>J. Bott</i>, and the audience testified
yet more warmly their just appreciation of his execution from
his having displayed also on the same evening his brilliant
talent as violin player in <i>Spohr’s</i> 15th. violin concerto. By
the desire of the lovers of music of Cassel, a repetition of the
new septet was given at the next concert; after which, while
yet in manuscript, it was performed at one of the quartet
soirées in Leipzic, and the fullest justice done to the pianoforte
part by the truly artistic execution of <i>Moscheles</i>, and
received there by the public with the most gratifying applause.</p>

<p>For the next summer vacation (1854) <i>Spohr</i> had contemplated
another journey to Switzerland; and so great this
time was his desire to pass once more the most pleasant<span class="pagenum"><a name="Page_ii_314" id="Page_ii_314">[Pg 314]</a></span>
summer month in the undisturbed enjoyment of the beauties
of nature, that the numerous invitations he had received to
the musical festivals in England and Holland were powerless
to induce him to relinquish his long previously projected plan.
As he was on the eve of departing, he received by telegraph
a farther pressing entreaty from his grand-daughter <i>Antonia
Wolff</i> at Ratisbonne, who had there married a collegiate
professor, a Mr. <i>Schmitz</i>, and who besought him to go by
way of the old imperial city, where a visit from him had
long been anxiously desired by all lovers of music, and to pass
a few days with his grand-children and great-grand-children.
Attractive as was this invitation, <i>Spohr</i> with regret felt compelled
to decline it, his holidays being so strictly limited; and
no railroad existing at that time to Ratisbonne, it would have
led him too far out of his projected route.&mdash;After a short
sojourn at Marburg, Heidelberg, and Baden-Baden&mdash;so famed
for the beauty of their respective environs&mdash;he proceeded to
the south of Switzerland, and especially enjoyed the voyage
by steamboat upon the magnificent lakes. After a few days’
stay at Lausanne, Geneva, and Vevay, further excursions were
then made into the more easily accessible neighbourhood,
where all around smiled in summer’s rich attire, while beyond
the lake rose in majestic contrast the lofty chain of the Alps,
with its snow-capped summits.</p>

<p>Leaving the lake of Geneva the travellers continued their
journey to Freiburg and Bern, at both which places quite unexpectedly
calls were made upon the interest they took in
music. At Freiburg, as soon as they had alighted at the
hotel, <i>Spohr</i> was invited to join the other strangers present
in a subscription towards the honorarium which it was there
customary to tender to the organist of the church of St. Nicholas,
for the performance of a piece of music upon its so much
celebrated organ. At the appointed hour, just as the shades
of evening closed around, the small party assembled, and solemnly
pealed the tones of the mighty organ through the
spacious and empty aisles of the stately church, producing their<span class="pagenum"><a name="Page_ii_315" id="Page_ii_315">[Pg 315]</a></span>
wonted powerful effect upon <i>Spohr</i>. The organist, either not
aware of the high musical authority before whom he was
playing, or thinking to impose on him like the other strangers
present by the exhibition of his wonderful artistic skill, struck
up suddenly in the most inappropriate manner sundry things
from modern operas, and then concluded with such a thundering
peal on the instrument that the first exalted impression
was wholly obliterated and <i>Spohr</i> could not forbear the undisguised
expression of his disapproval of such a profanation
of the grand fabric of sounds, which, with its inscription: “<i lang="la" xml:lang="la">In
majorem gloriam dei</i>,” seemed rather to him in a more exalted
degree worthy alone to intonate the praises of God.</p>

<p>Scarcely arrived in Bern, <i>Spohr</i> was surprised to see
notices stuck up at the corners of the streets announcing two
concerts of sacred music in which his oratorio “<span lang="de" xml:lang="de">Die letzten
Dinge</span>” formed the chief feature of each, though preceded on
the first evening by a cantata by <i>Sebastian Bach</i>, and on the
second by four of <i>Marcello’s</i> Psalms. The first concert had
already taken place the evening before, but as a great number
of hearers as well as performers had come in from the neighbouring
towns to the second concert, Mr. <i>Edele</i>, the director
of the “Society of Ancient Classical Music” at Bern, had made
arrangements to give a repetition of the oratorio on the next
evening, so that at this second performance of it <i>Spohr</i> was
enabled to hear it executed with the greater precision. As the
news of <i>Spohr’s</i> presence soon spread through the church,
the opportunity was seized of giving the composer of the work
which had just been performed with such devout inspiration,
a public mark of the great esteem in which he was held in
Bern; and in the later part of the evening he was suddenly
greeted by a quickly improvised serenade, and addressed
in several animated speeches. On the following morning <i>Spohr</i>
left Bern, and after spending several pleasant days with his
female fellow-travellers in the Bernese Oberland and on the
shores of the Vierwaldstädter Lake, he continued his journey
across the Lake of Constance to Bavaria and its capital,<span class="pagenum"><a name="Page_ii_316" id="Page_ii_316">[Pg 316]</a></span>
Munich, where the much-talked-of grand exhibition of industry
had just been opened. Though the one week spent there may
have been found scarcely sufficient to see all the treasure of
art and manufacture which had been collected partly for permanent
and partly for a short exhibition only, the travellers
do not appear to have thought a longer stay desirable, for
they soon experienced also the prejudicial influence of the bodily
and mental over-exertion, which, combined with the still more
injurious climatic influences which during that disastrous summer
carried off so many of the visitors to that then overcrowded
city. Under such circumstances nothing could be
more desirable than a visit to Alexandersbad, where Dr. <i>Theodor
Pfeiffer</i>, a near relative, and proprietor of the cold-water-cure
establishment, had long kindly invited them. A short stay in
that place, with its healthful mountain air, sufficed to restore
their depressed animal spirits, and <i>Spohr</i> gladly joined in all
the social parties in their excursions to the romantic environs,
and shared in all the cheerful parties of the company at the
baths, which in kindly social spirit lived as one family. All
this, together with the whole arrangements and rules of life,
which were simple and in accordance with nature, were so
much to <i>Spohr’s</i> taste, that from that time he always considered
Alexandersbad as the beau-ideal of an invigorating
summer residence, and after another visit there he firmly
maintained that opinion for the rest of his life.</p>

<p><i>Spohr</i> commenced the following year (1855) with the
composition of six four-voice part-songs for soprano, alto,
tenor and bass, which were soon after excellently sung at a
private concert of the St. Cecilia society with double vocal
support, under his own conducting, and aided by his own
powerful bass. They made an unusual sensation among the
lovers of music present, above all one entitled “Man’s Consolation”
(the words by <i>von Müller von der Werra</i>), which
went home to all hearts.</p>

<p>In the spring of the same year, <i>Spohr</i> obeyed an invitation
from the king of Hanover to direct his double symphony,<span class="pagenum"><a name="Page_ii_317" id="Page_ii_317">[Pg 317]</a></span>
and several other of his compositions, at a grand concert.
Upon his arrival at the railway terminus he was met by
music-director <i>Wehner</i>, at the head of a numerous body of
musicians and friends of the art, and in the evening at the hotel
he was saluted with two serenades, by the military band, and
the members of the choral society. On the subject of the
pleasant days he passed in Hanover upon that occasion both
in a musical and festive point of view, <i>Spohr</i> wrote to his
friend <i>Hauptmann</i>: “I enjoyed myself much on my little excursion
to Hanover. I played a quartet at the King’s, and
it seemed to me that his musical culture went so far as to
like that kind of music. At a morning concert got up by the
chapel royal to let me hear two of my compositions which
they had very carefully practised, I played also my quartet
(<i>E minor</i>). The compositions adverted to were the 7th. violin
concerto, executed in a very masterly manner by <i>Joachim</i>;
and the first double quartet, of which <i>Kömpel</i> played the first
violin in the first, and <i>Joachim</i> in that of the second quartet.
This also, was played in the most finished manner. On the second
day the chapel royal gave a first rehearsal of my symphony, “The
Terrestrial and Divine in human Life,” which was followed by a
grand dinner, which lasted five hours, and during which the
speeches, songs and toasts were numerous and varied. Although
much exhausted I was obliged to go to a musical party in the
evening given by my old friend <i>Hausmann</i>, where I played two
of my quartets, and as on the previous evening, did not get
to bed till two o’clock. On the third day there was a grand
rehearsal in the forenoon, and in the evening the concert for
the benefit of the poor, for which the King had sent me the
invitation to come to Hanover. I conducted the first half,
consisting of the overture and duett from ‘Jessonda’ and my
symphony. All these, executed in a masterly manner, particularly
the double symphony, which I never heard better
played, not even in London. The small orchestra led by
<i>Joachim</i> was composed of the élite of the chapel royal and
was very conveniently placed on the stage, so that it was<span class="pagenum"><a name="Page_ii_318" id="Page_ii_318">[Pg 318]</a></span>
advantageously separated from the large one. The latter was
composed of twenty violins, six viols, five violincellos and five
counter-basses. It contrasted well therefore by its imposing
power, in the sonorous and not too spacious theatre, with the
solo orchestra upon the stage. The effect was very satisfactory.
But in fact the orchestra is a very superior one, particularly
in the stringed instruments. The harmony comprises certainly
several distinguished virtuosi, but in ensemble, it is neither so
even in tone, nor so pure in intonation as ours. The second
part of the concert was conducted by <i>Fischer</i>; it consisted of
the overture to “Euryanthe,” <i>Beethoven’s</i> violin concerto (with
new, superfluously long, very difficult and ungrateful, cadences
by <i>Joachim</i>), and some ‘numbers’ of ‘Lohengrin.’ The concert
was crowded and must have brought in a round sum
to the poor-box.&mdash;On the morning before I left a deputation
from the chapel royal presented me with a leader’s bâton more
rich and tasteful in design than anything of the kind I ever
saw. As I afterwards learned, it was made by order of the
king, to be presented to me by the chapel royal. It consists
of a beautifully grooved ivory staff with a golden handle richly
set with coloured stones, with a similar gold ornamentation
at the top, ending in a knob set likewise with small stones.
The whole thing is extremely tasteful, and has upon the handle
in raised letters: ‘The Royal Hanoverian Chapel to Music-director-general
Dr. <i>Spohr</i>, March 31st. 1855.’ The Elector,
who sent for the work of art to inspect it, expressed himself,
as I am told, upon returning it, with very unreserved dissatisfaction
that the inscription did not express ‘Director-general
of Music to the Elector,’ and said, “who will know hereafter
whose director general of music he was!”<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> &amp;c.</p>
<p><span class="pagenum"><a name="Page_ii_319" id="Page_ii_319">[Pg 319]</a></span></p>
<p>The first impression experienced by <i>Spohr</i> on his return
from Hanover, was also an agreeable one, for he found at home
a telegraphic message that had arrived during his absence,
to the following effect: “Inspruck, March 27th. 1855, 10 m. p.
10 at night. One hundred and fifty dilettanti of Inspruck, who
have just performed the music of “Jessonda” with rapturous
applause, send to the master their heartfelt greetings.” The
letters which subsequently arrived from Inspruck informed
him in a more detailed manner, “that the opera had been
three times performed there in the national theatre to crowded
houses, for the benefit of the fund for the relief of the poor,
and in a manner surpassing all expectation, by musical and
vocal dilettanti;” and expressed at the same time “the hope
that the friends of music in that place would have the gratification
of greeting the honoured and veteran composer in their
own mountains in the course of the year, and hear again that
classic opera under his own personal direction.”</p>

<p>That hope however was not realised, for the journey
contemplated this year was in the opposite direction, towards
the north; first to Hamburg, where <i>Spohr</i> had not been
since the great fire in 1842, and was therefore greatly interested
to see the magnificent manner in which it had been
rebuilt. Fully satisfied in that expectation, he had at the same
time the pleasure of seeing again several much-loved friends
(among whom the family of the <i>Grunds</i>), and to hear many
successful musical performances, both in private and public
circles.&mdash;Being so near to the sister town Lubeck, to which
his wife was still fondly attached, and for whose kind-hearted
inhabitants he himself, since his visit in the year 1840, had a
predilection, it was natural that both should much desire to
make a trip thither, upon the railway which had since then
been opened to connect the two towns. Although it is true
that during the fifteen years which had elapsed, many former
friends had gone to their last rest, yet the venerable old
instructor was still living, and met his former lady pupil and
her renowned husband with the same warmth of heart.<span class="pagenum"><a name="Page_ii_320" id="Page_ii_320">[Pg 320]</a></span>
Verging upon eighty years of age, he had recently retired from
professional life, but the institution he had so long successfully
directed flourished still, conducted in the same spirit by
his worthy son Dr. <i>Adam Meier</i>; and <i>Spohr</i> and his wife,
deeply moved by his touching kindness, took up their abode
beneath the hospitable roof that was so endeared to them by
past recollections.&mdash;As the interests of music were also well
represented by Kapellmeister <i>Hermann</i>, a former pupil and a
warm partizan of <i>Spohr</i>, the days passed agreeably in social
intercourse with old friends and new acquaintances.</p>

<p>In the course of the year 1855 <i>Spohr</i> wrote his 33rd.
violin quartet (Op. 152, published by <i>Siegel</i> of Leipzic) and
three grand duets for two violins (Op. 148, 150 and 153,
published by <i>Peters</i> of Leipzic) which last he dedicated to the
brothers <i>Alfred</i> and <i>Henry Holmes</i> of London. Neither could
he have commended his work to better hands to ensure a
performance and publicity worthy of them, for although those
young artists never had the advantage of his personal instruction,
yet by dint of a diligent study of his “Violin School,”
they had become so penetrated with the spirit of his composition
and his style of play, that <i>Spohr</i> during his last stay
in England had been exceedingly gratified to hear his older
violin duets executed by the two talented youths in a really
masterly manner; and when a few years afterwards, upon an
artistic tour on the continent, they visited Cassel, they caused,
as <i>Spohr</i> himself remarks in a letter: “everywhere the greatest
sensation by their splendid play, and especially excited admiration
by the highly finished and surprising performance of
his duets and concertantes.”</p>

<p>In the spring of 1856 <i>Spohr</i> received a letter from a
former pupil, the director of music <i>Kiel</i>, of Detmold; where upon,
at the desire of his Prince, he proposed to <i>Spohr</i> the composition
of some songs for a baritone voice, with pianoforte
and violin accompaniment. Although doubtful at first that
such a combination would be suited to a deep male voice, he
nevertheless interested himself in the trial, and in a short time<span class="pagenum"><a name="Page_ii_321" id="Page_ii_321">[Pg 321]</a></span>
he wrote a collection of six songs of the required kind, with
which he himself felt highly satisfied. He then gave a hearing
of them in manuscript to his musical friends in his own house,
in which he himself took the violin part, which had proved of
a somewhat difficult nature, and gave the voice part to
<i>Heinrich Osthoff</i> an ex-concert-singer, who for some years
past had been settled in Cassel as a teacher of music, and
who from his particularly excellent and expressive execution
of all <i>Spohr’s</i> song pieces, sacred and otherwise, was a welcome
guest in all musical circles. In Detmold also, the new songs
dedicated to the Prince were very favorably received, and
the Prince, as his director of music informed <i>Spohr</i>, sang
them every day with increased satisfaction. When <i>Spohr</i>
shortly afterwards forwarded the first printed presentation
copy (published by <i>Luckhardt</i> of Cassel, Op. 154) to the musical
prince, the latter in an autograph letter of thanks thus
expressed himself: “that the great pleasure the fine songs
already gave him would be yet increased when he should
have the opportunity of singing them with <i>Spohr’s</i> own accompaniment.”
The obliging letter was at the same time accompanied
by a valuable souvenir, in the shape of a shirt-pin
with the appropriately selected emblems of an oak-leaf in green
gold, with an acorn of pearl set in gold, presented to <i>Spohr</i>
as an honourable acknowledgement “of his true <i>German</i> worth
as musician and as man.”</p>

<p>The first weeks of the summer vacation were passed by
Spohr in a very pleasant and recreative journey to Dresden,
Saxon Switzerland and Prague; after which, having reposed
a short time in his own beautiful flower-garden, he undertook
a journey into the Harz, at the solicitation of an
enthusiastic musical friend, the jurisconsult <i>Haushalter</i> of
Wernigerode.</p>

<p>The increased leisure time gained by <i>Spohr</i> in consequence of
the appointment of his new colleague he now devoted to composition,
for which, despite his advanced age, the impulse and love
had not yet diminished. Though his musical ideas may no longer<span class="pagenum"><a name="Page_ii_322" id="Page_ii_322">[Pg 322]</a></span>
have flowed so copiously, and assumed as readily the form
he wished, as in former years, and though he himself at times
expressed doubts as to whether his later works would take
equal rank with his earlier compositions, yet he frequently
received an enthusiastic recognition of the merit of his newest
compositions from quite unexpected quarters, which always
gave him fresh courage to continue his musical creations.</p>

<p><i>Spohr</i> now determined to write another quartet (his 34th.),
upon terminating which he immediately opened the winter
series of his still continued quartet circle with it. Although this
new composition was considered extremely fresh and charming
by both co-operators and auditory, yet he himself was so
little satisfied with it, that after repeated alteration, which
were rejected as soon as made, he laid aside the whole
quartet as a failure; nor did he write another until a whole
twelvemonth had elapsed: this differed in every respect
from the former, and he substituted it for it under the same
number. Upon its first performance at the quartet meeting
this piece of music pleased him right well; but shortly afterwards
it seemed to him to require many improvements, and
as these did not turn out to his satisfaction, sorrowfully, but
resigned to the consciousness that he could no longer carry
out in a satisfactory manner the ideas which floated before
his fancy, he associated the new 34th. quartet with that which
he had previously rejected, and expressed the wish to his wife
that neither should at any time be made public.</p>

<p>He came to a similar decision in respect to a symphony
which he had composed shortly before, which was performed
once only in the presence of a few only of his most intimate
musical friends, at a rehearsal by the court orchestra of Cassel.
Notwithstanding the numerous beauties and novelties in thought
which it contains, to him nevertheless it did not appear worthy
of being placed in the fine catalogue of his earlier written
symphonies, and in this manner by himself was this&mdash;his
tenth&mdash;symphony condemned, not to destruction it is true,
but to eternal concealment.</p>

<p><span class="pagenum"><a name="Page_ii_323" id="Page_ii_323">[Pg 323]</a></span></p>

<p>In the summer of 1857 <i>Spohr</i> availed himself of the vacation
to go to Holland, his former visit there being still borne
by him in pleasing recollection, he had therefore long been
desirous of proceeding thither with his wife to shew her that
country, as yet unvisited by her, and remarkable for so many
peculiarities. Little as he had calculated upon any musical
enjoyments there at such a season of the year, his pleasure
was great to hear on the very first evening at <i>Verhulst’s</i>, in
Rotterdam, in a numerous circle of musicians and lovers of
music, several quartets both of his own and of <i>Verhulst’s</i> composition,
upon which occasion the violinist <i>Tours</i>, whose acquaintance
he had formerly made, proved himself a great virtuoso, as first
violin. The director of music <i>Böhm</i>, of Dortrecht, who had
shown from his youth a strong attachment to the honoured
master, exhibited it anew by the unwearying attention with
which he strove to alleviate all the cares and difficulties of
travel in a foreign country, and took them wholly upon himself.
Willingly following the arrangements of the excellent “travelling
marshall,” as <i>Spohr</i> was wont playfully to call him, the travellers
were now enabled to see the many remarkable objects
in the chief cities of Holland in a comparatively much shorter
time, after which a further journey was undertaken from
Amsterdam to that part of North Holland lying beyond the
Y. The singular topographical feature of the whole country,
the meadows intersected by innumerable canals and lakes,
meadows covered with grazing cattle, the hundreds of gaily
painted windmills, the cheerful blue sky, and the easy travelling
upon the smoothly paved highroads, more like the parquetted
floors of an apartment&mdash;in short, the whole delightful journey,
with its interesting final objects, the celebrated places Saardam
and Broek, presented a succession of charming pictures that
surpassed all expectation and put <i>Spohr</i> in particular in the
most cheerful possible mood.</p>

<p>Their kind “marshall” <i>Böhm</i> accompanied the travellers on
their return as far back as Utrecht, but placed them there in
good hands, under the hospitable roof of one of <i>Spohr’s</i><span class="pagenum"><a name="Page_ii_324" id="Page_ii_324">[Pg 324]</a></span>
grateful pupils, the director of music <i>Kufferath</i>, with whom
they passed some exceedingly pleasant days. As the country
round Utrecht abounds with handsome country-seats and
parks, these furnished occasion for frequent delightful walks
with the family of their host; and the musical entertainments
given to <i>Spohr</i>&mdash;a quickly arranged organ-concert got up by
<i>Nieuvenhuisen</i>, the organist of the cathedral, and a grand serenade
by torch-light in the evening&mdash;made the memory of
those days worthy of being associated with the pleasing reminiscences
of his former visit.</p>

<p>On the return-journey <i>Spohr</i> stopped a day at Cologne,
where <i>Hiller</i>, the director of music, quickly improvised a
brilliant dinner-party in his honour, and afterwards gratified
him with the performance of some highly interesting musical
pieces in his own house. <i>Hiller</i> himself played with great
spirit a recently composed sonata for the pianoforte of extreme
difficulty of execution, some numbers of the comic opera
composed by him called: “Jest, cunning and revenge,” which was
received with universal satisfaction, and by <i>Spohr</i> in particular
with lively applause. This was succeeded later in the evening
by a musical surprise; the celebrated Cologne choral society,
wholly composed of male voices, had assembled in all silence
in the hotel, and at the door of their honoured guest sang
their finest songs in the most masterly manner, which, together
with a spirited address, spoken by professor <i>Bischof</i>, afforded
him very great pleasure.</p>

<p>Gratified in every respect with his journey, <i>Spohr</i> returned
to Cassel, where, reinvigorated and refreshed, he devoted himself
with his usual zeal and interest to the materially lightened
labours of his office, shared now with his young and active
colleague.</p>

<p>Meanwhile, at that time was heard here and there the
report that it was contemplated to pension him off; but
when he was apprised of this by a friend, and it was
put to him whether he would not rather anticipate such an
intention by proposing himself to retire upon his pension, he<span class="pagenum"><a name="Page_ii_325" id="Page_ii_325">[Pg 325]</a></span>
replied with decision, that: his duty and inclination impelled
him alike to remain in the performance of his official engagements
so long as he could fulfil them satisfactorily. Thus
things remained on the old footing, until on the 14th. November,
both contrary to his wish and expectation, he received the
following rescript from the Elector:</p>

<p>“In pursuance of our most gracious will and pleasure,
we have granted to the director-general of music and court
Kapellmeister at our court-theatre, Dr. <i>Louis Spohr</i>, by reason
of his advanced years, permission to retire into private life, and
have been further pleased to grant him a yearly pension of
1500 Thalers from our court treasury from the date of the
month next ensuing. The department of our lord high marshall
of the palace will make the further dispositions to that effect.
Cassel, November 12, 1857. <i>Friedrich Wilhelm.</i>”</p>

<p>Painfully affected as <i>Spohr</i> was upon the receipt of this,
he with his usual good sense soon overcame the shock of the
first impression and contemplated the matter on its brighter
side; in which sense he then gave expression to his sentiments
in his letters to distant friends, and among others, in replying
shortly afterwards to the director of music <i>Bott</i> respecting
other affairs, he wrote as follows; “You do not appear to have
yet learned that the Elector, without my solicitation, has placed
me in retirement, and although the terms of my engagement
specified that my salary should be paid so long as I
lived, he has pensioned me off on 1500 Thalers per annum.
It has nevertheless appeared in all the newspapers, together
with the account of the festive form in which I directed for
the last time the opera of Jessonda at the theatre. At first
it gave me very great pain, for I felt still perfectly competent
to conduct the few operas which latterly fell to my share. But
I soon learned to estimate my present freedom at its real
value, and now feel very glad that whenever I choose I can
get away by rail whithersoever my fancy takes me! I have
submitted also to the deduction from my salary, having been
informed that I should not be able to compel the payment<span class="pagenum"><a name="Page_ii_326" id="Page_ii_326">[Pg 326]</a></span>
of the full salary without a new law-suit, and because it was
repulsive to my feelings to take the whole amount without performing
any service for it, and I can live very well with three-fourths
of it by means of my savings!”</p>

<p>Thus terminated <i>Spohr’s</i> personal co-operation at opera
and concert. But that he still cherished as warm an interest
in the latter his letters to distant friends attest, and
in this spirit he wrote on December 22nd. to Mr. <i>Lüder</i>:
“Since we were at your house, we have had here the second
subscription concert! It was the first concert that took place
in Cassel without my co-operation, and at which I was present
from beginning to end as an auditor. It consisted of carefully
rehearsed music: the two finales from “Zemire and Azor” and
“Euryanthe;” of instrumental music <i>Mozart’s C major</i> symphony
with the fugue (called Jupiter); of concert things <i>Beethoven’s</i>
violin concerto with <i>Joachim’s</i> cadences, and a concert piece
by <i>Moscheles</i> for two pianofortes, called <i lang="fr" xml:lang="fr">Hommage à Händel</i>, very
correctly and effectively played by Messrs. <i>Reiss</i> and <i>Tivendell</i>.
The concert opened with the overture to “Rosamunda” by
<i>Schubert</i>, one of his youthful works, but which is very pleasing,
and was quite new to me. <i>Reiss</i> has again achieved great
praise both by his arrangement and by his careful rehearsal
and study of the music.” In the same letter he farther says:
“We have also had again two quartet parties, and I am happy
to say, that I am still all right at the violin, only I must
always prepare myself a few days before, which was not necessary
some years ago!<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a>”</p>
<p><span class="pagenum"><a name="Page_ii_327" id="Page_ii_327">[Pg 327]</a></span></p>
<p>The at this time still powerful impulse to compose, on
the one hand, and the dread of being no longer capable of
producing anything good and new on the other, gave rise to
many painful struggles in the mind of <i>Spohr</i>,&mdash;till one
morning he entered his wife’s apartment, and with a cheerful
countenance announced to her that he had found the right
way to get out of the difficulty. He had resolved upon writing
a requiem, and had already conceived some fine ideas for it;
he had the greatest hopes that he would be able to complete
it, and produce a worthy conclusion to his numerous works.
In happy and inspired mood he now immediately went to
work; and in a few days wrote the first subjects, but this
pleasure, like that which he had shortly before boasted of in his
quartet play, was soon dissipated. On the second day after
Christmas Day, while on his wonted way to the reading room
of the museum in the evening twilight he had the misfortune
to fall over the stone steps at the entrance, and to break his
left arm. Beyond all expectation, nevertheless, the fractured
limb was happily healing fast, and when, after a lapse of
several months, with anxious fear of the result, he once more
took up his violin, to draw the first tones from it, the trial
seemed quite satisfactory. But after several days’ practice,
followed up with great perseverance, he nevertheless became
convinced to his great sorrow that his arm would never recover
its lost strength and elasticity; upon which, as in this also he
could no longer satisfy himself, deprived of another of the
most precious elements of his existence, with a grieving heart
he laid by his beloved violin!</p>

<p>Meanwhile, notwithstanding, many wished-for opportunities
presented themselves elsewhere to <i>Spohr</i>, to keep alive his interest
in musical enjoyments and to cheer him with the performance
of his greater works. Scarcely was he recovered
from the fracture of his arm, than he accepted an invitation
to Magdeburg, to hear the performance of his oratorio,
“<span lang="de" xml:lang="de">Des Heilands letzte Stunden</span>,” which was to take place there
on Good Friday. With this performance he expressed himself<span class="pagenum"><a name="Page_ii_328" id="Page_ii_328">[Pg 328]</a></span>
highly pleased, in a letter to Mr. <i>Lüders</i>: “Orchestra, choruses,
and solo-singers were alike excellently practised in their respective
parts, and the effect, in the church of St. Ulrich, which
is so favorably constructed for sound, was indeed heavenly.
The solo-voices, for the most part belonging to the <i>Seebach</i>
choral society, were particularly fine, harmonious and powerful
dilettante singers, and led by their director <i>Mühling</i> they were
so penetrated with the true spirit of the composition, that I
was quite taken by surprise, and delighted!</p>

<p>The accompaniment also of the solo instruments in the grand
air of Mary in the second part was very fine; for <i>Grimm</i> the harpist
had been sent for from Berlin, and the other solo instruments&mdash;violin,
violincello and horn&mdash;were played by members
of the present orchestra of the Magdeburg theatre, who
are, as luck would have it, virtuosi.”</p>

<p>In a similar letter of the 6th. April to <i>Hauptmann</i>, in
speaking of his further contemplated plans of journey, he
says: “Whether all these excursions will be carried into effect,
is not yet decided; but for the rest of my life my artistic
enjoyments are limited to them; for I am now perfectly convinced,
that I cannot accomplish any great work more. I regret
to say, that my last attempt of the kind failed, and my requiem
remains a fragment; nevertheless, as the subject as far
as the <i lang="la" xml:lang="la">Lacrimosa dies illa</i>, at which I stuck fast, pleases me
well, and seems to have much that is new and ingenious in
it, I shall not destroy it, as I should like to take it up again,
and will make another attempt to complete it.”</p>

<p>This attempt, to which with much perseverance he devoted
half a day, proved however a failure, and brought him finally
to the avowed painful determination to relinquish composition
entirely; as he did not feel capable of putting his musical
ideas into a distinct shape. At the conclusion of the letter
adverted to, he says further: “I thank you heartily for your
kind wishes upon my birth-day! Notwithstanding my present
low spirits on account of my artistic impotency, I nevertheless
passed it agreeably enough. That may have arisen<span class="pagenum"><a name="Page_ii_329" id="Page_ii_329">[Pg 329]</a></span>
from my happily performed journey.” Scarcely three weeks afterwards,
<i>Spohr</i>, again full of pleasurable anticipation, set out
anew, and this time to Bremen, where the director of music
<i>Engel</i> purposed to open his recently established choral society
with the public performance of <i>Spohr’s</i> oratorio, “The Fall of
Babylon,” a great undertaking, but so worthily executed
that <i>Spohr</i> himself was greatly surprised and deeply moved.</p>

<p>For the beginning of July <i>Spohr</i> had been invited to Prague,
where the half-centennial anniversary of the Conservatory of
that city was to be celebrated by three grand musical performances&mdash;among
which was his opera “Jessonda.” The celebration
of divine service in the cathedral on the first morning
was followed in the evening by a grand concert in the theatre.
It began with a new Symphony by <i>Kittl</i>, the director of the
conservatory, which, like the other <i lang="fr" xml:lang="fr">Pièces d’Ensemble</i>, was
performed by the pupils of the institution; while the solo-pieces
were executed by foreign resident musicians who had received
their education there; among these, the celebrated violinists
<i>Dreyschock</i> and <i>Laub</i>. “On the second evening,” in the words
of the “<span lang="de" xml:lang="de">Tagesboten aus Böhmen</span>,” “not only in honour of the
great musician present, but in order to give every true lover
of art a right festive evening, the ‘Jessonda’ of <i>Dr. Louis
Spohr</i> was selected, and Prague had this time the satisfaction
of seeing the inspired and still vigorous veteran conduct the
performance of his work himself.... As <i>Spohr</i> took his
place at the conductor’s desk, which was hung with wreaths of
laurel and ornamented with a crown of the same, he was received
by the densely crowded house, which comprised all the leading
artists and lovers of music of Prague, with long and enthusiastic
applause. At every moment of interest, of which the fascinating
“Jessonda,” (the not yet surpassed model of German lyrical
opera) is one uninterrupted beautiful chain, the most gratifying
acclamations were first directed to the master, and then to
the singers. After the second act, the venerable poet of sweet
sounds was vehemently called forward upon the stage, as
also after the last act, when another crown of laurel was<span class="pagenum"><a name="Page_ii_330" id="Page_ii_330">[Pg 330]</a></span>
thrown to him.... The conducting of the honoured master
<i>Spohr</i> is still marked by unimpaired vigour, and attention
to every detail; his stroke of the baton has its usual characteristic
stamp” &amp;c. The <i lang="fr" xml:lang="fr">concert spirituel</i>, which had been
arranged for the third evening, as the finale to the musical
part of the festival, comprised as chief subject, the ninth Symphony
of <i>Beethoven</i>; but at the grand dinner given on the
following day, a series of select musical pieces was performed,
and the opportunity seized, both by loud calls for the repetition
of the overture to “Jessonda,” and every possible mode
of demonstration, to honour <i>Spohr</i>, the Nestor of the numerously
congregated musicians, as the king of the feast. Not
less however than by all these demonstrations was he gratified
by the kind anticipation of his wishes with the invitation to
visit the country-house in the neighbourhood of Prague which
had been hallowed by <i>Mozart’s</i> lengthened residence; to which
the present proprietor Herr <i>Popelka</i> himself accompanied him,
to shew him the room, which <i>Spohr</i> also looked upon as sacred
ground, where <i>Mozart</i> had composed his “Don Juan.”</p>

<p><i>Spohr</i> was less fortunate upon his return journey in realising
a long-cherished and ardent wish. He had for several
years vainly endeavoured to hear upon a foreign stage <i>Mozart’s</i>
opera “Idomeneo,” which he had never been able to give a performance
of in Cassel, and which was known to him only in the
pianoforte selection. With this object also, already in the beginning
of the summer, apart from and independent of his subsequently
promised visit to Prague, he had projected a journey
to Dresden, for the reason, as he then expressed in a letter
to his friend <i>Lüder</i>&mdash;“that with the constantly increasing
dearth in the repertory of modern operas, an as yet unheard
opera of <i>Mozart</i> was too important an event, and for him
an artistic necessity too great, that he should not joyfully undertake
even a much longer journey to hear it.” Long previously
he had written on the subject to his friend the director of
music <i>Reissiger</i>, and at length thought to see his hope realized
in Dresden, either before or after the Prague musical festival.<span class="pagenum"><a name="Page_ii_331" id="Page_ii_331">[Pg 331]</a></span>
Unfortunately, however, owing to the absence of the chief
singers of the opera, it could not be carried out, and so, consoling
himself meanwhile till the autumn, he took the road
to Alexandersbad, where during a pleasant sojourn of a week,
he reposed from the exertion of the previous journey in the
enjoyment of the quiet relaxation he so much desired.</p>

<p>Greatly gratified, and visibly refreshed as <i>Spohr</i> again
returned from this pleasant excursion to Alexandersbad, yet
from that period he exhibited a constantly increasing low-spirited
and thoughtful mood, which was so opposite to his
former manner. To his wife, who vainly tried every means
to cheer him, he would then reply after a protracted and
earnest silence, that he was weary of life, as he could no
longer be doing; that he had enjoyed to exhaustion all that
mortal life could given, and lived to see a more widely spread
recognition and love for his music than he even could have
hoped for,&mdash;that now he ardently wished for death, before
the infirmities of old age completely prostrated him. Nevertheless
he always felt cheerfully moved again by invitations to new
journeys, and musical enjoyments, of which several presented
themselves in the autumn. In September namely, the journey
to Wiesbaden to the musical festival of the Middle-Rhine, and
in October to Leipsic, to the performance of his own and
other works which particularly interested him, at the Gewandhaus
concert, at the conservatory and at the church,&mdash;on
which occasions he at both places followed the musical performances
with persevering interest and pleasure, and received
with lively satisfaction the various ovations of which he was
the object. Although upon this journey to Leipsic, and lastly
also to Dresden, he found no opportunity to realise his <i>most
ardent expectation</i> to hear the “Idomeneo,” he nevertheless was
somewhat compensated for the disappointment by the kindness
of the Frankfort theatrical Intendant, who on his previously
expressed wish, announced <i>Cherubini’s</i> opera of “Medea” for
the evening of his arrival there, on his way through to Wiesbaden,
and thus afforded him the high enjoyment of hearing that
classically beautiful music.</p>

<p><span class="pagenum"><a name="Page_ii_332" id="Page_ii_332">[Pg 332]</a></span></p>

<p>As with the decrease in the length of the days and with
the gloom of winter, the sleeplessness and nervous excitement
which had affected him so prejudicially at Leipsic also, increased
during the long nights, and from that time slowly but obviously
augmented; leaving as their result a still greater debility and
uneasiness during the day; his cheerfulness abandoned him entirely.&mdash;Shortly
after his visit to Leipsic, where the orchestral
pieces under the excellent direction of <i>Rietz</i> gave him especial
pleasure, he wrote among other things to <i>Hauptmann</i>....
“I cannot express to you how this time all the music I heard
in Leipsic pleased me.... From the devotional sentiment
which your motette raised in me on Sunday, I envy you not
a little the energy with which you still continue to work,
while with me it is all over with composing and with violin
play! Yesterday I received from <i>Zellner</i>, the musical critic at
Vienna, the intelligence that one of my oratorios is to be performed
there, and he invited me on the part of the originators
of the design, to come and direct it myself. For several
years the Austrian society had contemplated giving my ‘Fall
of Babylon’ as a musical festival in the Imperial Riding School;
but then, even with the aid of <i>Metternich</i>, I could not get permission
to go there. Now, when I could get away, as I am
an invalid, and the journey too far and fatiguing, I am obliged
to renounce it. I shall therefore decline the invitation and
content myself with shorter journeys in the fine season of the
year. But on such occasions, struggles with my inclinations
and low spirits always follow! and so one is induced to envy
the lot of several who were personally known to me, who of
late died suddenly....” Impressed with similar painful thoughts
and not without many inward struggles, <i>Spohr</i> wrote the letter
to decline the invitation that he received at that time to
Königsberg, to the centenary <i>Händel</i> Festival, where he had
been chosen to direct the magnificent “Messiah” and one of
his own works; and where it was intended to pay to him, as
sole worthy representative of the great <i>Händel</i>, all the homage<span class="pagenum"><a name="Page_ii_333" id="Page_ii_333">[Pg 333]</a></span>
and honours which could not be rendered to <i>Händel</i> personally,
in all the overflowing fulness of their warmth.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p>

<p>As <i>Spohr</i> for many years had been considered by the whole
musical world as the highest authority in everything that
pertained to his art, a day seldom passed without bringing
applications or requests of some kind, frequently from the
most distant localities, which his ever-ready disposition to oblige
never permitted him to leave unnoticed, but to which, now
although with a heavy heart, he was more and more compelled
to waive replying. One application nevertheless may here
be mentioned, which, coming at a particularly favourable moment,
rekindled his zest to make a last essay at composition,
and which in reality also was his last! For many years he
had been repeatedly solicited in the most irresistible words
by Mr. <i>Chr. Schad</i>, the publisher of the Almanack of the
German Muses, to write a few little songs for it, and <i>Spohr</i>
had each time the satisfaction to learn that those willingly
bestowed little contributions were received with a more than
usual approbation. In the autumn of 1857, when with considerable
timidity he had endeavoured to satisfy Mr <i>Schad’s</i>
urgent wish for a composition for the words of the old ballad
of <i>Walter von der Vogelweide</i>, “the silent nightingale,” he received
a very poetical letter of thanks expressing the writers
“admiration of the musical sentiment and depth of feeling
with which the beautiful ballad had been rendered by the composer,”
and that “it is a great satisfaction for a German heart
that two masters of his nation, although separated by an interval
of six hundred years, should have exhibited the rich treasures<span class="pagenum"><a name="Page_ii_334" id="Page_ii_334">[Pg 334]</a></span>
of their inmost feelings, in so noble, so simple and so harmonious
a form of words and tone,” &amp;c. Now at length, in
October 1858, six months after having laid aside his incompleted
requiem as his last composition, he received another
letter, beginning with the words: “Your silent nightingale
which built her harmonious nest in the thick verdure of last
year’s Almanack of the Muses, has met with the loudest approbation
of the German nation for the very eloquence of
that silence. And who better than the loved great master
<i>Spohr</i> would know how to utter sounds more replete with
the soul’s harmony,&mdash;who know how to move more deeply
and purely a German heart! No wonder is it that I again
knock at your door to-day. I come in the name of, and at
the request of, more than eighty of the best hearts and heads
in Germany, who have chosen me as their standard-bearer
for a noble patriotic object.... I lay before you three of the
most beautiful of <i>Göthe’s</i> songs for your unrestricted choice, and
resign myself to the pleasing hope of seeing one or the other
enveloped in a melodious garb by your master-hand.” And,
indeed, already on the following morning his wife heard with
joyful emotion the sound of the long-silent keys of the pianoforte,
in his room, and his still pleasing voice as he sang in
accompaniment. A few hours afterwards he came also with
a look of pleasure to fetch her, to sing to her forthwith the
new music he had composed to <i>Goethe’s</i> “<span lang="de" xml:lang="de">Herz, mein Herz,
was soll das geben</span>,” having already completed it as regarded
the chief thing; though the rhythm and conclusion not being
yet to his fancy, would require a longer time to finish. When
however, his wife, greatly pleased with the lively, pretty melody,
could not refrain from making the observation that it had a
very striking resemblance to <i>Beethoven’s</i> composition to the
same words, he assured her that he had no knowledge of it,
or at least no recollection of it at all, but expressed the wish
to have it procured, in order to satisfy himself of the resemblance.&mdash;With
his own song he was now tolerably satisfied,
and said, with truth also, that it would have a very good<span class="pagenum"><a name="Page_ii_335" id="Page_ii_335">[Pg 335]</a></span>
effect, if those who sung it did not <i>spoil it by too slow a Tempo</i>,
as was so frequently the case with his compositions, a remark
which is in so far characteristic, as <i>Spohr</i>, so often as he
heard his works performed abroad, or not under his own immediate
direction, always felt annoyed by the time being taken
frequently <i>too slow</i>, but scarcely ever complained of one taken
<i>too fast</i>. When at length the new song was studied under
his superintendance by his niece <i>Emma Spohr</i>, who, gifted
with a fine voice, always sung songs of the kind in the family-circle,
he sang to her himself with the most lively emotion,
and with almost breathless rapidity, the three closely following
strophes, without interlude, to encourage her to a similar execution.
But a few weeks afterwards, when he again caught
sight of the manuscript, he said, with a sorrowful expression
of face, that the song was worthless, and regretted that he
had sent it for publication in the Almanack of the Muses!</p>

<p>As evidence of his restless impulse to be usefully active,
one instance may here be adduced:</p>

<p>When, after breaking his arm, he was compelled to give
up violin playing himself, he thought also that he could no
longer give satisfaction as a <i>Teacher</i> of his instrument; he
had dismissed his last violin pupils, young persons without
pecuniary means whom he instructed from a humane feeling
and zeal for the art.&mdash;But now, in December 1858, he again
resumed his labours as a beneficent instructor, and expressed
himself to <i>Hauptmann</i> upon the subject in the following words:
“In order still to be somewhat actively engaged in the cause
of art, I have commenced giving pianoforte lessons gratis to
a young lady who wishes to qualify herself for a teacher of
that instrument. But when it is requisite to play anything
to my pupil, I am of course obliged to call my wife or sister-in-law
to my assistance.”</p>

<p>In this manner, the this time especially dreaded winter,&mdash;his
last&mdash;had come! On New Year’s morning 1859, after a
sleepless and restless night passed in a state of painful nervous
excitement, he received in earnest silence the wishes of the<span class="pagenum"><a name="Page_ii_336" id="Page_ii_336">[Pg 336]</a></span>
season from his family and friends,&mdash;but still looked forward
with hope to a “fine spring and summer,” which he contemplated
passing happily once more, partly at home among his favorite
flowers, and partly in little journeys. For such journeys, which
his friends always designated as “little triumphal excursions,”
the most alluring invitations had again long been received
from all sides, but of these of course he could only accept
those which were to places most easily accessible. When upon
such occasions with an effusion of grateful satisfaction he gave
utterance to his feelings in the words: “It often seems to
me as though all the world thought only of conferring upon
me a very feast of pleasure before I die,” it was unfortunately
always followed by the sad addition: “but no one knows
how miserable I feel, and no one can relieve me of my
sufferings.”&mdash;With almost morbid impatience he now looked
forward to the next spring, when he had proposed to himself,
at the special request of <i>John J. Bott</i>, who was now appointed
director of music at the court orchestra of Meiningen, to proceed
thither, to direct the concert which was then to be given
for the benefit of the widow’s relief fund. The few hours
occupied by the journey on the newly-opened Werra railway
were easy and comfortable to him, and upon his reception
at the terminus of Meiningen <i>Spohr</i> was particularly gratified
at meeting once more both his favorite pupils <i>Grund</i> and <i>Bott</i>,
who greeted their honoured master with expressions of the
heartiest welcome, and who the next day were unwearied in
showing their grateful attachment to him in every possible manner.
Immediately on the first evening, as a further festive welcome, a
grand serenade by torch-light was given to him, in which under
<i>Bott’s</i> conducting (in the <i>Spohr</i> style), male choral and four-part-songs
interchanged alternately with the music of the full
orchestra; and at the close, at the moment when the cheers
of the assembled crowds were loudest, the whole living mass
was suddenly illumined by the coloured fires of a brilliant
sun, which disclosed also to view, as though by magic, the fine
parks opposite the house. At the rehearsal for the concert<span class="pagenum"><a name="Page_ii_337" id="Page_ii_337">[Pg 337]</a></span>
on the following evening, <i>Spohr</i> found all the musical pieces
so carefully studied and in accordance with all his intentions,
that he could look forward with pleasing certainty to its performance
on the next evening, and the more so, as the two
directors of music, <i>Grund</i> and <i>Bott</i>, felt an especial pleasure
in resuming their former places under the direction of their
master, as co-operating violinists in the orchestra, and in thus
giving him the most powerful support.</p>

<p>The “<span lang="de" xml:lang="de">Meininger Tageblatt</span>” makes mention of the concert
in the following terms: “Upon the stage, between branches
of palm and laurel, was placed a collossal bust of <i>Spohr</i>. The
conductor’s desk had been decorated by female hands with
ingenious devices and garlands of flowers. The house, filled
to overflowing, awaited in breathless suspense the appearance
of the famed old master. ‘He comes!’ ... was whispered
through the spacious house, and a thousand-tongued welcome
of joy greeted the honoured man. In a few minutes
afterwards he had lifted the conductor’s baton&mdash;a solemn
silence immediately ensued; and in a few moments the first
notes of the symphony “<span lang="de" xml:lang="de">Die Weihe der Töne</span>” resounded.
The eyes of all were directed to the Nestor of the science
of music, who brought to our mind the Olympian Jove&mdash;<i lang="la" xml:lang="la">omnia
supercilio moventis</i>. All the orchestral assistants felt
the importance of the moment, and lent their most efficient
aid. The same calm which everywhere breathes through the
works of this musician was seen also in his conducting. Not
the least fraction of a beat was thrown away&mdash;in all and
everywhere, were seen the director of orchestra and the musicians,
as a grand impersonated whole, achieving in every
part a fresh triumph. The honoured poet of sweet sounds
directed besides his grand symphony, five other of his works,
and with so steady a hand, that the crowded house was
filled with admiration.” ... This part of the concert in which
<i>Spohr</i> wielded for <i>the last time</i> the conductor’s baton, comprised
among the rest, his concertante in <i>H minor</i>, which
was executed by director of music <i>Bott</i> and concert-master<span class="pagenum"><a name="Page_ii_338" id="Page_ii_338">[Pg 338]</a></span>
<i>Müller</i> in a masterly manner, and gave him great pleasure. In
appropriate choice followed the overture to the “Mountain Sprite,”
with which thirty-four years before he had opened the festive
celebration of the marriage of the ducal pair. As upon that
occasion the exalted couple listened with pleasure to the tones
of the master, and exhibited a warm interest not only by
their presence at the rehearsal and performance, but by the
most marked attentions; and the duke, who many years previously
had presented <i>Spohr</i> with the cross of knighthood of
the order of the house of Saxe-Ernest, changed it upon this
occasion for the grand cross of the order.&mdash;The last evening
in Meiningen was further celebrated in honour of <i>Spohr</i> by a
grand masonic fête, which afforded him no less gratification;
as also a hearty written testimony of thanks addressed to
him by the intendant of the court orchestra, Mr. <i>von Liliencron</i>,
from which, as it refers to <i>Spohr’s last appearance as
conductor</i>, we may here cite some words, which will perpetuate
the memory of that day: “The house filled to the very utmost,&mdash;the
enthusiastic acclamations,&mdash;the flowers and
wreaths, testified to you yesterday, how fascinated we all were
by your tones, how deeply moved at the sight of the loved
and highly honoured master. If the recollection of that delightful
evening will remain indelibly impressed upon all who
were present, so will the benign purpose of that concert impress
the recollection of your appearance among us; for in
future years, when it shall be read what was presented on
the 12th. April 1859 to the widows and orphans by the court
orchestra of Meiningen, it will be said: that was the day on
which <i>Spohr</i>, the master, wielded the conductor’s baton in
our midst.”</p>

<p>A second journey undertaken shortly after by <i>Spohr</i>, was
to the pleasant little princely residence of Detmold, where he
was again welcomed by a grateful pupil, the director of music
<i>Kiel</i>, and its art-loving prince, in a similar manner as in
Meiningen, with two successive days of festivities in his honour.
The proffered direction of a grand concert solely embracing<span class="pagenum"><a name="Page_ii_339" id="Page_ii_339">[Pg 339]</a></span>
his own compositions he had firmly declined, and as auditor
could therefore give himself up more completely to the enjoyment
of his own excellently performed music, two numbers
of which in particular afforded him exceeding pleasure; the
performance namely by his former pupils <i>Kiel</i> and concertmaster
<i>Bargheer</i>, who together executed his <i>A minor</i> concertante,
and the symphony “<span lang="de" xml:lang="de">Die Jahreszeiten</span>”&mdash;a favorite
and prominent point of excellence with the court orchestra
of Detmold&mdash;and which he had especially chosen by a previously
communicated request.</p>

<p>Returned once more to Cassel after a week happily passed
in the midst of the enjoyment of art and nature, <i>Spohr</i> unhappily
could no longer conceal from himself, that even these
short journeys were now followed by many painful results,
in the shape of a yet more increased nervous restlessness at
night&mdash;yet his spirit soon yearned again for diversity and change
of place, and especially towards his favorite Alexandersbad,
where he confidently hoped a longer stay in the fine air of that
locality would again induce an improvement in his health,
and particularly restore his sleep at night. Strengthened in
this belief by the opinion of his ever-sympathising and watchful
medical attendant Dr. Ad. <i>Harnier</i>, he set out for Alexandersbad,
where he remained some weeks. His health improved,
and he passed better nights. But on his return he visited
Würzburg, and was present at the performance of his “<span lang="de" xml:lang="de">Letzte
Dinge</span>;” and this, and his reception, and the leave-taking,
made such an impression on him, that it went far to neutralize
the improvement in his health that had taken place at
Alexandersbad.</p>

<p>His pleasure at hearing good music remained with him
to the last, for which reason he never missed a concert, and
even frequently went to the theatre, where above all things
the music so dear to his heart&mdash;the operas of <i>Mozart</i>&mdash;ever
filled him anew with the fresh transports of a youthful joy.&mdash;At
home he passed the greater part of the day in reading,
but no longer as formerly in that of political journals and<span class="pagenum"><a name="Page_ii_340" id="Page_ii_340">[Pg 340]</a></span>
instructive scientific works, which had excited and absorbed
his interest,&mdash;he now delighted rather in entertaining moral
works, simple novels that appealed to the heart, and the like,
which for the time distracted his attention from his suffering
condition.&mdash;At frequent intervals he would request his wife
to play something to him, and herein he would shew a preference
for the pianoforte music of <i>Bach</i> and <i>Mendelssohn</i>,
yet without withdrawing his interest from the productions of
more modern composers.</p>

<p>A pleasing diversion in the uniform sameness of his everyday
life, was afforded to him in the first days of October by
a visit to the princess <i>Anna</i>, wife of prince <i>Frederick</i>, the
heir apparent to the Hessian throne, at the express invitation
of that princess, during a residence of some days at
Cassel in the Bellevue palace. Upon his return he related
with feelings of pleasure the amiable anticipatory attentions
of the princess, who, in consideration of <i>Spohr’s</i> greater convenience,
had descended with her husband and child, prince
<i>Wilhelm</i>, then five years old, to an apartment on the ground-floor,
where he was received, and where after a lengthened
pleasing conversation with the princely pair, she, at the conclusion,
besought him with the most winning kindliness of manner,
to write a few lines by way of souvenir in her album. In
satisfaction of this request, on the 7th. October, he wrote,
though indeed with a weak and tremulous hand, yet with
his usual readiness, a particularly requested passage of the
well-known duett in “Jessonda,” in the costly album that had
been forwarded to his house.</p>

<p>On Sunday the 16th. October, a change, at first scarcely
observable, evinced itself in his condition: an expression of
calm contentment such as not had been seen for a long time,
settled on his features; in spite of the preceding restless
night, of the obvious continual bodily sufferings and increasing
debility no more complainings were heard to fall from his
lips; yet he was more than usually silent, and though he
replied in a kind tone to every inquiry adressed to him, it<span class="pagenum"><a name="Page_ii_341" id="Page_ii_341">[Pg 341]</a></span>
was as short as possible. In the afternoon, on rising from the
dinner-table, he stood for a long time at the open door of
the house, musing as he gazed upon the rich autumnal beauties
of his flower-garden,&mdash;but upon the proposition of his wife
to take his coffee outside under the bower, he replied, that he
wished to take it that day in his room, and that she with
her sister would play something to him. This of course was
with pleasure immediately complied with. After he had listened
to some symphonies arranged for four hands,&mdash;apparently
as though half-lost in a dream, yet as might be inferred from
many remarks that fell from him, with much attention, he
requested further by way of conclusion, his newest quintet
(Op. 144, <i>G-minor</i>) with the piano-forte arrangement of which
for four hands he had but shortly before become acquainted;
to this also he listened with full interest and obvious satisfaction.
After the last theme he inquired: “How long ago
may it be that I wrote that?” and when his wife, who could
not immediately remember the year, replied it might be perhaps
three or four years ago,&mdash;he said with a sigh: “Then
<i>there</i> I did still succeed in effecting it! and now I can no
longer do so!” With these words he rose from his chair, to
prepare for his customary evening walk to the reading rooms,
which, despite all his weakness and some admonitions from
his wife, he nevertheless slowly, and supported by her, still
persevered in. But feeling exceedingly anxious at home respecting
him, she despatched a devotedly attached servant to
see after him, much earlier than he had been ordered to bring
him back: upon which, in a condition of extreme debility, he
immediately permitted himself to be led home, and shortly
after his frugal supper to be put to bed. After the usual
parting evening kiss, he said to his wife: “he hoped from
being so tired he should at length have a <i>good night’s rest</i>,”&mdash;and
thereupon sank into a soft slumber from which he did
not awake till the next morning and then with a cheerful
mien. He had found the much-desired repose, he felt no
longer any bodily suffering, the serene expression of his coun<span class="pagenum"><a name="Page_ii_342" id="Page_ii_342">[Pg 342]</a></span>tenance
betokened it from that moment to his last breath!
To rise he refused; neither would he take breakfast; but
requested his wife to sit on the bed beside him; took
her hand, and kissed it tenderly, with an affectionate expression
in his kindly beaming eyes that spoke to her more
eloquently than could a thousand words. Shortly afterwards
his attentive physician arrived, and immediately perceived
that a higher power had granted to him the long-desired
rest. His family was already prepared for the approaching
heart-rending separation. His children and nephews, near and
distant friends, hastened to his couch, all desirous to look as
long as possible on his loved and honoured face, each glad to
snatch one look more from his truthful loving eyes! In this
manner he lay, surrounded by all that were most dear to
him in life, in calm repose; from day to day with decreasing
consciousness of existence; in spirit mayhap, already appertaining
to a higher world,&mdash;until the evening of the 22nd.
Oct. (1859), when at half-past ten his weary eyes closed for
<span class="lock">ever!&mdash;&mdash;</span></p>

<p>The pious tones which once with a holy inspiration had
gushed from the pure fount of his soul&mdash;tones to which he
had himself listened in silent devotion but a few weeks before,&mdash;resounded
now in mourning over his grave; and sad
and sorrowful, though at the same time sweetly consolatory,
still echo far and wide to the hearts of all:</p>

<div class="blockquot">

<p>“Blessed are the dead, who die in the Lord, now and
for ever. They repose from their labours, and their
works follow them!”</p></div>

<p class="p2 center">
<em class="gesperrt">Finis.</em>
</p>



<p><span class="pagenum"><a name="Page_ii_343" id="Page_ii_343">[Pg 343]</a></span></p>




<h2>Alphabetical list
of the most notable persons, adverted to in the two volumes.</h2>



<div class="center">
<table class="toc" border="0" cellpadding="4" cellspacing="0" summary="Index">
<tr><td colspan="2" class="right">Page</td></tr>
<tr><td>Beethoven</td><td class="right">I. <a href="#Page_184">184</a>, <a href="#Page_199">199</a></td></tr>
<tr><td>Bott, Jean</td><td class="right">II. <a href="#Page_ii_232">232</a>, <a href="#Page_ii_313">313</a>, <a href="#Page_ii_336">336</a></td></tr>
<tr><td>Boucher</td><td class="right">II. <a href="#Page_ii_68">68</a></td></tr>
<tr><td>Catalani</td><td class="right">II. <a href="#Page_ii_25">25</a></td></tr>
<tr><td>Cherubini</td><td class="right">II. <a href="#Page_ii_133">133</a></td></tr>
<tr><td>Clementi</td><td class="right">I. <a href="#Page_39">39</a></td></tr>
<tr><td>Curschmann</td><td class="right">II. <a href="#Page_ii_158">158</a>, <a href="#Page_ii_161">161</a></td></tr>
<tr><td>Dingelstedt</td><td class="right">II. <a href="#Page_ii_211">211</a></td></tr>
<tr><td>Dussek</td><td class="right">I. <a href="#Page_79">79</a>, <a href="#Page_86">86</a></td></tr>
<tr><td>Eck</td><td class="right">I. <a href="#Page_13">13</a></td></tr>
<tr><td>Feska</td><td class="right">I. <a href="#Page_193">193</a>, <a href="#Page_225">225</a></td></tr>
<tr><td>Field</td><td class="right">I. <a href="#Page_40">40</a></td></tr>
<tr><td>Goethe</td><td class="right">I. <a href="#Page_102">102</a>, <a href="#Page_116">116</a></td></tr>
<tr><td>Grabbe</td><td class="right">II. <a href="#Page_ii_190">190</a></td></tr>
<tr><td>Grund, Edward</td><td class="right">II. <a href="#Page_ii_103">103</a>, <a href="#Page_ii_336">336</a></td></tr>
<tr><td>Hauptmann, Moritz</td><td class="right">I. <a href="#Page_169">169</a> II. <a href="#Page_ii_137">137</a>, <a href="#Page_ii_241">241</a></td></tr>
<tr><td>Hesse, Adolph</td><td class="right">II. <a href="#Page_ii_196">196</a>, <a href="#Page_ii_209">209</a>, <a href="#Page_ii_299">299</a></td></tr>
<tr><td>Hermstedt</td><td class="right">I. <a href="#Page_123">123</a>, <a href="#Page_140">140</a>, <a href="#Page_156">156</a>, <a href="#Page_159">159</a> II. <a href="#Page_ii_135">135</a></td></tr>
<tr><td>Hiller, Ferdinand</td><td class="right">II. <a href="#Page_ii_324">324</a></td></tr>
<tr><td>Holmes, Alfred and Henry</td><td class="right">II. <a href="#Page_ii_320">320</a></td></tr>
<tr><td>von Humboldt, Alex.</td><td class="right">II. <a href="#Page_ii_269">269</a></td></tr>
<tr><td>Immermann</td><td class="right">II. <a href="#Page_ii_189">189</a></td></tr>
<tr><td>Joachim</td><td class="right">II. <a href="#Page_ii_278">278</a>, <a href="#Page_ii_289">289</a>, <a href="#Page_ii_317">317</a></td></tr>
<tr><td>Kömpel, Augustus</td><td class="right">II. <a href="#Page_ii_300">300</a></td></tr>
<tr><td>Körner, Theodor</td><td class="right">I. <a href="#Page_177">177</a></td></tr>
<tr><td>Kreutzer</td><td class="right">I. <a href="#Page_250">250</a>, II. <a href="#Page_ii_108">108</a>, <a href="#Page_ii_119">119</a></td></tr>
<tr><td>Laube, Heinrich</td><td class="right">II. <a href="#Page_ii_277">277</a></td></tr>
<tr><td>Liszt, Franz</td><td class="right">II. <a href="#Page_ii_239">239</a>, <a href="#Page_ii_271">271</a></td></tr>
<tr><td>Mendelssohn</td><td class="right">II. <a href="#Page_ii_189">189</a>, <a href="#Page_ii_210">210</a>, <a href="#Page_ii_277">277</a>, <a href="#Page_ii_290">290</a></td></tr>
<tr><td>Methfessel</td><td class="right">II. <a href="#Page_ii_59">59</a></td></tr>
<tr><td>Meyerbeer</td><td class="right">I. <a href="#Page_80">80</a>, <a href="#Page_312">312</a>, II. <a href="#Page_ii_266">266</a>, <a href="#Page_ii_270">270</a></td></tr>
<tr><td>Molique</td><td class="right">I. <a href="#Page_212">212</a></td></tr>
<tr><td>Moscheles</td><td class="right">II. <a href="#Page_ii_294">294</a>, <a href="#Page_ii_313">313</a></td></tr>
<tr><td>Müller, Brothers</td><td class="right">II. <a href="#Page_ii_228">228</a></td></tr>
<tr><td>Napoleon</td><td class="right">I. <a href="#Page_117">117</a></td></tr>
<tr><td>Owen, Professor</td><td class="right">II. <a href="#Page_ii_304">304</a></td></tr>
<tr><td>Ole Bull</td><td class="right">II. <a href="#Page_ii_213">213</a></td></tr>
<tr><td>Paganini</td><td class="right">I. <a href="#Page_279">279</a>, II. <a href="#Page_ii_168">168</a></td></tr>
<tr><td>Pott, Augustus</td><td class="right">II. <a href="#Page_ii_262">262</a>, <a href="#Page_ii_273">273</a></td></tr>
<tr><td>Prutz, Robert</td><td class="right">II. <a href="#Page_ii_278">278</a></td></tr>
<tr><td>von Raumer</td><td class="right">II. <a href="#Page_ii_2">2</a></td></tr>
<tr><td>Raupach</td><td class="right">II. <a href="#Page_ii_184">184</a></td></tr>
<tr><td>Ries, Ferdinand</td><td class="right">II. <a href="#Page_ii_75">75</a>, <a href="#Page_ii_161">161</a></td></tr>
<tr><td>Ries, Hubert</td><td class="right">II. <a href="#Page_ii_269">269</a></td></tr>
<tr><td>Rochlitz</td><td class="right">I. <a href="#Page_75">75</a>, II. <a href="#Page_ii_159">159</a>, <a href="#Page_ii_186">186</a></td></tr>
<tr><td>Rode</td><td class="right">I. <a href="#Page_61">61</a>, <a href="#Page_161">161</a></td></tr>
<tr><td>Romberg, Andreas</td><td class="right">I. <a href="#Page_135">135</a>, <a href="#Page_210">210</a></td></tr>
<tr><td>Romberg, Bernard</td><td class="right">I. <a href="#Page_78">78</a></td></tr>
<tr><td>Schmidt, Aloys</td><td class="right">I. <a href="#Page_159">159</a></td></tr>
<tr><td>Schumann, Robert</td><td class="right">II. <a href="#Page_ii_210">210</a>, <a href="#Page_ii_296">296</a></td></tr>
<tr><td>Schwenke</td><td class="right">I. <a href="#Page_135">135</a></td></tr>
<tr><td>Spontini</td><td class="right">II. <a href="#Page_ii_156">156</a></td></tr>
<tr><td>Taylor, Prof., Ed.</td><td class="right">II. <a href="#Page_ii_216">216</a>, <a href="#Page_ii_249">249</a>, <a href="#Page_ii_253">253</a></td></tr>
<tr><td>Tiek, Ludwig</td><td class="right">II. <a href="#Page_ii_269">269</a></td></tr>
<tr><td>Wagner, Richard</td><td class="right">II. <a href="#Page_ii_245">245</a>, <a href="#Page_ii_276">276</a></td></tr>
<tr><td>von Weber, C. Maria</td><td class="right">I. <a href="#Page_109">109</a>, <a href="#Page_140">140</a></td></tr>
<tr><td>Wichmann, Professor</td><td class="right">II. <a href="#Page_ii_269">269</a></td></tr>
<tr><td>Wieland</td><td class="right">I. <a href="#Page_102">102</a>, <a href="#Page_116">116</a></td></tr>
<tr><td>Winter</td><td class="right">I. <a href="#Page_105">105</a></td></tr>
</table></div>


<div class="break footnotes"><h2 class="nobreak">FOOTNOTES</h2>

<div class="footnote">

<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> The house is still standing, and, as Number 7, forms the corner
of the Aegydian churchyard in Monk street. For several years it has been
given up to the Military musical institution, since the parish was abolished
during the Westphalian times.</p></div>

<div class="footnote">

<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Musician in the Ducal Orchestra, or Court Musician.</p></div>

<div class="footnote">

<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <i lang="de" xml:lang="de">Er</i>, or he, used in this mode of address, is a contemptuous style
of expression in the German language, which has its equivalent only in
the English word <i>fellow</i>, used in a rude sense.</p></div>

<div class="footnote">

<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> It is related of <i>Viotti</i> (the father of Modern Violin-Playing) when
thus established in London as a Wine-merchant, that, a Nobleman who
had previously been a great admirer and patron of his talent, rebuked
him for having abandoned his art to become a dealer in Wine! “My dear
Sir” replied <i>Viotti</i>, “I have done so, simply because I find that the
English like Wine better than Music!”</p></div>

<div class="footnote">

<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> One Fredericks d’or (single) = 16<sup>s</sup> 6<sup>d</sup> English.</p></div>

<div class="footnote">

<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> This pun on the <i lang="la" xml:lang="la">idem sonans</i> of the word “Beer” with “Bär” anglice
“Bear”, being almost as obvious in the English as the German, will be
readily understood by the reader.</p></div>

<div class="footnote">

<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Afterwards architect to the Court of Brunswick, and father of the
well known harpiste <i>Rosalie Spohr</i>.</p></div>

<div class="footnote">

<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> This Canon was found among <i>Spohr’s</i> manuscripts, and a fac-simile
is appended to this volume.</p></div>

<div class="footnote">

<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Musician to the Corporation.</p></div>

<div class="footnote">

<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> The Step-daughter of the Dutchess, afterwards married to the Duke
of Coburg, and mother of the present reigning Duke and of His R. H.
the late Prince Albert, Consort of the Queen of England.</p></div>

<div class="footnote">

<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>Bernhard Romberg</i>, also, constantly smoked while playing, and I
once heard him in his house at Gotha, executed his most difficult Concerto
in F-Minor, without taking the pipe from his mouth.</p></div>

<div class="footnote">

<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> According to the ancient legend, the belief in which was once popular
throughout Germany; <i>Frederick Barbarossa</i>, seated at a stone table
in the vaulted tower of the Imperial Castle of the Kyffhäuser, awaits since
600 years the hour of Germany’s regeneration, in order to reappear once
more in the vigour of life, prepared for new works and achievements for
the glory and well being of a united Germany. The red beard of the
Emperor grows round the table of stone in front of him, and so soon as
it has wholly grown round it for the third time, <i>Frederick</i> will awake.
His first act will then produce a symbol of his further mission. He will
hang his shield upon a withered tree, which will then suddenly shoot
out its buds and leaves again, till it is covered anew with verdant life
and beauty! Such is the legend, the origin of which dates far back into
the middle ages, and must be considered as a long subsisting expression
of that yearning of the popular mind in Germany which under long enduring
circumstances of political oppression looked towards the future with
hopes of enfranchisement and relief, and which associated those hopes and
aspirations with the memory of an honoured name.
</p>
<p class="sig">
(Note of Translator.)
</p></div>

<div class="footnote">

<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> This must have been the 6. (Op. 28).</p></div>

<div class="footnote">

<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> “The glorious moment.”</p></div>

<div class="footnote">

<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> A selection from the pages of this album will be found in the
appendix.</p></div>

<div class="footnote">

<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> One Carolin = 20 s, 4 d English.</p></div>

<div class="footnote">

<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> From the leader of the Orchestra an employé in the manufactory,
I then made the acquisition of a Violin by <i>Lupot</i> of Paris. I was so
much struck with the full and powerful tone of this Instrument, which
was then only thirty years old, that I immediately proposed an exchange
for an Italian Violin, which I had purchased in Brunswick, and
played upon in my first journey; the possessor of the <i>Lupot</i> willingly acceded
to my desire. I soon got so fond of this Violin, that I preferred
it to my hitherto Concert-Violin, an old german by <i>Buchstetter</i>, and from
this time I played on it in all my travels.&mdash;&mdash;&mdash;&mdash;&mdash;
</p>
<p>
It was not till the year 1822, when my artistic tours as Violinist
had ceased, that I bought of Madame <i>Schlick</i> in Gotha my present instrument,
a <i>Stradivari</i>, and yielded to Concert-master <i>Matthaei</i> of Leipsic at
his urgent entreaty this Violin of <i>Lupot</i>, which in the course of years
had become very good and had acquired a great reputation. <i>Matthaei</i>
played on it till his death, when it came into the possession of Concert-master
<i>Ulrich</i>.</p></div>

<div class="footnote">

<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Unhappily she died young and before her full development.</p></div>

<div class="footnote">

<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> <i>Edward Henke</i>, previously adverted to, my mother’s youngest
brother, then Professor at the University of Bern; and afterwards of
Halle.</p></div>

<div class="footnote">

<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> From <i lang="de" xml:lang="de">Laube</i>, an arbour, bower.</p></div>

<div class="footnote">

<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> <i>Mozart</i> has recorded his hatred of the “insolent Aristocracies of
Germany” towards whom <i>Haydn</i> demeaned himself with more courtly subserviency
than became the great Master of Sound.</p></div>

<div class="footnote">

<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> At this inn in 1807, two Italians murdered the daughter of the
Innkeeper, and this circumstance suggested to <i>Zach. Werner</i> the Tragedy
adverted to.</p></div>

<div class="footnote">

<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> This is the <i>Apollino</i>. <i>Spohr</i> himself corrects this error at a subsequent
part of his narrative.</p></div>

<div class="footnote">

<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> As I do not know the text, I have appended dots for the syllables.</p></div>

<div class="footnote">

<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> It was this <i>Salomon</i>, who, as concert-giver, induced his friend
<i>Haydn</i> to visit London and compose symphonies for his concerts; and
to him therefore the musical world owes the twelve most beautiful symphonies
<i>Haydn</i> wrote.</p></div>

<div class="footnote">

<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> This is the Op. 59, the second of my works written in London.</p></div>

<div class="footnote">

<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> The “<span lang="de" xml:lang="de">Vienna Allgemeinen musikalischen Anzeiger</span>,” of the 14th
March, said among other things, in announcing the publication by <i>Peters</i>
[Op. 65] of this work: “To waste words in praising this double quartet,
which all unite in admiring, would be carrying coals to Newcastle.”</p></div>

<div class="footnote">

<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> The manuscript remained unpublished for many years, and was only
recently published bei <i>Luckhardt</i> in Cassel as Op. 97.</p></div>

<div class="footnote">

<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> <span lang="de" xml:lang="de">Fleck</span>, in the German language, signifies, a spot, stain, or blemish.</p></div>

<div class="footnote">

<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> In the Vienna “<span lang="de" xml:lang="de">Musicalischer Anzeiger</span>” of the 23rd January 1834 is
the following notice respecting it: “All who have had the opportunity of
hearing and judging for themselves, know and feel that the esteemed
maestro, in all his dramatic compositions, with the exception of the single,
purely genial “Faust,” introduces his hearers less into the wondrous realm
of fancy, than he leads them like a true friend, by pleasant meandering
paths through the charming and balmy groves of harmony. This work
also, breathes the same calm, reflective spirit that speaks to the heart,
the same pure taste, the same style, as noble as it is elegant, the same
constancy, unity and well-sustained interior connection, that so particularly
characterizes all the works of this perhaps most substantial of all
living composers, and which distinguish also no less this musical creation.”</p></div>

<div class="footnote">

<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> It was published by <i>Haslinger</i>, in Vienna, and the “<span lang="de" xml:lang="de">Wiener Theater-Zeitung</span>,”
conducted by <i>Ad. Bäuerle</i>, speaks of it in the following manner:
“A fit companion to <i>Hummel’s</i> ‘<span lang="de" xml:lang="de">Clavier-Schule</span>’ (pianoforte school); for in
the same way that that opens a new department of education in pianoforte
play, this embraces the whole art and science of violin play, and
lays down clear principles for an art which hitherto has been taught
more by oral precepts, or, at the utmost, by small fragmentary pamphlets.
It required the penetrating, searching mind of a <i>Spohr</i>, who surpasses in
complete scientific culture the authors of every existing school, to condense
in systematic order so important a branch of art, which has been
two centuries in acquiring shape; so that the <i>violin</i>, so prominent in all
music, may be cultivated upon sure and proper principles, and its study
carried out with certain success. How well the great maestro <i>Spohr</i> goes
to work to effect this we shall shew in a subsequent clearer exposition
of the contents; for he has not only copiously treated the scientific musical
culture of the pupil by the clear outspoken method of the instruction
in the explanatory text, assisted by the excellent and appropriate pieces
which he supplies for practice, but also, in the mechanical part of the
instruction, in which the mechanism of the human body is so beautifully
and appositely shewn in all its bearings on the mechanical structure of
the instrument. The excellent preface to the work presents rules of conduct
both for the instructors and parents of pupils for the obviation of
a host of evils which have hitherto arisen from false and erroneous modes
of proceeding, from the circumstance that few lovers of music, and few
teachers of music even, are sufficiently acquainted with these arcana of
the art. Well and clearly does he enumerate the means of encouragement
by which the industry of the pupil may be incited. How generous
is the invitation of the <i>famed master to the students of the violin</i>, that
they should impart to him their experience in the progress of their studies
of his code of instruction for violin-play, for the further extension of
his own knowledge! In this the <i>great earnestness</i> of the true artist
for the attainment of the one great object is made conspicuously evident.”...
The notice concludes with the following words: “The
world-famed master, <i>Spohr</i>, has by this <i>excellent work alone</i> ensured an
undying celebrity, and thereby added but a new and beautiful leaf to
the laurel wreathe that encircles his brows.”</p></div>

<div class="footnote">

<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> The court theatre was closed at this time.</p></div>

<div class="footnote">

<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> English.</p></div>

<div class="footnote">

<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> “<span lang="de" xml:lang="de">Schön Hannchen.</span>”</p></div>

<div class="footnote">

<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Its first performance in Vienna produced there a great sensation,
as several gratifying reports, accompanied by a costly silver cup with
suitable inscription, testify. The Vienna Musical Journal said in a very
enthusiastic review, among other things: “It is again a work, that speaks
its own master’s praise in elegant language: a pure whole, a thing apart
of itself, all of one casting. The introduction, andante <i>C sharp</i>, breathes
a cheerful repose which gradually assumes an impassioned character and
prepares the hearer for the transition to the allegro, <i>C minor</i>, which, replete
with treasures of harmony bears in itself the germ of an imposing effect....
The second theme, Larghetto, <i>A major</i>, is a conglomerate of
deep feeling, warm fantasy, and of song replete with sentiment etc.; in
this again each note speaks to the heart with irresistible force....
The scherzo, <i>C sharp</i>, opens with a bold freshness of appeal to life and
cheerfulness, the sharp rhythms, the unceasing and restless competition of
the wind and stringed instruments, the impetuous bursts of tonic power
as opposed to the soft clear flowing cantilene of the alternative,&mdash;and,
all these effected in a manner so original and striking as to defy expression
in words.... For the <i>presto</i> finale, the poet of sound
appears to have husbanded as much as possible the sum total of his creative
powers.... Not one of the numberless beauties were lost
upon the hearers, each theme in succession received the merited tribute
to his mastery; and indeed the richly fantastic scherzo electreified all so
unanimously, that a <i>da capo</i> was imperatively called for.”...</p></div>

<div class="footnote">

<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> As <i>Spohr</i> himself always considered this English musical festival
(the Norwich festival) and the flattering reception given to him and his
works in that country, as the most brilliant period in his active life, its
description may reasonably find a place here in a somewhat more detailed
form.</p></div>

<div class="footnote">

<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> The extracts given here and subsequently from the letters of <i>Spohr’s</i>
relatives, may find their excuse in the circumstance that he himself had
neither leisure nor inclination to write letters during this journey, but
was greatly pleased when his female companions wrote home frequently
(which of course was always in harmony with his own sentiments),&mdash;and
he seldom allowed such a letter to leave without having expressed
his full concurrence with the contents.</p></div>

<div class="footnote">

<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> As a member of the committee he had conducted the correspondence
with <i>Spohr</i> relative to his coming, concerning which the following
remarks appeared in the “Spectator”: “It is highly to the credit of the
great master, that to the question what compensation he required for the
time and exertions required of him during the journey, and for direction
of the oratorio, he simply replied: ‘The committee will doubtless have no
objection to pay my travelling-expenses?’ We are glad to learn that the
modesty of this reply and <i>Spohr’s</i> coming to England without any further
negotiation on the matter with the committee, was duly recognised by the
latter, who thereupon came to the resolution to present Mr. <i>Spohr</i> with
a sum of 100 guineas over and above the account of his expenses.”</p></div>

<div class="footnote">

<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> To similar observations in a letter to <i>Hauptmann</i> he adds: “I could
not make up my mind to write <i>one</i> unnecessary note for the sake of
brilliancy.”</p></div>

<div class="footnote">

<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> From this somewhat accidental origin of <i>Spohr’s</i> autobiography it
may be readily inferred, that it contains nothing more than a faithful
picture of his eventful life, interesting to the majority of those who take
a warm interest in his musical compositions; and that it was not his intention
in any manner to have it considered in the light of a contribution
to the history of art, nor as a critical opinion of the works of his colleagues
in art, which has been here and there erroneously expected from
this biography.</p></div>

<div class="footnote">

<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> To him, as a true representative of the <i>Spohr</i> school was the preference
given over all the competitors who bid in emulation of each other
and at very high prices for the highly coveted Stradivari violin of his
honoured master; and which became his property one year after the
decease of the latter.</p></div>

<div class="footnote">

<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> The leader’s bâton here described with such evident satisfaction,
formed a worthy companion to a scarcely less costly and tasteful one that
<i>Spohr</i> had been presented with by his faithful pupil <i>F. Böhme</i> of Holland.
He was always very proud of such appropriate and artistically executed
presents, and it was always his custom to take them out of their respective
cases with his own hands, and to replace them after use with equal care.</p></div>

<div class="footnote">

<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> These quartet evenings in the society of a few of the families of
his most intimate friends, were always a source of great pleasure to
<i>Spohr</i>. Every year, on the approach of winter, he took early steps for
their re-arrangement, and generally opened the series in his own house.
Painful as it was to him whenever the death of one of the members of
the circle caused a vacancy therein, the loss of his two oldest and most
faithful friends, chief director <i>von Schmerfeld</i> and Lord marshall <i>von der
Malsburg</i>, who had died in the two previous years, was long and deeply
deplored by him.</p></div>

<div class="footnote">

<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> To the many marks of honour which <i>Spohr</i> still received in the
latter years of his life must be added also his nomination to the honorary
membership of the “Musical Society,” which had just previously been
instituted in London. Upon the occasion of his presentation with this
diploma, an enumeration of the various diplomas which he had already
been presented with gave an amount of <i>Thirty-eight</i>, among which was
one from New York, from Buenos-Ayres, St. Petersburg, and Stockholm,
with two from Rome and two from Holland.</p></div></div>






<hr class="full" />



<div class="break transnote">
<h2 class="nobreak">Transcriber's Note</h2>

<p>Note 8 on volume 1 p. 114 refers to a fac-simile appended to the volume; this was not included in the printed book.</p>
<p>The book contains many instances of inconsistent, archaic or doubtful spelling, hyphenation and punctuation. These have been left as printed, except as follows:</p>

<p>Volume 1</p>

<ul><li>p. vi "1846" changed to "1846."</li>

<li>p. 9 "thoughtless" changed to "thoughtless."</li>

<li>p. 11 "tome" changed to "to me"</li>

<li>p. 14 "nothwithstanding" changed to "notwithstanding"</li>

<li>p. 18 "rythm" changed to "rhythm"</li>

<li>p. 19 "by not" changed to "by no"</li>

<li>p. 21 "priviledges" changed to "privileges"</li>

<li>p. 33 "sucessful" changed to "successful"</li>

<li>p. 34 "fond off" changed to "fond of"</li>

<li>p. 34 "<i>Eck</i>" changed to "<i>Eck’s</i>"</li>

<li>p. 34 "heard" changed to "heart"</li>

<li>p. 36 "und" changed to "and"</li>

<li>p. 37 "immediately.”" changed to "immediately."</li>

<li>p. 38 "demand.”" changed to "demand."</li>

<li>p. 40 "to my" changed to "to me"</li>

<li>p. 42 "owerwhelmed" changed to "overwhelmed"</li>

<li>p. 42 "23<sup>th</sup>" changed to "23<sup>rd</sup>"</li>

<li>p. 43 "who was" changed to "how was"</li>

<li>p. 43 "musisal" changed to "musical"</li>

<li>p. 43 "time.”" changed to "time."</li>

<li>p. 45 "its found" changed to "it is found"</li>

<li>p. 46 "intruments" changed to "instruments"</li>

<li>p. 47 "twelvth" changed to "twelfth"</li>

<li>p. 48 "idea of." The" changed to "idea of. "The"</li>

<li>p. 52 "gate.”" changed to "gate."</li>

<li>p. 54 "city." "Near" changed to "city. Near"</li>

<li>p. 56 "on prepare" changed to "or prepare"</li>

<li>p. 61 "“I alighted" changed to "I alighted"</li>

<li>p. 61 "journey." changed to "journey.”"</li>

<li>p. 68 "escasped" changed to "escaped"</li>

<li>p. 76 "ingenousness" changed to "ingenuousness"</li>

<li>p. 78 "now appreciate" changed to "nor appreciate"</li>

<li>p. 80 "aminadverted" changed to "animadverted"</li>

<li>p. 84 "anounced" changed to "announced"</li>

<li>p. 86 "exercice" changed to "exercise"</li>

<li>p. 90 "<i>Preissling</i>" changed to "<i>Preissing</i>"</li>

<li>p. 93 "exulpation" changed to "exculpation"</li>

<li>p. 99 "distateful" changed to "distasteful"</li>

<li>p. 101 "Heriditary" changed to "Hereditary"</li>

<li>p. 107 "particulary" changed to "particularly"</li>

<li>p. 110 "impelled so" changed to "impelled to"</li>

<li>p. 111 "pricipal" changed to "principal"</li>

<li>p. 115 "(the Owlet-Queen)" changed to "(the Owlet-Queen),"</li>

<li>p. 117 "mort" changed to "more"</li>

<li>p. 127 "would he" changed to "would be"</li>

<li>p. 131 "childern" changed to "children"</li>

<li>p. 141 "„This" changed to "“This"</li>

<li>p. 145 "superority" changed to "superiority"</li>

<li>p. 146 "inwhich" changed to "in which"</li>

<li>p. 146 "board. "The" changed to "board. The"</li>

<li>p. 149 "Op, 114" changed to "Op. 114"</li>

<li>p. 157 "tentency" changed to "tendency"</li>

<li>p. 160 "other.”" changed to "other."</li>

<li>p. 164 "It is difficult”" changed to "“It is difficult”"</li>

<li>p. 164 "of te" changed to "of the"</li>

<li>p. 165 "introdued" changed to "introduced"</li>

<li>p. 168 "rupturous" changed to "rapturous"</li>

<li>p. 168 "suceeded" changed to "succeeded"</li>

<li>p. 168 "distinghuish" changed to "distinguish"</li>

<li>p. 169 "wat not" changed to "was not"</li>

<li>p. 172 "not be" changed to "not to be"</li>

<li>p. 175 "to to whom" changed to "to whom"</li>

<li>p. 181 "servant." changed to "servant.”"</li>

<li>p. 189 "scarely" changed to "scarcely"</li>

<li>p. 201 "<i>Pixis</i>." changed to "<i>Pixis</i>?”"</li>

<li>p. 207 "nolodge" changed to "no lodge"</li>

<li>p. 208 "“ In Hanover" changed to " “In Hanover"</li>

<li>p. 209 "oppointed" changed to "appointed"</li>

<li>p. 213 "execuiton" changed to "execution"</li>

<li>p. 216 "arduousex ertion" changed to "arduous exertion"</li>

<li>p. 222 "slighest" changed to "slightest"</li>

<li>p. 223 "“<span lang="de" xml:lang="de">Zauberflöte</span>" changed to "“<span lang="de" xml:lang="de">Zauberflöte</span>”"</li>

<li>p. 225 "seperates" changed to "separates"</li>

<li>p. 227 "slighest" changed to "slightest"</li>

<li>p. 229 "on Overture" changed to "an Overture"</li>

<li>p. 229 "an account" changed to "on account"</li>

<li>p. 230 (note) "than" changed to "then"</li>

<li>p. 233 "possesion" changed to "possession"</li>

<li>p. 236 "pratical" changed to "practical"</li>

<li>p. 239 "along" changed to "a long"</li>

<li>p. 242 "precipituously" changed to "precipitously"</li>

<li>p. 243 "deligthful" changed to "delightful"</li>

<li>p. 244 "the the singer" changed to "the singer"</li>

<li>p. 249 "reheasal" changed to "rehearsal"</li>

<li>p. 249 "accomodation" changed to "accommodation"</li>

<li>p. 251 "continous" changed to "continuous"</li>

<li>p. 251 "immediatly" changed to "immediately"</li>

<li>p. 252 "disstance" changed to "distance"</li>

<li>p. 254 "one- horse" changed to "one-horse"</li>

<li>p. 256 "oramented" changed to "ornamented"</li>

<li>p. 263 "age But" changed to "age. But"</li>

<li>p. 264 "hears" changed to "hear"</li>

<li>p. 266 "trough" changed to "through"</li>

<li>p. 266 "here appearance" changed to "her appearance"</li>

<li>p. 271 "moltey" changed to "motley"</li>

<li>p. 279 "the sepaintings" changed to "these paintings"</li>

<li>p. 282 "artist." changed to "artist.”"</li>

<li>p. 285 "arstists" changed to "artists"</li>

<li>p. 315 "indifference and and" changed to "indifference and"</li>

<li>p. 319 "farces" changed to "forces"</li>

<li>p. 319 "pur" changed to "our"</li>

<li>p. 319 "wetnessed" changed to "witnessed"</li>

<li>p. 320 "agitity" changed to "agility"</li>

<li>p. 320 "handscapes" changed to "landscapes"</li>

<li>p. 320 "asscended" changed to "ascended"</li>

<li>p. 324 "und" changed to "and"</li>

<li>p. 325 "unformity" changed to "uniformity"</li>

<li>p. 327 "who where" changed to "who were"</li></ul>

<p>Volume 2</p>

<ul>
<li>p. 4 "were" changed to "where"</li>

<li>p. 8 "inmortal" changed to "immortal"</li>

<li>p. 9 "a a hermitage" changed to "a hermitage"</li>

<li>p. 13 "through" changed to "though"</li>

<li>p. 14 "penally" changed to "penalty"</li>

<li>p. 15 "defiency" changed to "deficiency"</li>

<li>p. 18 "very" changed to "every"</li>

<li>p. 18 "At it is" changed to "As it is"</li>

<li>p. 18 "smooth-smoken" changed to "smooth-spoken"</li>

<li>p. 21 "others town" changed to "other towns"</li>

<li>p. 21 "excellents" changed to "excellent"</li>

<li>p. 23 "During" changed to "“During"</li>

<li>p. 26 "midle" changed to "middle"</li>

<li>p. 28 "breath" changed to "breathe"</li>

<li>p. 30 "byancient" changed to "by ancient"</li>

<li>p. 33 "neighourhood" changed to "neighbourhood"</li>

<li>p. 35 "then in" changed to "them in"</li>

<li>p. 38 "he so-called" changed to "the so-called"</li>

<li>p. 39 "strubs" changed to "shrubs"</li>

<li>p. 46 "composors" changed to "composers"</li>

<li>p. 47 "apointment" changed to "appointment"</li>

<li>p. 51 "journey" changed to "journey."</li>

<li>p. 54 "the the saloon" changed to "the saloon"</li>

<li>p. 54 "asme" changed to "same"</li>

<li>p. 62 "silly mistake!”" changed to "silly mistake!"</li>

<li>p. 63 "possiblity" changed to "possibility"</li>

<li>p. 64 "suceeded" changed to "succeeded"</li>

<li>p. 67 "soi" changed to "soli"</li>

<li>p. 69 "irrevalent" changed to "irrelevant"</li>

<li>p. 73 "right hand-pier" changed to "right-hand pier"</li>

<li>p. 74 "in in open" changed to "in open"</li>

<li>p. 75 "waistcoast" changed to "waistcoat"</li>

<li>p. 76 "councilwas" changed to "council was"</li>

<li>p. 79 "anguish and and" changed to "anguish and"</li>

<li>p. 81 "could" changed to "she could"</li>

<li>p. 88 "renumeration" changed to "remuneration"</li>

<li>p. 89 "frendly" changed to "friendly"</li>

<li>p. 92 "miles of" changed to "miles off"</li>

<li>p. 96 "could fail" changed to "could not fail"</li>

<li>p. 100 "&amp;c." changed to "&amp;c.”"</li>

<li>p. 106 "exculpate himself" changed to "exculpate myself"</li>

<li>p. 108 "nothwithstanding" changed to "notwithstanding"</li>

<li>p. 109 "proproduced" changed to "produced"</li>

<li>p. 111 "verything" changed to "everything"</li>

<li>p. 129 "mechancali" changed to "mechanical"</li>

<li>p. 133 "<i>Bethoven</i>" changed to "<i>Beethoven</i>"</li>

<li>p. 134 "journy" changed to "journey"</li>

<li>p. 136 "deel" changed to "deal"</li>

<li>p. 137 "or my" changed to "on my"</li>

<li>p. 143 "aknowledged" changed to "acknowledged"</li>

<li>p. 145 "the the court-orchestra" changed to "the court-orchestra"</li>

<li>p. 147 "draw" changed to "drawn"</li>

<li>p. 151 (note) "carying" changed to "carrying"</li>

<li>p. 153 "written" changed to "written by"</li>

<li>p. 153 "charactesised" changed to "characterised"</li>

<li>p. 154 "kettle-druns" changed to "kettle-drums"</li>

<li>p. 155 "nevetherless" changed to "nevertheless"</li>

<li>p. 155 "torch-ight-dance" changed to "torch-light-dance"</li>

<li>p. 157 "“Der Berg-Geist, "which" changed to "“Der Berg-Geist," which"</li>

<li>p. 157 "23th" changed to "23rd"</li>

<li>p. 159 "ecclestiastic" changed to "ecclesiastic"</li>

<li>p. 160 "cross-which" changed to "cross&mdash;which"</li>

<li>p. 160 "others." changed to "others.”"</li>

<li>p. 164 "as all" changed to "at all"</li>

<li>p. 167 "be introduced" changed to "he introduced"</li>

<li>p. 169 "informing then" changed to "informing them"</li>

<li>p. 169 "disturbancees" changed to "disturbances"</li>

<li>p. 171 "peasanty" changed to "peasantry"</li>

<li>p. 171 "the the song" changed to "the song"</li>

<li>p. 171 "Messiah.”" changed to "Messiah."</li>

<li>p. 176 (note) "A fit" changed to "“A fit"</li>

<li>p. 178 "Although" changed to "“Although"</li>

<li>p. 181 "artifical" changed to "artificial"</li>

<li>p. 185 "Op 91" changed to "Op. 91"</li>

<li>p. 185 "unsually" changed to "unusually"</li>

<li>p. 189 "were I" changed to "where I"</li>

<li>p. 190 "sister-in law" changed to "sister-in-law"</li>

<li>p. 190 "bathing-etablishment" changed to "bathing-establishment"</li>

<li>p. 194 "3nd" changed to "3rd"</li>

<li>p. 201 "endeavours so" changed to "endeavours to"</li>

<li>p. 202 "an Whittuesday" changed to "on Whittuesday"</li>

<li>p. 202 (note) "restess" changed to "restless"</li>

<li>p. 202 (note) "It is" changed to "“It is"</li>

<li>p. 203 "dicision" changed to "decision"</li>

<li>p. 205 "suprise" changed to "surprise"</li>

<li>p. 209 "23nd" changed to "23rd"</li>

<li>p. 212 "...," changed to "...."</li>

<li>p. 213 "sacrifies" changed to "sacrifices"</li>

<li>p. 217 "Of <i>such</i>" changed to "“Of <i>such</i>"</li>

<li>p. 218 (note) "expenses." changed to "expenses.”"</li>

<li>p. 222 "moved And" changed to "moved. And"</li>

<li>p. 222 "pevailed" changed to "prevailed"</li>

<li>p. 228 "fellows" changed to "follows"</li>

<li>p. 228 "charmed us.”" changed to "charmed us."</li>

<li>p. 230 "loves" changed to "love’s"</li>

<li>p. 233 "manner." changed to "manner.”"</li>

<li>p. 235 "festival.”" changed to "festival."</li>

<li>p. 237 "uniniated" changed to "uninitiated"</li>

<li>p. 241 "<i>Spohr’s</i>," changed to "<i>Spohr’s</i>"</li>

<li>p. 249 "genins" changed to "genius"</li>

<li>p. 249 "frienads" changed to "friends"</li>

<li>p. 256 "treatment." changed to "treatment.”"</li>

<li>p. 259 "arival" changed to "arrival"</li>

<li>p. 262 "such a" changed to "such as"</li>

<li>p. 265 "prejudical" changed to "prejudicial"</li>

<li>p. 270 "<i>Meyerber</i>" changed to "<i>Meyerbeer</i>"</li>

<li>p. 273 "concert to" changed to "concerto"</li>

<li>p. 276 "contemptated" changed to "contemplated"</li>

<li>p. 280 "alhough" changed to "although"</li>

<li>p. 282 "successsion" changed to "succession"</li>

<li>p. 282 "nonimating" changed to "nominating"</li>

<li>p. 287 "by foce" changed to "by force"</li>

<li>p. 287 "someting" changed to "something"</li>

<li>p. 295 "medicial" changed to "medical"</li>

<li>p. 298 "very kind" changed to "every kind"</li>

<li>p. 301 "classes" changed to "glasses"</li>

<li>p. 311 "favourable" changed to "favourably"</li>

<li>p. 317 "Terrestial" changed to "Terrestrial"</li>

<li>p. 331 "he carried" changed to "be carried"</li>

<li>p. 333 "warmth.”" changed to "warmth."</li>

<li>p. 339 "particulary" changed to "particularly"</li>

<li>p. 339 "allendant" changed to "attendant"</li></ul>

</div>

<div>*** END OF THE PROJECT GUTENBERG EBOOK 45997 ***</div>
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