Читать книгу Louis Spohr's Autobiography - Spohr Louis - Страница 7
ОглавлениеRosa 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 Rosa burst into tears, and with the last embrace pressed into my hand a card with the letter R, worked upon it with her beautiful black hair, as a souvenir.
Upon my return to Brunswick, I devoted myself with renewed zeal to Composition. I wrote my H-Minor-Concerto, which was subsequently published by Simrock as Fourth Violin-Concerto. For the first time, a foreign pupil was sent to me, one Herr Grünewald from Dresden. During my stay in Brunswick, I also gave lessons to a Miss Mayer, a talented 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.
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 Filipowicz, 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.
But to return to the year 1805. In the spring, I received a letter from Rosa, 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 foresaw that great embarrassments might arise from it. I now perceived with regret that Rosa’s 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. Rosa’s 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.
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, Rosa 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, Rosa’s 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.
In June 1805, I received a letter from Bärwolf, a Musician of the Ducal Orchestra at Gotha, who was unknown to me, that greatly influenced my destiny. Herr Bärwolf wrote to inform me of a vacancy that had taken place in the Orchestra there, by the death of the Director Ernst, and that the Intendant, Baron von Leibnitz, 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 immediate 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.
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 Bärwolf 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.
As my leave of absence was not quite expired, by the advice of Herr Bärwolf, 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. 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 wrongfully; 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:
My dear Herr Spohr.
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.
I remain very respectfully
your well wisher
Carl W. Ferd.
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 “You”, while hitherto he had always honoured me with the benevolent, fatherly “Thou”. 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.
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.
Before I had done so, I received a letter from Dussek, who wrote to say that his master, Prince Louis Ferdinand, 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 youthful taste right well for a short time. Frequently at six o’clock in the morning, were Dussek 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 Schäfer I met with a most friendly welcome. His daughter Jettchen, who, previously, while residing in Brunswick, in the house of her brother-in-law the Conductor Le Gaye 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.
Soon, however, the Prince was recalled from his exile to Magdeburg, and dismissed by him with friendly thanks, I could now return to Brunswick. Dussek on taking leave of 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 Spohr find your new place unpleasant to you, you can re-enter my service at any time.”
I parted with my benefactor, deeply moved; and alas! never saw him more,—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.
Arrived in Gotha, I was introduced to the members of the Ducal Orchestra by the Intendant Baron von Leibnitz, 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 ensemble which was recognised by the Dutchess and some of the Musical-connoisseurs in the Court-circle, and elicited much praise.
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 Schlick and Messrs. Preissing and Bärwolf; on the violoncello, Messrs. Schlick, Preissing jun. and Rohde; on the clarionet, bassoon and harp, Herr Backhofen; on the hautboy, Herr Hofmann; and Herr Walch on the horn.
For the vocal parts at the Court-Concerts two Court-singers Mesdames Scheidler and Reinhard 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 Schlick family who relied on the favour of Prince Augustus, the Duke’s uncle, and then undisturbedly maintained my directorial-position.
In the introductory visits I made to the members of the orchestra I was received most cordially by the Court-singer Madame Scheidler. She introduced me to her daughter Dorette, of the age of eighteen, of whose skill upon the harp and pianoforte I had already heard much. In this charming blondine 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, Dorette, what a long hop-pole!” Upon hearing this exclamation, my eye fell upon the girls, and I saw Dorette 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 to play something on the harp. Without the least affectation she complied with my wish.
When a boy, I had myself once made an attempt to learn the harp, and took lessons of one Herr Hasenbalg 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 Backofen, 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;—but my heart remained behind! Irresistibly impelled, my visits now became frequent, and my reception more friendly every time.
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 Dorette’s 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!
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. Dorette 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. Preissing, the brothers of Madame Scheidler. 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 Scheidler family, and always contrived to get possession of the place at table next to Dorette. 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 Brummer 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 Scheidler’s, 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 Dorette. 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 Preissing gave her instruction, she had acquired so much skill, that she could play Viotti’s 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.
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. Dorette’s 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 Scheidler family never failed to be invited. One day, however, I was invited with Dorette, but without her mother, to a Fête given by the Minister von Thümmel, 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 Dorette 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.
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 Dorette’s ear, which brought blushes to her cheek.
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.
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 Rosa, 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 Rosa had returned to Italy with her parents who had acquired some fortune in Germany. Some years afterwards, I was told when in Dresden, that Rosa, 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!
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.
With the end of the year, the session of Parliament drew also to a close, and the return of the Court to Gotha was 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 Kühnel 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 Backhofen’s 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 Mozart with Pianoforte obligato, as also, my new vocal-Scena, with great success.
Highly satisfied with the result of our undertaking, we returned to Altenburg, and shortly afterwards with the Court to Gotha.
Madame Scheidler 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 Ferdinand 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 William[7] to be a witness to my happiness.
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.
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 Preissing and several other of the most intimate friends among the members of the Ducal orchestra, as also Cantor Schade, an old friend of the Scheidler family. After dinner many others came. Among these the playmates and school-fellows of Dorette. 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.
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.
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 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.
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.
Dorette, 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.
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 inhabitants of the Dutchy had much to endure from the billeting, and overbearing insolence of the Prussians.
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 Edward Henke 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 “Die Prüfung” (The Trial). Edward began forthwith the composition of the Song-parts and finished them wholly before his departure. He promised to supply the dialogue afterwards.
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 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 B, once struck, and served me for many years instead of a tuning-fork when tuning the harp.
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.
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, and then played it as Concert-Music at one of the Court-concerts.
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 Mozart, 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.
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 Nägeli of Zurich) and the Pot-Pourri (op. 22, at André’s in Offenbach).
As Dorette 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.
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 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 Emilie, after the Duke’s second Name, Emilius.
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 Rosa, even had my love for her been more lasting.
As soon as Dorette 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 Backofen, had such an instrument, a very superior one, by Nadermann of Paris, and was disposed to part with it to his pupil for a moderate price. This, therefore, was purchased. Of Dorette’s 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, 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.
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.
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 Hereditary Grand Dutchess, the Princess Maria. Among the auditory at the Court-Concert were the two Poet-heros Goethe and Wieland. The latter seemed quite charmed with the play of the artiste-couple, and evinced it in his own animated and friendly manner. Goethe, also, addressed a few words of praise to us with a dignified coldness of mien.
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 “Prüfung”, 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:
“Respecting the play of Herr Spohr, 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 Allegro and in Adagio (in the latter more especially, in our opinion) he now takes rank among the foremost of all living Violinists: and Madame Spohr, by her great skill, neatness and feeling in her play, is certain to meet with the most distinguished reception.”
Of Dresden, where we also gave a Concert and also, if I do not mistake this occasion for a later one—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 beau-monde came in crowds to the two concerts we gave in the City so famed for its cultivation of 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 Spohr, the celebrated Director of Concerts to the Duke of Saxe-Gotha. Herr Spohr 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 Spohr, and of a certainty every friend of Art, will acknowledge that he well deserved that distinction.”
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 Pixis which immediately followed mine, he says: “his place has been assigned to him far below Spohr,” 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.”
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 Kleinwächter, the head of the commercial firm of Ballabene. 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 Simrock) 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 harmonious 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. Louis Kleinwächter, (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 Spohr’s 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 Spohr, and never rested until he had carried his point. For that reason, also, he soon acquired the general cognomen of “the mad Spohrist.”
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.
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 Spohr, 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 Dorette. 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 insisted upon Dorette 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.
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 Dorette a tiara of brilliants; both of great value.
At our Public Concert, we were supported by the members of the Royal orchestra with the greatest good will. Herr Winter, 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 “Opferfest” (the Festival of the Sacrifice) assured me also in his candid and straight forward way, of his full approval. I went frequently to Winter’s 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, Winter 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!”
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 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.
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 to him!” “Then must I renounce the honour of playing at Court”, was my simple reply. And on this, I took my leave.
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.”
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.
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 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!”
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 Graff, 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.
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.
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 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 Danzi endeavoured to facilitate the whole arrangements for me in every possible way.
Danzi was a most amiable artiste, and I felt the more inclined towards him, from finding he had the same admiration for Mozart, that I was so deeply impressed with. Mozart, 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 Mozart’s Symphony in G-Minor, composed by Danzi, and in his own handwriting.
In Stuttgard I also first made the acquaintance of the since so greatly famed Carl Maria von Weber, with whom up to the time of his death I was always on the most friendly terms. Weber 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 Weber’s works some “Numbers” from the Opera “Der Beherrscher der Geister.” (The Ruler of the Spirits.) But these, from being always accustomed to take Mozart 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 Weber would ever succeed in attracting notice with any opera.
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—I therefore give a few extracts from the notices of the Musical-Journal.
First of all speaking of Heidelberg, it says: “Eisenmenger’s violin would still have been unforgotten, had not the Heidelbergers had the pleasure in the last Concert to hear Louis Spohr play in his Rode-like style of firm, sustained and skillful bow-stroke. His wife played the harp, in a way one seldom hears in Germany—with a tenderness, lightness and grace, with a confidence, strength, and expression, that are quite captivating.”
To me it seems very strange, that even at this time my play was still designated as a Rode-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 Rode’s for execution.
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—to Wilhelm Kramer, the great Violinist and his wife, the splendid Harpiste”.
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 Dorette’s 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.
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 André 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 with a lively, and for the solo, brilliant Allegro in G-Major, connected with and passing into the Theme from the “Entführung”: “Wer ein Liebchen hat gefunden” 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 Allegro 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.
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.
The next that I wrote, was the Concertante for two Violins (Op. 48, published by Peters in Leipsic). I was prompted to this chiefly by the artistic genius of one of my pupils one Herr Hildebrandt 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 Dutchess requested its repetition in the next concert, and afterwards, insisted, also, as long as Hildebrandt remained in Gotha to have it put in the programme when strangers were on visit at Court.
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 en camerade 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.
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 Schramm, 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 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!
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—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 Schramm 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 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.
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.[8] But in vain! We were obliged to make up our minds to continue our journey.
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!—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, 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.
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.
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!
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, die Eulenkönigin” (the Owlet-Queen), it was founded on a popular tradition, and in matter had much resemblance to the “Donauweibchen”, (the Danube Water-Nymph) which at that time excited general admiration. 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 von Goethe, the Intendant of the Theatre, and Frau von Heigendorf, 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 Stromeyer, 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 von Heigendorf invited me to direct it. I therefore proceeded to Weimar a second time, and now in company with the author.
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.—The Rehearsal took place in a Saloon at the house of Frau von Heigendorf. Among the assembled Auditory, besides the Intendant Herr von Goethe, and the Musical Amateurs of the Town, Wieland 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 von Goethe, also spoke in praise of it. The Author did not come off so well. Goethe found all manner of defects in the Libretto, and especially required that the dialogue which was written in Iambics 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 André 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.
