Chapter X: Part 10

We passed a day rich in music at the house of _André_, 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 _Mozart_ to _Bornhard_ 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 _von Goldner_ 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 in so masterly a manner as they are by Fräulein _von Goldner_, 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 _André_ gave us these songs to hear, was quite unbearable. For instance, he took an old song of _Schulze_: “O selig, wer liebt” sang it burlesqued to make it appear ridiculous, and then requested Fraulein _von Goldner_ 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:

“Dear _André_, 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 _Schulze_ 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: “O selig, wer liebt” at the end of every strophe, has some depth of feeling in it, 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 _well_ sung.”

_André_ 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.

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

In the evening, _André_ took us to Herr _Ewald_, 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 “Die drei Worte” (The three Words) of _Schiller_, set to music by _Aloys Schmitt_, a patriotic chorus by _André_, and “Die Bürgschaft” (The pledge) by _Schiller_, also composed by _Aloys Schmitt_, 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 “Drei Worte” 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; “Die Bürgschaft” 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 _entreés_ have an extraordinary effect, as for instance, where it says: “Und unendlicher Regen giesset herab”. “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 fancy, yet the music suffers from a want of form through the frequent change of the tempi and measure. The repetition of _single_ 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. _André’s_ chorus was not distinguished by any thing remarkable. At the conclusion, Herr _Hasemann_ 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: “Mich fliehen alle Freuden” (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.

_Darmstadt_, 9. Febr.

Constrained to nearly a month’s stay by the illness of my good _Dorette_, 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 _a good one_! 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 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 _Cherubini_, because the Grand-Duke cannot bear them. He may by chance let “Den Wasserträger,” (the Watercarrier) pass, but only the first act of it. Neither do the operas of _Mozart_ 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 _Poissl’s_ “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 _Poissl’s_ opera there’s no relishing “Don Juan!”

Considering the large salaries paid by the Grand-Duke, the _personnel_ 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 _ensemble_, and particularly in the _pianissimo_; 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 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.

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 _piano_ or _forte_ 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,--and he does not observe it!

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 _Poissl_, 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 pieces are imitations of the most admired pieces of _Mozart_ and _Cherubini_, 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 “Zauberflöte” (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.

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 _entrée_ to the theatre from their salaries, he might readily carry out his threat by releasing them from this soccage!

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 _locale_, for which they offered us a sum of twenty carolins.[16] This offer we accepted. I played with _Dorette_ a sonata, and two concert-pieces with pianoforte accompaniment; and _Dorette_ concluded 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 _Backhofen_ 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!”

[16] One Carolin = 20 s, 4 d English.

_Heidelberg_, February, 11.

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!

_Carlsruhe_, February, 26.

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 _Bahrenfels_ and Madame _Gervais_. 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 _Romberg’s_ “Glocke” (the “Bell”) which was right well performed by a society of dilettanti in the museum. Demoiselle _Bahrenfels_ has a fine voice, good taste and great ease of execution, but overloads her singing too much with ornamentation. Madame _Gervais_, who is also a distinguished actress, I heard in _Weigl’s_ 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 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....

I frequently played my Quartetts and Quintetts; twice at Herr _von Eichthal’s_ and once at Messrs. _Freidorf’s_ and _Brandt’s_. I was excellently accompanied in them by Messrs. _Fesca_, _Viala_, _Bönlein_, and _von Dusch_. _Fesca_ 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.

_Strasburg_, March, 6.

I must first speak of that which strikes the eye of the traveller even before he has crossed the Rhine,--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 unfortunately, 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.

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 _signe d’attention_, 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 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.

In Strasburg I made the acquaintance of three distinguished _artistes_ and of several passionate lovers of music. The former were: Herr _Spindler_, director of the Cathedral Orchestra, the successor of _Pleyel_, who previously held that appointment, Herr _Berg_, _pianiste_ and composer, and Herr _Kuttner_ also a pianiste and a singer. Of _Spindler’s_ 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 _Weigl_ then composed music for it also. As shortly before, his “Schweizerfamilie” had been very successful, this new work soon became popular at all the theatres in Germany, while _Spindler’s_ composition up to the present time has only been heard in Strasburg. For this dishonest transaction he nevertheless obtained some slight satisfaction, for when _Weigl’s_ composition was given here last year by a German operatic-company, it pleased infinitely less than his. _Spindler_ is a well educated and extremely modest artiste. Among the ardent lovers of music the Advocate _Lobstein_ 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 _Lobstein_ 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. _Baxmann_ (first Violincellist of the theatrical Orchestra) and _Nani_ (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 compositions in demand, few of which only were known here, and they were now frequently written for to the music sellers.

While we were in Strasburg Messrs. _Berg_ and _Kuttner_ gave together a public Concert, in which both shewed themselves good pianistes, and Herr _Berg_ 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 _Berg_ 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.

We went a few times to the theatre, and with the exception of the Prima Donna Madame _Dufay_, 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.

_Münster, near Colmar_, March, 26.

For the last fortnight nearly we are here in a small manufacturing town in the Vosges mountains, on a visit to a wealthy manufacturer _Jacques Hartmann_. Our host, who is an ardent lover of music, was informed by Herr Kapellmeister _Brandt_ 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 _Hartmann_ was already in their places and received us upon our entry with a by no means ill executed Overture. The Orchestra consists of Herr _Hartmann’s_ 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.[17] Herr _Hartmann_ 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.[18] After the family had exhibited their capabilities, we let them hear one of our Duetts and found a very grateful and enthusiastic auditory.

[17] From the leader of the Orchestra an employé in the manufactory, I then made the acquisition of a Violin by _Lupot_ 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 _Lupot_ 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 _Buchstetter_, and from this time I played on it in all my travels.----------

It was not till the year 1822, when my artistic tours as Violinist had ceased, that I bought of Madame _Schlick_ in Gotha my present instrument, a _Stradivari_, and yielded to Concert-master _Matthaei_ of Leipsic at his urgent entreaty this Violin of _Lupot_, which in the course of years had become very good and had acquired a great reputation. _Matthaei_ played on it till his death, when it came into the possession of Concert-master _Ulrich_.

[18] Unhappily she died young and before her full development.

Herr _Hartmann_ 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, _Rudolpho_, _Kreutzer_, _Durand_, _Turner_, _Bärmann_ and the brothers _Schunke_. 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 _Hartmann_ could not readily be found. Of the two first mentioned artistes he related the following, which is sufficiently characteristic. _Kreutzer_ 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 _sous_. He was now called for the second part of the Concert, and was obliged to earn wherewith to supply what he had already lost. _Durand_ did still worse! Herr _Hartmann_ had got up a Concert for him at Mühlhausen and accompanied him thither. _Durand_ 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 _Hartmann_ gave him his carriage and urged him to return as soon as possible. The hour of the Concert was fast approaching, but _Durand_ had not yet come back. The public had assembled, the Musicians were tuning up,--but the Concert-giver was still wanting! After waiting for half an hour, as the auditory had become very restless, Herr _Hartmann_ had the Overture played. But as _Durand_ 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 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.

Three days ago, we gave a Concert in Colmar which was very fully attended, and which Herr _Hartmann_ 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 _Rode_ and _Kreutzer_. 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:

Couple savant dans l’art heureux
Qui fit placer au rang des Dieux
L’antique Chantre de la Grèce.
D’un instrument melodieux,
Et de la harpe enchanteresse
Quand les accords delicieux.
Nous causent une double ivresse,
Faut-il, que les tristes apprêts
D’un depart qui nous désespère,
Mêlent d’inutiles regrets
Aux charmes que votre Art opère!
Ah! près de nous il faut rester!
Quelle raison pour s’en défendre?
A nos voeux, si _Spohr_ veut se rendre,
Il pourra, j’ose l’attester,
Se lasser de nous enchanter,
Jamais nous lasser de l’entendre.

_Par E. C. (outerèt), habitant de Colmar._

In the second part of the Concert Herr _Hartmann_ played also some variations for the bassoon by _Brandt_. 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 _Frimont’s_, 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 degree the esteem of the inhabitants of Colmar.--In the evening we returned here.

Yesterday I received information from the Director of music _Tollmann_, in Basel, to whom Herr _Hartmann_ 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.

Herr _Hartmann_ 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 _Hartmann_-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 factories 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.

_Basel_, April, 2.

Herr _Tollmann_, 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 _Tollmann_ 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 _Tollmann_ 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 condition in Switzerland than in Alsace. The good folks here are enraptured still with compositions such as in Germany even in _Pleyel’s_ time were considered intolerable. _Mozart_, _Haydn_ and _Beethoven_ 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.

_Zürich_, April, 10.

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.

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 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.

The receipts were yet greater than at Basel. There are two artistes living here who are also known in Germany. One of them, Herr _Nägeli_, is the proprietor of a music-shop, and the composer of the song sung throughout Germany: “Freut euch des Lebens” (Life let us cherish) he has also since made a name for himself by his Singing Instructions on the _Pestalozzian_ 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.

The other artiste is Herr _Liste_, 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.

Zurich is most charmingly situated. From our room, at the Inn “zum Raben” (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.

_Bern_, April 20.

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!

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 _Carl Maria von Weber_, 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 _Meissner_ and _Jahn_, and the Burgomaster _Hermann_ are particularly distinguished for their cultivated taste for the science of music. The former is Director of the society, and a very good violinist.

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 _Dorette_ 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 _Edward_[19] 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 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. _Edward_ has promised to visit us frequently, and then join us in excursions into the beautiful environs.

[19] _Edward Henke_, previously adverted to, my mother’s youngest brother, then Professor at the University of Bern; and afterwards of Halle.

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?”

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.

_Thierachern_, April, 26.

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 village, 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”.[20] 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!

[20] From _Laube_, an arbour, bower.

May, 16.

We have now begun to divide our time between pleasure and work. In the forenoon, while I compose, _Dorette_ gives the children instruction in arithmetic, writing, geography etc.: 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 “Küher’s” (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.

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:

[Music]

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.

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, as we to theirs. But it is nevertheless specially remarkable, and _almost disquieting_, 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 _haut goût_ 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.

June, 4.

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 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.

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.

July, 1.