Chapter XI: Part 11

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

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

August, 1.

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

August, 12.

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

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

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

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

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

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

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

[21] _Mozart_ has recorded his hatred of the “insolent Aristocracies of Germany” towards whom _Haydn_ demeaned himself with more courtly subserviency than became the great Master of Sound.

On the 10. early in the morning we left Freiburg, spent the afternoon and evening very pleasantly in Bern in the society of _Edward_ and _Jahn_, and returned here at 11 in the forenoon.

* * * * *

Journey to Milan.

In _Edward’s_ company, who was desirous to avail himself of his vacation to make a little excursion into North-Italy, we set out upon our journey on Sunday the 2^d September. At one o’clock we arrived at Kandersteg, where I immediately hired four horses with as many guides, to carry us over the Gemmi. On three of them, rode _Dorette_, _Emilie_ and _Ida_, the fourth carried our luggage. _Edward_ and I preferred to do it on foot. Three quarters of a league on this side of Kandersteg, the ascent begins and continues tolerably steep for a good 2-1/2 leagues. The road then leads round the Gemmihorn for some distance upon a level, till at a distance of 3/4 of a league from Schwaribach it ascends again.--The weather had up till now been very favorable; but here a hail storm over took us which soon changed to rain and wetted us completely through. As it was already tolerably late besides, and we had still the greatest and most difficult part of the way before us, the guides easily persuaded us to put up for the night in Schwaribach. The inn here is a mere rude blockhouse, and has nothing in common with the hotels in the Swiss vallies, that one should be made to pay here equally their exorbitant overcharges. But as one of the two habitable rooms was wholly given up to us, and that besides a bundle of clean straw for us men, we found there a large bed for _Dorette_ and the children, we passed the night nevertheless in tolerable comfort. We could certainly not help feeling a shudder of horror when we called to mind previous to going to sleep, that the midnight murder in _Werner’s_ “Twenty fourth of February” was enacted here.[22]

[22] At this inn in 1807, two Italians murdered the daughter of the Innkeeper, and this circumstance suggested to _Zach. Werner_ the Tragedy adverted to.

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

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

While we refreshed ourselves in the large and well appointed inn, I sent for fresh horses, and at 2 o’clock in the afternoon, animated with new spirits we continued our journey, _Edward_ and I on foot, _Dorette_ and the children on horseback. Previous to leaving, we inspected the sulphur-spring which rises out of the earth at boiling heat, in front of the inn.

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

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

The same boat that brought us to the Islands, took us six leagues farther to the little town of Sesto Calende, at the extremity of the lake. On this excursion we again had many a fine view of the beautiful banks of the lake. Belgirate, Arona, and the colossal statue of _St. Carlo Borromeo_, were seen to great advantage. At Sesto Calende, we already found the dirt and smell peculiar to Italian towns, and that of an Oil-boilery, so offensive to a German palate. On the 7^{th} we performed the last days journey to Milan in the vehicle of a Milanese driver, through a flat and uninteresting country, and put up at a _Pensione Suizzera_ which was recommended to us for its German cleanliness.

_Milan_, Sept. 9.

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

The pillars and niches are in the Gothic, the doors and windows in the Roman style, and the statues are clothed after the Greek manner. All the sculptured works, of which in small and large statues, in high- and low-reliefs, in arabesques and other ornaments there are an immense quantity in this splendid building are from the chisel of celebrated masters, and it seems to me that, the modern works excel even the ancient in beauty and correctness.

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

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

September, 14.

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

September, 16.

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

This afternoon we went to another concert, given by the _Società del Giardino_. The two Mesdames _Marcolini_ and _Fabré_ sang a duett of _Rossini’s_. The former is celebrated throughout Italy as an contralto, her voice is fine, and she has great execution; but she almost always sings too low, by which in my opinion her singing was much injured. Signora _Fabré_ is the _Prima donna_ of the great theatre whose high notes are particularly fine, and her method of execution cultivated. Although both singers stand equally high in regard to voice and skill, yet here also the soprano bore away the palm from the contralto, just as a bass-viol can never please by the side of a violin. In the second part were sung also, a duett of _Paccini_, a Cavatina by _Bonfichi_, and a _Rondo_ by _Paer_. All alike, the humorous or the serious, were sung in the same manner and with the same ornamental trimmings which have been heard a thousand times. The compositions were almost all insipid and without intimate connection, and the singing frequently disturbed or cloaked by meaningless figures of instrumentation.

September, 17.

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

September, 17.

To-day we were present at the concert at the Conservatory of music, for which Count _Saurau_ had presented us with tickets.

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

September, 22.

To-day I paid a momentary visit to a kind of Practising-Concert where the dilettanti of this place, perform Symphonies under _Rolla’s_ direction, and in particular of the German masters. The string-instruments are chiefly played by dilettanti, the wind instruments by players from the _della Scala_ theatre. When I arrived, they had already given the old symphony in D major of _Mozart_, and some overtures by Italian masters, and were just then engaged practising one of the grand Symphonies of _Haydn_ (B major). It was played with tolerable accuracy, but without _piano_ and _forte_, and for the most part crude. Nevertheless, the Institution which is moreover the only one of the kind in Italy, is a very praiseworthy one, since it enables the lovers of music here to become acquainted with our magnificent Instrumental-compositions. If I do not mistake, this weekly Practice-Concert takes place in the house of Signor _Motto_, who is said to have a fine collection of first class violins. But there are a great many fine violins here. A Signor _Caroli_ has two very fine Stradivari’s; _Rolla_ has one also of great beauty; a Count _Gozio de Solence_ has in his numerous collection of fine violins among several others by _Amati_, _Guarneri_ and _Guardagnini_, four Stradivari’s also, which have never been played upon, and which although very old look as though they had only just been made. Two of these violins are the production of the last year of that artist, 1773, when he was an old man of ninety three years of age. But it is immediately perceptible on the violin that it was cut by the tremulous hands of an infirm old man; the other two are however of the best days of the artist, from 1743 and 1744, and of great beauty. The tone is full and strong, but still new and woody, and to become fine, they must be played upon for ten years at least.

September, 28.

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

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

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

_Venice_, October, 5.

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

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