Chapter V: Part 5

Madame _Scheidler_ resided there in a very roomy and well furnished house, of which without feeling in the least inconvenienced, she could readily give up to me an apartment or two. As she offered to take my brother _Ferdinand_ who as my pupil lived with me, together with ourselves as boarders, nothing therefore stood in the way of my immediate marriage. The wedding was accordingly fixed for the 2. February, 1806. I hastened therefore, to procure the documents, requisite for the occasion, my certificate of baptism, and the consent of my parents. To my regret, they were unable to bring this to me in person, as my father dare not leave his patients, some of whom were dangerously ill, but they sent my brother _William_[7] to be a witness to my happiness.

[7] Afterwards architect to the Court of Brunswick, and father of the well known harpiste _Rosalie Spohr_.

It created no little astonishment when I produced my certificate of baptism, that instead of growing older in Gotha, I had become several years younger! But as I had already sufficiently established my authority as Concert-Director I experienced no subsequent prejudice from this discovery.

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

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

As the Harp sounded most advantageously in combination with the singing tones of my Violin, I wrote more especially Concerted compositions for both instruments alone. At a later period, it is true, I made trial, also, of two Concertanti with Orchestral accompaniment, and of a Trio for Harp, Violin and Violoncello; but as I found that every Accompaniment only disturbed our mutual and deeply felt harmony of action, I soon abandoned it.

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

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

Meanwhile as the autumn drew near, a twofold obstacle presented itself to the execution of my cherished projects. The war between Prussia and France threatened to break out. The Prussian army prepared for the struggle, was already assembled in the neighbourhood of Gotha, and the inhabitants of the Dutchy had much to endure from the billeting, and overbearing insolence of the Prussians.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As the citizens of Stuttgard had long learned to accommodate themselves to the Royal humours, they were not a little astonished at what I had stipulated for before my appearance at the Court-concert, and had actually granted to me. This made me the object of public attention, and the result was, that my concert in the town was attended by an unusually numerous auditory. The Royal orchestra gave me their support in the most friendly manner, and the Director _Danzi_ endeavoured to facilitate the whole arrangements for me in every possible way.

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

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

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

First of all speaking of Heidelberg, it says: “_Eisenmenger’s_ violin would still have been unforgotten, had not the Heidelbergers had the pleasure in the last Concert to hear _Louis Spohr_ play in his _Rode_-like style of firm, sustained and skillful bow-stroke. His wife played the harp, in a way one seldom hears in Germany--with a tenderness, lightness and grace, with a confidence, strength, and expression, that are quite captivating.”

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

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

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

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

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

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

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

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

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

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

[8] This Canon was found among _Spohr’s_ manuscripts, and a fac-simile is appended to this volume.

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

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

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

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

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

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

[9] Musician to the Corporation.