Chapter VI: Part 6

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

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

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

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

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

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

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

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

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

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

* * * * *

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

* * * * *

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

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

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

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

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

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

Shortly after my arrival in Breslau, just as I was about to write to Gotha for an extension of my leave to proceed to Russia, I received through Baron _von Reibnitz_ a letter from the Court-Chamberlain Count _Salisch_ in Gotha, to the following effect:

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

[10] The Step-daughter of the Dutchess, afterwards married to the Duke of Coburg, and mother of the present reigning Duke and of His R. H. the late Prince Albert, Consort of the Queen of England.

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

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

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

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

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

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

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

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

[11] _Bernhard Romberg_, also, constantly smoked while playing, and I once heard him in his house at Gotha, executed his most difficult Concerto in F-Minor, without taking the pipe from his mouth.

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

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

Before I left Hamburgh, another offer was made to me that gave me much pleasure. The celebrated Theatrical-Manager, Actor, and Play-writer _Schröder_, who for nearly ten years had lived in retirement, and had then let his Theatre to other speculators, was suddenly seized with the desire to resume the management after the expiration of their lease. The Play-going public of Hamburgh were rejoiced at this, for they looked forward to see their Stage reassume the distinguished rank to which it had formerly attained under _Schröder’s_ direction. The new management was to commence with the year 1811, and open at first with several new Plays and Operas. _Schröder_ himself had already written a number of Plays and Comedies, for the occasion, and had procured the librettos of four Operas, for which the music was now to be composed. Three of these were already in the hands of _Winter_ of Munich, of _Andreas Romberg_ and _Clasing_ the teacher of music in Hamburgh; but the fourth “_Der Zweikampf mit der Geliebten_” of _Schink_ was offered to me for composition. The negotiator in this matter, was a former acquaintance of mine, _Schmidt_, the actor, previously on the Magdeburgh but now on the Hamburgh stage.

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

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

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

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

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

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

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

“Of this assemblage, the following Orchestra was formed: Director, Concert-Master _Spohr_; Soprano-Solo, Madame _Scheidler_ from Gotha; Tenor-Solo, “Kammer-Singer” _Methfessel_ from Rudolstadt; Bass-Solo, “Kammer-Singer” _Strohmeyer_ of Weimar; Organ, Director _Fischer_ and Professor _Scheibner_, both of Erfurt; Pianiste, Director _Krille_ from Stollberg; Director of the Chorus, Precentor _Bischoff_ of Frankenhausen; Chorists, Soprani 28, Alti 20, Tenori 20, Bassi 30.”

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

“This appropriate and excellent arrangement, by which each had sufficient room, and the Director constantly in view, contributed without doubt not a little after one rehearsal only to the successful execution of so great a work of art, new to many, and exceedingly difficult, as was in particular produced on the second day:

“1) A grand new Overture for full Orchestra (with bassoons also) by _Spohr_. 2) A grand Italian Scena for Bass by _Righini_, sung by _Strohmeyer_. 3) A grand new Clarinet Concerto, written expressly for this Festival by _Spohr_, and played by Director _Hermstedt_. After which 4) Concert-Master _Fischer_ played upon the full Organ an artistic Introduction to the last Chorus from _Haydn’s_ “Seasons”. This was followed 5) by a Double-Concert for two Violins (also of _Spohr’s_ original-Composition) played by himself and _Matthäi_. 6) A grand _Rondo_ from a Concerto in D-Major by _Bernard Romberg_, artistically played by _Dotzauer_, and lastly, Beethoven’s C-Major Symphony....

“Herr _Spohr’s_ leading with a roll of paper, without the least noise, and without the slightest contortion of countenance, might be called a _graceful Leading_ if that word were sufficient to express the precision and influence impressed by his movements upon the whole mass, strange both to him and to itself. To this happy talent in Herr _Spohr_ I ascribe in great part the excellence and precision--the imposing power, as well as the soft blending of this numerous Orchestra with the voices of the Singers in the execution of “The Creation.”

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