Chapter VII: Part 7

“The Overture with which the Concert began on the following day, belongs properly considered to the _Master-pieces in modulation_. Almost with every new bar, one _Inganno_ succeeds the other, so that it may be looked upon as a connected series of studies in modulation. Probably, this restlessness, this vacillation, has reference to the character of the “Alruna” for which drama this was written. Great, however as the effect of this Overture may certainly be in a Theatre, yet as Concert-Music it did not appear to make the impression that might have been expected from its execution by so good and numerous an orchestra. This result can be explained in no other way than, in as much as continuously disappointed hopes depress the spirits and make the mind uneasy, so a music which to the end disappoints the expectations of the ear, never satisfies. A profusion of crooked and sometimes rough passages, leading to no object, to no repose, and to no further enjoyment, in which the Composer merely keeps the mind of the hearer in suspense become at length wearisome. The music of our forefathers 200 years ago, consisted of just such a profusion of crooked passages, without resting place--of numberless modulations and sustained terminals. But our worthy ancestors were as yet wanting in the flowers wherewith to embellish and make a little resting place interesting, that is: they were yet wanting in figures of Melody to entertain their hearers agreably in one Tone. But how easy would this have been to the admirable _Spohr_, who has so many of the beautiful flowers! The so called contrast in great Musical works is by no means to be despised; and least of all, the more it is grounded upon human perception and feeling.

“Of the effect of Herr _Strohmeyer’s_ execution of the grand Scena of _Righini_, it is here unnecessary to say any thing further, since his splendid delivery has had full justice done to it above. _Righini’s_ charming Song, and admirable instrumentation are sufficiently known. The Scena kindled the enthusiasm of the whole audience.

“_Spohr’s_ Clarinet-Concerto in E-Minor, played by _Hermstedt_, is indisputably one of the _most perfect Artistic Works of the kind_. A grand and brilliant handling of the concerted instruments, combined with a most original accompaniment for the Orchestra, in which as it were each instrument even the kettle-drum, is _obligato_, and which for that reason requires a more than usually practised and attentive Orchestra, entitles it to be so considered. The third, Polonaise-like theme, is particularly remarkable, in which one knows not whether to admire most the brilliancy of the artistic Soli’s or the admirably elaborated Tutti’s--in the latter of which, the wind instruments seem actually to engage each other in a Thematic struggle. This artistic work is moreover conspicuous for the cheerful spirit that pervades it throughout. The admirable execution of this Concerto did great honour to the Composer, the Player and the whole Orchestra; and set thousands of hands among the audience in lively and continuous motion.

“Hereupon, Concert-Master _Fischer_ surprised the Orchestra as well as the audience not a little, by falling in with the full Organ, in order to introduce the now ensuing chorus of the Finale, in C-Major. This novel kind of Music, of which nothing had been heard at the rehearsal, its artistic connecting of the Voices, its harmonious turns and masterly modulations made every member of the Orchestra doubly attentive. For some minutes he may have entertained the audience in this manner, when, he dwellt upon the dominant, and to keep the expectation yet more alive for the entry of the Chorus, by means of a sort of Organ-Point, formed a close at this interval. This was no sooner observed by Herr _Spohr_, than he lifted his roll of paper, and scarcely had the last organ-tone ceased, when the whole Orchestra fell in with the first single chord C of the Chorus; which C, the trumpets had then to sustain alone to the end of the bar. This was executed with the greatest punctuality. One of the trumpeters, only, preoccupied with the Organ play, had forgotten to change his mouth piece and so blew on in E-Minor. In an instant Herr _Spohr_ made a motion, and nothing more of the second bar was heard from the Orchestra. Upon this Herr _Fischer_ instantly fell in again with the Organ, continued his Prelude, and this time closed in form with the dominant C-Major--just as if that occurrence had been intentionally introduced.

“As no pause whatever in the music took place, so that, except by the Orchestra, it would have been difficult for any one to have remarked this oversight, it might have been wholly concealed, were it not to be feared, that experienced Musicians might laugh at my here repeated assurances of nothing but faultless and successful performances by an Orchestra collected from twenty leagues round, after one rehearsal only, in the same manner as our present newspaper political reports are frequently ridiculed.

“After a pause of about a quarter of an hour, Herr _Spohr_ resumed his Violin, Herr _Matthäi_ drew nearer to him, and now those two admirable Artistes, by their perfect execution of a double Concerto of Herr _Spohr_ afforded us the most lively enjoyment of alternating admiration, astonishment and pleasure. They seemed frequently in open feud for superiority in artistic execution, then became as it were reconciled and poured forth together the most harmonious roulades upon the listeners. The precision, and the rapidity with which they took up and combined their respective tones, was worthy of admiration. The quite original _Adagio_ of this masterly work which now followed, commenced with a Trio for two Violincellos, impressively performed by Herren _Preissing_ and _Müller_, and for a Contra-Bass, by Herr _Wach_ of Leipsic. When these three had ended their soft melodious play, a _Quadro_ in long drawn and tied chords, as though from a Harmonica, but somewhat deeper, was heard. It had a thrilling, and sweet effect. Everybody looked round to the Bassi and Violi, from which this heavenly harmony seemed to have in part proceeded, but every arm was still, and the bows of Herren _Spohr_ and _Matthäi_ moved alone. It was they alone, also, who had played that _Quadro_--and with a purity, that upon the taking up of the Con-sonants after releasing the ties, the ear was frequently moved with a singularly deep felt charm. After a second similar Violincello-trio, the Quadro of the two Concerto-voices recommenced, and proceeded to the close. The last Thesis accorded fully with the science and beauty of the first.

“Upon this, Herr _Dotzauer_ advanced to the front music-desk, and played, owing probably to the shortness of the remaining time, a _Rondo_, but a Rondo of masterly elaboration and very difficult, from a Violincello-Concerto in D-Major by _Bernard Romberg_, with an execution, roundness and force in the sustained passages, and with a lightness, purity, expression, and silvery tone in the melodic parts of the higher octaves, that in his performance of this _Rondo_ alone, he displayed in the most admirable manner his great mastery of his instrument.

“_Beethoven’s_ Symphony in C-Major; indisputably his most pleasing and popular one, formed the conclusion. It could not have been executed with more grace, fire and precision. The Chorus of wind instruments in the _Trio_ of the Minuett afforded particular enjoyment. One imagined to hear the tones of an exceedingly pure harmonica. A general and long continued applause evinced the thanks and satisfaction of the audience with the choice of the masterly compositions performed, and with the manner in which they had been executed by the assembled artists.

“Though we commenced by adverting to the difficulties which had been surmounted by the gentleman who carried out this undertaking, both in the arrangements for the mental and bodily recreation of his numerous guests, we feel it a duty to add yet something in respect to the latter, a by no means easy thing to effect in so small a town.

“The hundred Chorists were distributed among the different Inns, where they found both bed and board. The whole of the Virtuosi, Singers and Dilettanti were on the other hand received into respectable private houses. But in order to render the stay of the kind lovers of Music who had met together from such distant places, as agreable to them as possible, Herr _Bischoff_ had made a sacrifice of the flower garden immediately behind his house, and converted it into a Dining-room. The Saloon erected for this purpose was decorated with green branches the pleasing freshness of whose verdure seemed a friendly welcome to the company.

“In this Saloon, the tables were laid out, and the repasts served. It was a pleasure to behold so many worthy Artists and Lovers of Art assembled here for one and the same purpose, proceeding thence to their labour of Love, and returning therefrom to meet here anew for cheerful enjoyment, and to pay unanimous and hearty tribute to the great father _Haydn_, the excellent _Spohr_ and many other first rate Artists in brimming glasses. The hilarity of the supper table was generally heightened by lively and well sung songs. Fine voices joined, and sang Quartetts and Canons; Herr _Methfessel_ taking his guitar would entertain the company with pleasing Ballads, and touching Romances of his own Composition; by way of change, he then sang a Comic Song, or two, and exhibited his liveliness of fancy, his richness of invention, wit, and humour of expression, as well as his intimate knowledge of tone and harmony. Herr _Hachmeister_, the Assessor of mines from Clausthal taking then the guitar from him in turn, charmed the company with National Songs in the Thuringian dialect, replete with such wit and humour as compelled the hearer despite himself, to laugh at the cares of life.”

I and my wife, made many agreable acquaintances among the artistes and friends of Art then assembled in Frankenhausen, among others, that of Amtsrath _Lüder_ of Catlenburg, who up to the present time has remained one of my most intimated friends. _Lüder_ then resided in the neighbourhood of Bremen and was upon a journey of business to Berlin. On arriving at the foot of the Hartz mountains, his postillion informed him of the approaching Musical Festival in Frankenhausen and pictured to him in so attractive a shape the Musical treat that was to be expected there, that _Lüder_ immediately made him diverge from the road, and take the direction of Frankenhausen. Arrived there, his first care was to enquire for me, to ask permission to be present at all the rehearsals. This was not only very readily granted, but I also invited my new acquaintance whose enthusiasm for Art greatly pleased me, to join our meetings under the tent at dinner and supper. Here in the hours intervening between the rehearsals and the performances, amid artistic enjoyments seasoned with lively sallies of wit and good humour, a social intercourse sprang up so delightful, that all who shared in it will assuredly have looked back upon it with the greatest satisfaction. A small circle of similarly minded enthusiasts for Art had especially gathered round me, and we soon became so mutually attached, that after the close of the Festival it became difficult to separate, and an excursion together to the Kyffhäuser was determined upon. On this mountain-excursion which was favoured by the most beautiful weather, it was the Singer _Methfessel_ from Rudolstadt, who more particularly kept the company in the merriest mood by his inexhaustible humour. I still remember with great pleasure an improvised Capucin-sermon which he preached from the chancel of a ruined cloister, in which he interwove in a half serious, half comical manner the chief incidents of the Musical-festival. From the summit of the Kyffhäuser, he sang also the praise of the Emperor Barbarossa, and urged him to a speedy resurrection for the final enfranchisement of Germany.[12]

[12] According to the ancient legend, the belief in which was once popular throughout Germany; _Frederick Barbarossa_, seated at a stone table in the vaulted tower of the Imperial Castle of the Kyffhäuser, awaits since 600 years the hour of Germany’s regeneration, in order to reappear once more in the vigour of life, prepared for new works and achievements for the glory and well being of a united Germany. The red beard of the Emperor grows round the table of stone in front of him, and so soon as it has wholly grown round it for the third time, _Frederick_ will awake. His first act will then produce a symbol of his further mission. He will hang his shield upon a withered tree, which will then suddenly shoot out its buds and leaves again, till it is covered anew with verdant life and beauty! Such is the legend, the origin of which dates far back into the middle ages, and must be considered as a long subsisting expression of that yearning of the popular mind in Germany which under long enduring circumstances of political oppression looked towards the future with hopes of enfranchisement and relief, and which associated those hopes and aspirations with the memory of an honoured name.

(Note of Translator.)

Arrived again at the foot of the mountain, the new friends were reluctantly obliged to part, and each returned to his home highly gratified.

I immediately resumed the composition of my Opera, and finished it in the course of the winter of 1810-1811. Besides this, in my catalogue appears the following Works at this period: A Violin-concerto afterwards published by _Peters_, a Sonata for Harp and Violin (Op. 114, by _Schuberth_) and an Italian aria, _alla Polacca_, with Violin Obligato, which was never engraved. I wrote the latter at the request of Prince Frederick von Gotha, brother of the Duke, who gifted with a pleasing tenor voice, frequently sang in the Court-concerts, and much wished to have an Air with Violin accompaniment of my composition. It was frequently sung, particularly when visitors were at court.

The Prince was an amiable well meaning man, who interested himself in Music much more than his brother, and who, with the Dutchess, kept alive the interest for the Court-concerts. Unfortunately he was subject to an incurable complaint, epilepsy, with which he was seized every fourteen days, (in later years, still more frequently) which kept him down from 12 to 15 hours at a time. He was then deprived of the use of all his limbs, and the organs of speech and the muscles of his face were the only parts that remained unaffected. During these dreadful attacks he would lie in bed as motionless as a corpse; but was always pleased when any one visited him, and entertained him with conversation. From the continual recurrence of these attacks he had become so accustomed to his condition, that he could be quite cheerful during their duration. His physicians considered that a milder climate would be most likely to cure him, and for that reason sent him to Italy. I met him in Rome during my tour in Italy in 1816; and mention will therefore be frequently made of him at that part of my narrative.

In the spring of 1811, the Precentor _Bischoff_ again paid me a visit, and invited me to conduct a second grand Musical Festival which he intended giving in Frankenhausen. He also begged me to play a Violin-Concerto on the second day of the Concert, and to write a grand Symphony for the opening. Although I had not yet attempted that kind of Musical composition, I acceded with pleasure to his request.

In this manner the opportunity presented itself for another interesting task, and I immediately set about it with spirit. Although hitherto it had been usual with me to lose after a time all taste for my first essays in a new style of Composition, this Symphony was an exception to the rule, for it has pleased me even in after years. As I had previously practised it very carefully with my Orchestra, which was composed of the _élite_ of the Frankenhausen Orchestra, although we could have but one rehearsal of it, it was nevertheless executed in an admirable manner at the Festival, and met, particularly from those who took part in it, with an enthusiastic reception. I felt highly gratified at this, more even than at the applause I gained as Solo-player. In Leipsic also, where the Symphony was executed in the Drapers’-House-Concert, it met with great approbation, as is shewn in a notice of the Musical Journal, which says: “_Spohr’s_ new and yet unpublished Symphony excited the interest and admiration of all real lovers of music. Both in invention and elaboration, we consider it not only to surpass all that we know of the Orchestral-Music of this Master, but confess also, that for many years we have scarcely heard a new work of this kind, which possesses so much novelty and originality, without singularity and affection; so much richness and science, without artifice and bombast. We may therefore confidently predict, that when published, it will become a favorite piece with every great and skilled Orchestra, and with all serious and cultivated Auditories; but it requires both.”

Besides this Symphony, I had also written for the Musical Festival at _Hermstedt’s_ earnest solicitation, Variations for the Clarinet, with Orchestral accompaniment, upon themes from the “_Opferfest_” which he performed with his usual skill. This Composition, (published by _Schlesinger_ in Berlin as Op. 80) which carries out those themes with a more artistic Fantasia-like freedom, than as Variations, were greatly admired by Musicians and connoisseurs.

On the afternoon of the second day, the Musical Festival was followed by a family fête in the house of the projector. A few weeks before, a son had been born to him, who was now christened. He had invited the whole of the assistants to be godfathers, who now in holiday attire ranged themselves round the altar at the church. I held the infant son over the baptismal font, and gave him my name “Louis”. When the clergyman put the question to me and the other godfathers, whether we would take care that the child should receive a Christian education, a solemn “Yes” from full three hundred voices echoed through the church. A Chorus executed by the singers, with Organ accompaniment, terminated the holy ceremony.

At this second Festival my gratification was still more enhanced by the presence of my parents among the auditory, and that they took a lively part in the social gaieties under the tent. The projector was no less satisfied with his speculation, and thus this Festival terminated like that of the previous year, to the satisfaction of all.

Shortly after my return, I received intelligence from Hamburgh that my Opera, which I had sent in in the spring, had been at length distributed and that its representation would take place in the first days of November. I therefore applied for a month’s leave of absence for myself and wife, and set out with her, in the middle of October, via Hanover, where I intended giving a concert. As this was the first Opera of mine that was to be represented, I was in a state of great anxiety. The shock I felt may therefore be readily imagined, upon receiving a letter in Hanover from the manager _Schröder_, informing me that the Opera would not be produced, because the _Prima Donna_ Madame _Becker_ refused to take the part assigned to her, and that according to the theatrical laws she was perfectly justified in doing so.

The matter was in this wise: Previous to beginning my work, I had certainly taken pains to inquire of Herr _Schwenke_ respecting the range of voice and the capabilities of the Hamburgh singers, and in accordance therewith, I had constructed the chief parts of the opera. But as I was without all experience in these things, I had neglected to ascertain the personal appearance of the singers, so that, for Madame _Becker_, a small, delicate figure, I had written the part of Donna Isabella, who seeks for her faithless lover at the Court of Princess Matilda disguised in man’s clothes, and at last challenges him to mortal combat armed cap-à-pied as a knight. So long as Madame _Becker_, knew no more about the Opera than her part, she was highly satisfied and began to practice with great zeal. But as soon as she had read the libretto, she declared, that she could not undertake the part, as she would make herself perfectly ridiculous. Exceedingly annoyed at my mistake I set off for Hamburgh, to remedy it wherever possible, and to induce the representation of the opera. I found old _Schröder_ in very low spirits, and exceedingly dissatisfied with his theatrical untertaking. But he had every reason to be so. Several of the performers had failed to make their appearance, others came too late, and some had not answered the expectations entertained of them; his new Plays and Comedies had not been very successful, and empty houses had been the result. Of the four Operas which he had Music written for, two were already laid aside, because they had displeased. The one composed by _Winter_: “_Die Pantoffeln_” had lived through some few thinly attended representations; that of _Clasing_: “_Welcher ist der Rechte?_” had been withdrawn from the _Repertoire_ immediately after the first night, for in spite of the strenuous efforts of _Clasing’s_ numerous friends it was a complete failure.

With such disappointments, it was not to be wondered that the old grumbler should be mistrustful of my Opera also, and the more so since the most favorite singer of his theatre would not lend her aid. But when he offered me payment of the sum agreed for it, and at the same time laid it aside without having given it a trial, I was much hurt and protested against it in the most positive manner. At length after much entreaty, I obtained _Schröder’s_ consent that I should make a trial of it with another singer, who hitherto had played only in secondary characters, and practise her in the rôle refused by Madame _Becker_. In this singer, a Madame _Lichtenheld_, I found great willingness and natural capacity, and when I had simplified the most difficult bravura passages of the part to her powers of execution, I succeeded well with her. Thus at length the rehearsals could be commenced, and when _Schröder_ had heard one, and had become convinced that Madame _Lichtenheld_ would fill the part satisfactorily, the first representation was announced for the 15. November. My former musical acquaintances one and all, including _Romberg_ and _Prell_, offered their services to me in the two representations in which I was to lead the orchestra. _Hermstedt_, also, who had come to Hamburgh to give a Concert with my support, joined them, and undertook the First Clarinet part, for which there were some telling Soli’s and a concerted accompaniment or a Soprano-air. With the aid of these distinguished artists the Orchestra was considerably strengthened, and as the Singers and the Chorus were likewise well practised, I was already greatly pleased with the precision with which my music was performed in the rehearsals, and therefore entertained the most lively hopes that the Opera would please. Nevertheless on the evening of the representation, it was not without fresh anxiety that I took my place at my desk, for it had come to my ears that, _Clasing’s_ friends would evince an inimical feeling towards me in revenge for the failure of his opera. But when the music had begun, I thought of that alone, and forgot every thing else around me. The applause with which the Overture was received, shewed me, nevertheless, that the unfriendly party would not make any demonstration; and so it proved. Almost every piece was applauded, and the approbation increased yet more towards the end of the opera. Upon the fall of the curtain a long sustained storm of applause was given to the composer.

I ought now to have been very happy, but was by no means so. Already at the first rehearsal some things in my music had displeased me. At every fresh rehearsal these were increased by something new, and before the actual representation, the half of my Opera had become distasteful to me. I now thought I well knew how I could have made it better, and was greatly annoyed that I had not discovered it before. Yes, indeed, had my work appeared to me in that light on my arrival at Hamburgh, I should have made no opposition to _Schröder’s_ intention to lay it aside unperformed. But my musical friends were of a different opinion; they were exceedingly pleased with this work, and wished me every further success. _Schwenke_ wrote a full and very laudatory criticism of the Opera, wherein he adroitly combated the well founded opinion of its opponents, that it contained many reminiscences of the Operas of _Mozart_, and while admitting that the form of the musical pieces as well as the whole design recalled _Mozart_, he assigned that, as a recommendatory feature and proof of its excellence. By this, made watchful of myself, I became sensible of the necessity to break myself of it, and think that I already fully effected it in “Faust” my next Dramatic work.

With my permission, _Schwenke_ had some time before made a Piano-forte arrangement from the Opera, which was now published by _Böhm_ in Hamburgh, and soon found an extensive circulation.

Of the Concert which I then gave in Hamburgh with my wife and _Hermstedt_, I recollect but little more than that the latter created a great sensation by his highly cultivated skill. But I have a clearer recollection of another Concert in Altona, at which we and several of our Hamburgh friends assisted, and in which all manner of little misfortunes befell us, which afterwards afforded matter for much merriment.

This Concert was given by a rich Musical-amateur of Altona, who invited the assistants from Hamburgh to a luxurious dinner. After the company had been at table for two hours, and addressed themselves diligently to the champaign, they became so merry and forgetful, that nobody gave a thought to the Concert that was to follow. The terror therefore was general, when a Messenger suddenly appeared, and announced that the numerous Audience which had assembled was become impatient and demanded the opening of the concert. All now hurried to the Concert saloon; although in reality no one was any longer in a fit state to make a public appearance. It was especially remarkable that, those who were usually the most timid had now become the most courageous. The Altona dilettanti-Orchestra, who were to serve as nucleus and support to the Hamburgh Artists, were already in their places, and the Concert immediately began with an Overture by _Romberg_ who conducted it himself. He, who was unjustly accused of taking the _tempi_ of his Compositions too slow, hurried the _Allegro_ of his Overture this time so much, that the poor Dilettanti could not keep up with him. Little therefore was wanting for the whole thing to break down from the very overture. My wife and I were then to follow with a Sonata for harp and violin, which as usual we were about to play without notes. Just as we had seated ourselves, and I was about to begin, my wife, who at all other times was self-possession itself, whispered anxiously to me: “For Heaven’s sake, _Louis_, I cannot remember which Sonata we are to play, nor how it begins!” I hummed softly in her ear the commencement of it, and restored to her the necessary calmness and self-possession. Our Play now proceeded without mishap to the end, and was received with great applause. It was now Madame _Becker’s_ turn to sing an Air, and _Romberg_ had just led her forward to the raised platform of the Orchestra, when to the great astonishment of the public, she all at once ran off, and disappeared in the room adjoining. _Dorette_, allarmed lest she should have been taken suddenly ill, hastened after her. But, both shortly reappeared, and I now ascertained from my wife, that Madame _Becker_ had found her breath too short from the effects of the dinner, and was therefore obliged to have her clothes loosened before she could sing.

_Hermstedt_, now followed with a difficult composition of mine. He, who always when appearing in public, went to work with the most nervous precision in every thing, emboldened now to rashness by the fumes of the champaign, had screwed on a new and untried plate to the mouthpiece of his Clarinet, and even spoke vauntingly of it to me as I mounted the platform of the orchestra. I immediately anticipated no good from it. The Solo of my composition began with a long sustained note, which _Hermstedt_ pitched almost inaudibly, and by degrees encreased to an enormous power, with which he always produced a great sensation. This time he began also in the same way, and the public listened to the increasing volume of tone with wrapt expectancy. But just as he was about to encrease it to the highest power, the plate twisted, and gave out a mis-tone, resembling the shrill cry of a goose. The public laughed, and the now suddenly sobered Virtuoso turned deadly pale with horror. He nevertheless soon recovered himself, and executed the remainder with his usual brilliancy, so that there was no want of enthusiastic applause at the end.

But with poor _Schwenke_ it fared worse than all. The waist-buckle of his pantaloons had given way during the dinner, without his being aware of it. When therefore he had mounted into the orchestra to take the Viol-part in a Pot-Pourri with Quartett-accompaniment which I played at the close of the Concert, shortly after he had begun to play, he felt his pantaloons begin to slip with every movement he made in bow-ing. Much too conscientious a Musician, to omit a note of his part, he patiently waited for the pauses, to pull up his nethergarment again. His predicament did not long escape the notice of the public, and occasioned considerable merriment. But towards the close of the Pot-Pourri, when a 1/16 movement shook him so roughly, that the downward tendency of his pantaloons made serious progress, and threatened to exceed the limits of propriety, the public could no longer restrain itself, and broke out into a general titter. By this untoward interruption of the execution of my Solo, I was thus dragged also, into the general calamity of the day.

On my return to Gotha, I found a letter from _Bischoff_, in which he informed me that he had been commanded by the Governor of Erfurt to make arrangements for a grand Musical Festival there, in the ensuing summer, in celebration of the birthday of Napoleon, August 15. He had already agreed with him as to the terms, and now asked me to untertake its direction, and to write a new Oratorio for the first day. I had long desired to try for once, something in the Oratorio-style, also, and readily consented to the proposal. A young poet in Erfurt had already offered me the text of an Oratorio, in which I had found several grand passages for composition. It was called: “The last Judgement.”

I sent for the libretto, and set to work at once. But I soon felt that for the Oratorio-style I was yet too deficient in Counter-point and in Fugeing; I therefore suspended my work, in order to make the preliminary studies requisite for the subject. From one of my pupils I borrowed _Marpurg’s_ “Art of Fuge writing” and was soon deeply and continuously engaged in the study of that work. After I had written half a dozen Fugues according to its instructions, the last of which seemed to me very successful; I resumed the composition of my Oratorio, and completed it without allowing any thing else to intervene. According to a memorandum I made, it was begun in January 1812, and finished in June. There would not therefore have been sufficient time to write it out and practise it before the performance, had I not sent the two first parts of the work to _Bischoff_, immediately after their completion. By that means, not only could the Choruses be carefully practised in it, but I had also sufficient time to study the Orchestral-parts with my own orchestra, which was again to form the nucleus of the great Erfurt orchestra. In this manner, although the work is a very difficult one, I was enabled after one general rehearsal only, to effect a tolerably successful performance of it. One of the Solo-singers, alone, who sang the part of Satan, did not give me satisfaction. This part which was written with a powerful instrumentation, I gave by the advice of _Bischoff_ to a village schoolmaster in the neighbourhood of Gotha, who was celebrated throughout the whole district for his colossal bass-voice. In power of voice he had indeed quite sufficient to outroar a whole Orchestra, but in science, and in Music, he could by no means execute the part in a satisfactory manner. I taught and practised him in the part myself, and took great pains to assist him a little, but without much success. For when the day of public trial came, he had totally forgotten every instruction, and admonition, and gave such loose to his barbarian voice, that he first of all frightened the auditory, and then set them in a roar of laughter.

From overstraining his voice, he moreover almost always intonated too high, and by that spoiled several of the most effective parts of the oratorio. I suffered intensely from this, and my pleasure in my composition was greatly embittered. Nevertheless it gave general satisfaction, and was most favourably spoken of in a detailed notice of the Musical Festival in one of the Thuringian newspapers. Another criticism which appeared in a South-German (if I am not mistaken a Francfort Journal) found on the other hand much to cavil with in the work, and was altogether written in a bitter and malevolent tone. For many years I suspected this malicious criticism was written by Counsellor _André_ of Offenbach, as he was present at the Festival with two of his pupils, _Arnold_ and _Aloys Schmidt_. What induced me to suspect him of it, although _André_ had expressed himself to me personally in praise of the work, I now no longer remember; and in later years when I questioned him on the subject, he assured me that he was not the author. I, myself, not only considered the work the best I had written up to that time, but I thought I had never heard any thing finer. Even to this day I like so much some of the choruses and Fuges, as well as the part of Satan, that I could almost pronounce them to be the most grand of all I ever wrote. Not so, however, with the other themes particularly with the Soli-parts of Jesus and Mary. These are wholly written in the Cantata style of that day and overladen with bravoura and ornamental passages. Shortly afterwards, also, I felt the impropriety of this style, and in later years frequently resolved to re-write those Soli parts. But when about to begin, it seemed to me as though I could no longer enter into the spirit of the subject, and so it remained undone. To publish the work as it was I could not make up my mind. Thus in later years it has lain by with out any use being made of it.

As the above mentioned Festival in honour of Napoleon’s birth-day was the last that took place in Erfurt and in Germany just before the Russian Campaign, it was considered to have been ominous, that the principal Musical piece then performed should have been “the last Judgement”.

* * * * *

In the Autumn of 1812 I again applied for a leave of absence for myself and wife, which after some reluctance on the part of the Dutchess was granted. We this time directed our journey to Vienna as the least disturbed by the war, and the passage of troops. Our first stay was at Leipsic, where we assisted at a Concert given by _Hermstedt_, and where I afterwards performed my new oratorio. Of this the Musical Journal speaks in the following manner:

“Herr _Hermstedt’s_ Concert as regards the Compositions executed, was one of the most attractive that could be heard. With the exception of _Mozart’s_ Overture, and the Scena by _Righini_, all the pieces were of the composition of Concert-Master _Spohr_, and with the exception of the Clarinet-Concerto, all newly written. This Concerto, the first in C-Minor, and, as a Composition, the most brilliant of all Concerti for that instrument, was again listened to with great satisfaction. A grand Sonata for Violin and Harp, played by Herr and Madame _Spohr_, the leading theme of which must be pronounced masterly in conception and elaboration, and the second, consisting of a delightful Pot-Pourri of happily combined and most pleasingly handled melodies from the “_Zauberflöte_”,--this as well as each of the other pieces were received with the warmest approbation. We heard besides another Violin-Concerto[13] played by Herr _Spohr_ and a Pot-Pourri for the Clarinet with Orchestral accompaniment. In the former, the first _Allegro_, as regards composition and execution pleased us least. Here and there, it seemed to us both tricky and overladen with ornament, and considering its contents, much too long; neither was the execution of the Virtuoso every where sufficiently distinct and clear. But the _Adagio_, as regards composition and execution is one of the finest we ever heard on this instrument, we may even say the very finest that was ever produced by any Virtuoso.”

[13] This must have been the 6. (Op. 28).

Of the Oratorio, also, it speaks upon the whole, favourably. It contains not only “many details that are original and attractive, some even that are really charming, but which, also, too closely crowd upon and obliterate each other. Every hearer whether he agrees or not with _Spohr_ in his idea of an Oratorio, that is, whether he may be disposed or not to tolerate its combination of almost every kind of treatment and style, or rather, to see them replace each other in turn--yet every hearer must be impressed with a lively interest in this work, and experience a real pleasure not unmingled with astonishment at several of its principal parts.”

According to a notice in the Musical Journal of the 8. November, I do not appear to have made any stay at Dresden, upon this journey. But in Prague I gave a Concert on the 12. November, and eight days after, my Oratorio at the Theatre. A very favourable notice of the former appears in the Musical Journal, which adverts especially to the “enchanting unity” of execution, from which the most perfect harmonic marriage of the two admirable artistes was to be recognised.

Of the performance of the Oratorio I alone remember that Fräulein _Müller_ afterwards Madame _Grünbaum_, sang exquisitely in it, and that the work was right well received by the public.

I now hastened towards the chief object of my journey. Vienna was at that time indisputably the Capital of the Musical world. The two greatest Composers and Reformers of Musical taste, _Haydn_ and _Mozart_ had lived there, and there produced their Master-pieces. The generation still lived, which had seen them arise, and formed their taste in Art from them. The worthy successor of those Art-heroes, _Beethoven_, still resided there, and was now in the zenith of his fame, and in the full strength of his creative power. In Vienna therefore the highest standard for Art creations was set up, and to please there--was to prove one’s self a Master.

I felt my heart beat as we drove over the Danube-bridge, and thought of my approaching début. My anxiety was yet more increased by the reflexion that I should have to compete with the greatest Violinist of the day; for in Prague I had learnt that _Rode_ had just returned from Russia, and was expected in Vienna. I still vividly recalled to mind the overpowering impression which _Rode’s_ play had made upon me ten years before in Brunswick, and how I had striven for years to acquire his method and execution. I was now therefore anxious in the highest degree to hear him again, in order thereby to measure my own progress. My first question therefore on alighting from the carriage was whether _Rode_ had arrived, and had announced a concert. This was answered in the negative, but with the assurance that he had long been expected.

It was now therefore a matter of importance to me to be heard before _Rode_, and I hastened as much as possible the announcement of my concert. I succeeded also in appearing first; but _Rode_ had arrived meanwhile, and was present at the concert. To my great surprise I felt less intimidated than inspired by that circumstance, and played as well as I could have desired. The Musical Journal spoke of my appearance before “a crowded house” in the following manner:

“On the 17. December we had the pleasure to hear and admire Herr _Louis Spohr_ and his wife at a concert. We subscribe gladly to the favourable opinions expressed of this worthy Artiste-pair and can only add that here also every one was charmed by their masterly play. Herr _Spohr_ played a Violin-Concerto with a Spanish _Rondo_ and at the end a Pot-Pourri, both of his composition; with his wife, he executed one of his published Sonatas for harp and violin. The composition both of the Concerto and this Sonata are excellent, and contrasted not a little with the watery, patchwork productions with which so many practising Musicians without talent or genius for composition, make their appearance here.”

By the advice of some kind friends I relinquished my intention of giving my Oratorio at my own expense, as I had projected doing in a second Concert; since the great expenditure which a large Orchestra and a numerous Chorus would have superadded to that of an usual Concert, forbade the hope to realise any profit from the undertaking. Yet as I was very desirous to have this work heard in Vienna, for I still considered it one of the grandest of its kind, I offered to perform it for the benefit of “the Widow’s and Orphan’s Society” on the condition only, that for its production, the society would provide a well appointed orchestra supported by the most distinguished Singers and Instrumentalists in Vienna. This condition was accepted, and fully carried out by the society, which provided a _personel_ of three hundred assistants from among the best artistes in the city. The work was carefully studied in two grand rehearsals, and on its production, was performed better than I had yet heard it. I became anew enraptured with my creation, and with me several of the assistant Musicians, among whom more especially Herr _Clement_ the Director of the Orchestra of the “Theatre an der Wien”.

He, had so thoroughly imbibed the spirit and substance of the work, that the day after its performance he was enabled to play to me on the Piano several entire parts, note for note, with all the harmonies and orchestral figures, without ever having seen the score. But _Clement_ possessed a musical memory such perhaps as no other artiste ever possessed. It was at that time related of him in Vienna, that after he had heard several times “the Creation” of _Haydn_, he had learned it so thoroughly, that with the help of the text book he was able to write a full Pianoforte arrangement of it. He shewed this to old _Haydn_, who was not a little alarmed at it, thinking at first that his score had either been stolen or surreptitiously copied. Upon a nearer inspection he found the Pianoforte arrangement so correct, that after _Clement_ had looked through the original score, he adopted it for publication.

Before my Oratorio was performed, I had a quarrel with the Censorship, which nearly subverted the whole untertaking. They would not suffer the names of _Mary_ and _Jesus_ to be used in the list of the Dramatis-Personae of the Text-Book, nor above the words which they had to sing. But after long negotiation, upon the omission of these, the text was allowed to be printed. I could readily accede to this omission, since from the context it was easy to understand who the persons were.

Greatly as the work pleased the Musicians, and increased their opinion of my talent for composition, yet its reception by the Public was not nearly so brilliant as that which my play, and my Concerted compositions had met with. It is true there was no want this time also of marked applause, but it was not so general as to attract a numerous audience to the second performance which took place three days afterwards. This second representation in Vienna was the last the work ever had; for in later years I saw too well its weak points and deficiencies ever to persuade myself to give it again in public. Of the first representation in Vienna on the 21. January the Musical Journal spoke tolerably well.

_Salieri_ the Leader of the Imperial Orchestra had undertaken the direction of the whole; Herr _Umlauf_ presided at the Piano, and I led the violins. The principal parts were sung by Demoiselle _Klieber_, Madame _Anenheim_, Demoiselle _Flamm_, Messrs. _Anders_, _Wild_, and _Pfeiffer_. “It is difficult” says the notice “here in Vienna to bring out an Oratorio, so as either to awaken attention to it, or to procure for the work a permanent name--here where such grand, successful masterpieces of the kind first made their appearance, which are familiar to every body and which have procured for their creators a lasting fame in the musical world. Herr _Eibler_ already attempted to set the “Four last Things” ... to music. But his work was only twice publickly performed, because he failed in a thoroughly even and original style, and his composition would not bear comparison with the works of his great predecessors of this kind. The same may be said also of Herr _Spohr’s_ “Last Judgement” although the composer of that work is infinitely superior in severe passages to the writer of the “Four last things.” All the chorusses and fugues in the severe style, with which one can find fault in some secondary parts only, have a real artistic merit; are worked out with great industry, and were received also with loud and general enthusiasm. The Airs, Duetts and single Song passages, depart however too much from the real Oratorio style, are too frequently repeated in the text, and approach more or less to the Italian Operatic style. Some too striking reminiscences of the “Creation” and particularly of the “Zauberflöte” lessen the merit of the work in respect of originality. The Chorus of Devils at the end of the first part would be more admissably in its place if introduced in a ballet. Herr _August Arnold_ the author of the text, has also, certainly not produced a work such as might satisfy the composer for musical treatment.... The Theatre was scarcely half full. On the 24., this Oratorio was repeated before scarcely two hundred auditors. But a work of this kind should not have been brought out in such a pleasure loving City in Carnival time!”--

A fortnight after my first appearance, _Rode’s_ Concert came in turn. Relying on his European reputation he had chosen the most spacious Concert-room in Vienna, the great “Redouten-Saal” and he found it completely filled. With almost feverish excitement I awaited the commencement of _Rode’s_ play, which ten years before had served as my highest model. But, already, after the first Solo, it seemed to me that _Rode_ had lost ground in that time. I now found his play cold, and full of mannerism. I missed his former boldness in conquering great difficulties, and felt particularly dissatisfied with his execution of the Cantabile. The composition as well of the new Concerto, appeared to me far behind that of the seventh in A-Minor. In his execution of the Variations in E-Major, which I had heard him play ten years before, convinced me fully, that he had greatly lost in technical precision, for he had not only simplified for himself many of the most difficult passages, but he produced also those modified passages with timidity and a degree of uncertainty. Neither did the public seem satisfied; at least he failed to rouse them to any enthusiasm. The Reviewer in the Musical Journal says, also, that _Rode_ had “not _quite_” satisfied the expectation of the public. “His bow-stroke” continues the Reviewer, “is long, grand and forcible, his tone full and strong--indeed, almost too strong, cutting; he has a correct, pure intonation and is always sure in his rebounds up to the very highest notes; his double notes although occurring but seldom, are good, and in _Allegro_ he conquers great difficulties with ease: on the other hand he is wanting in that which electrifies and carries away all hearts--fire, and that winning grace which is not otherwise to be defined, that witchery of charm that ravishes the ear and inspires the soul. In _Adagio_, the sharpness of his tones was still more perceptible than in _Allegro_; the result therefore was cold. Neither did the composition awaken much interest; it was thought far fetched and mannered. It is probable the vast size of the great “Redouten-Saal” may have induced Herr _Rode_ to bring out his tones so sharply, and thus they lost much of their sweetness.”

Eight days after _Rode’s_ Concert I gave my second, in the small “Redouten Saal.” The Musical Journal speaks of it as follows: “_Spohr_ shewed himself to be a great Master of violin-play. He produced a new composition in A-Major (published as the tenth), which was solemnly and slowly preceded by an introduction in A-Minor. The _Adagio_ was in D-Major. A most charming _Rondo_ concluded it. In the pleasing, and the tender, _Spohr_ is indisputably the nightingale, of all living, at least, to us known, Violinplayers. It is scarcely possible to execute an _Adagio_ with more tenderness and yet so clearly, combined with the purest good taste; added to this, he overcomes the most difficult passages in quick-time measure, and effects the greatest possible stretches with wonderful ease, to which certainly the large size of his hand may be of some advantage to him. This evening he again received a general and unanimous applause, and was repeatedly called forward, an honour--which so far as we remember,--was conferred only upon Herr _Polledro_. With his wife, Herr _Spohr_ played an _Allegro_ which she performed upon the harp, with great execution, taste and expression. We think, of all the Virtuosi whom we have heard upon that instrument none possesses so much school, and such intensity of feeling in expression, as Madame _Spohr_; though Demoiselle _Longhi_ may have more power, and Demoiselle _Simonin-Pollet_ more equality in their play.”

Speaking of _Rode’s_ second Concert, the Musical Review says: that “with a very crowded saloon he met with much more applause than before; but in the Cantabile this time, also, he did not sufficiently satisfy the expectations of the public.”

On the 28. January I played with _Seidler_ of Berlin in his Concert, and as a notice of it says “bore away the palm although Herr _Seidler’s_ play was worthy of praise.”

I could thus be very satisfied with the reception I had met with in Vienna as an Artiste; for the public newspapers also awarded the palm to me. At private Parties where as the rule, I not only met the above named Violinist, but also the most distinguished of the native Violinists Herr _Mayseder_, and had to compete with all these, my performances met also with special acknowledgment and attention. On these occasions there was at first always a dispute who should begin, for each desired to be the last, in order to eclipse his predecessor. But, I, who always prefered playing a well combined Quartett to a Solo piece, never refused to make the beginning, and invariable succeeded in gaining the attention and sympathy of the company by my own peculiar style of reading and executing the classical quartetts. Then when the others had each paraded his hobby-horse, and I observed that the company had more liking for that sort of thing than for classical music, I brought out one of my difficult and brilliant Pot-Pourri’s, and invariably succeeded in eclipsing the success of my predecessors.

In the frequent opportunities of hearing _Rode_ I became more and more convinced that he was no longer the perfect Violinist of earlier days. By the constant repetition of the same compositions, a mannerism had crept by degrees into his execution, that now bordered on caricature. I had the rudeness, to remark this to him, and asked him if he no longer remembered the way in which he played his compositions ten years ago. Yes! I carried my impertinence so far, as to lay the variations in G-Major before him, and said, that I would play them exactly as I had heard him play them so frequently ten years before. After I had finished playing, the company broke out into a rapturous applause, and _Rode_, for decency’s sake was obliged to add a “bravo”; but one could plainly see that he felt offended by my indelicacy. And with good reason. I was soon ashamed of it, and advert to the circumstance now, only, to show how high an opinion I then had of myself as a Violinist.