Chapter VIII: Part 8

Satisfied in the highest degree with Vienna, I now thought of proceeding farther, when quite unexpectedly I received from Count _Palffy_ the then Proprietor of the Theatre “an der Wien” the offer of an engagement there for three years, as Leader and Director of the Orchestra. As I could not make up my mind to give up my and my wife’s permanent life engagements, I at first decidedly declined it. But when Herr _Treitschke_, who was the agent in the matter, offered me more than three times the salary which I and my wife together had received in Gotha; when he informed me that the Theatre “an der Wien” would soon become the first in Germany, that the Count had succeeded in engaging for it the best singers of the day, and that he now contemplated to entrust to me the formation of the Orchestra from among the first artists of Vienna, and further represented to me that in such an excellent Theatre I should have the first opportunity to cultivate my abilities and distinguish myself as a Dramatic Composer: I could no longer withstand the temptation; requested a short delay in order to consult with my wife, and promised to give a definite answer in a few days.

Of the large salary that was offered to me, and which much exceeded those of the two Leaders of the Imperial Orchestra _Salieri_ and _Weigl_, I might hope to economise a third or perhaps the half. I might furthermore, from the reputation I had acquired in Vienna as an Artiste, safely reckon upon earning something considerable by Concerts, Compositions and Tuition. Besides, I was secured as regarded the future, even in case the proffered appointment should terminate at the expiration of the three years, and could then carry out a favorite plan conceived from my earliest youth, of a journey to Italy, in company with my wife and children.

More than all these, however, I was disposed by my re-awakened desire to write for the stage, to accept the Count’s proposal. So, after _Dorette_ had given her consent, although with sorrow at the now necessary separation from her mother and family, the written Contract was drawn up and signed under the direction of a Notary, a friend of ours. I bound myself therein as Director of the Orchestra to play in all grand Operas, to undertake the Violin Soli’s in Operas and Ballets, and as Conductor, to lead from the score when the other leader should be prevented doing so. From small Operas, Ballets, and the music in Plays, I was exempted. I now, conjointly with Count Palffy and my new colleague, conductor _von Seifried_ proceeded to remodel the constitution of the orchestra. The Count was not niggardly in regard to the salaries; so I soon succeeded in procuring the services of the most talented young artistes, and to establish an _ensemble_ that made my Orchestra not only the best in Vienna, but raised it to one of the first in all Germany.

Among the new appointed members was my brother _Ferdinand_, and one of the most gifted of my other pupils, _Moritz Hauptmann_ of Dresden. He had just arrived in Vienna and desired to establish himself there. But my brother did not arrive till the spring.

I had stipulated at the same time for a month’s leave of absence in the spring, to arrange my affairs in Gotha and to fetch my children. But before that, it was necessary for me to make arrangements for another domicile, so that on my return I could commence my own housekeeping. At this time a circumstance took place that not only greatly influenced this business, but, also, my artistic labours in Vienna. Scarcely had it become known in the City that I was to remain there, when one morning a stranger of gentlemanly exterior called on me, who introduced himself as Herr _von Tost_, a proprietor of manufactories and a passionate lover of music. In excuse for the intrusiveness of his visit he pleaded his desire to make a proposition to me. After he had seated himself, and I full of expectation had taken a chair opposite to him, he first expressed his admiration of my talent as a Composer, and then the wish that I would assign over to him for a proportionate pecuniary consideration all that I might compose or had already written in Vienna, for the term of three years, to be his sole property during that time; to give him the original scores, and to keep myself, even, no copy of them. After the lapse of three years he would return the manuscripts to me, and I should then be at liberty either to publish or to sell them. After I had pondered a moment over this strange and enigmatical proposition, I first of all asked him whether the compositions were not to be played during those three years? Hereupon, Herr _von Tost_ replied: oh! “yes, as often as possible, but each time on my lending them for that purpose, and only in my presence.” He would not, he added prescribe the kind of compositions they should be; but he more particularly wished they should be such as would permit of being produced in Private Circles, therefore, Quartetts and Quintetts for stringed instruments and Sextetts, Octetts and Nonettes for stringed and wind instruments. I was to consider upon his proposal and fix the sum for each kind of composition. Upon this he presented me with his card and took leave of me.

My wife and I vainly endeavoured to discover the object Herr _von Tost_ could have in making such a proposal; and I therefore resolved to ask him the question plump and plain. Before doing this I made enquiries about him, and ascertained that he was a wealthy man, the proprietor of large cloth manufactories near Znaim, was passionately fond of music, and never missed being present at every public concert. This sounded well, and I resolved to accede to the proposal. As compensation for the three years cession of my manuscripts, I fixed the amount for a Quartett at thirty Ducats, for a Quintett five and thirty, and so on progressively higher for the other kinds. When I now wished to know what Herr _von Tost_ intended doing with the works during the three years; he at first would not satisfy me, and said, that as soon as he had bound himself by writing not to publish my compositions, it could not in the least concern me: but when he perceived, that I had still some misgivings, he added: “I have two objects in view. First, I desire to be invited to the music Parties in which you will execute your compositions, and for that I must have them in my keeping; secondly, possessing such treasures of art, I hope upon my business journeys to make an extensive acquaintance among the lovers of music, which may then serve me also in my manufacturing interests!”

Although unable to understand thoroughly Herr _von Tost’s_ speculation, I was obliged mentally to confess, that at any rate he had an exalted idea of the worth of my compositions. This was very flattering to me, and suppressed all further hesitation. As Herr _von Tost_ had now also, nothing to object to in the price demanded, nor to the requisition for payment upon delivery of the manuscripts, the business was soon concluded by a written agreement in form.

I had brought with me to Vienna one manuscript, a Solo-Quartett for Violin, which I had finished on the journey. I was just then also engaged upon a second. I determined to finish that before leaving for Gotha, and then deliver both to Herr _von Tost_.

Meanwhile I had been so fortunate as to find convenient apartments in the immediate neighbourhood of the Theatre “an der Wien” on the first floor of the house of a cabinet maker. As they had been somewhat disfigured by their last occupants I had them newly painted and decorated, and was just on the point of furnishing them. I therefore delivered my two Quartetts to Herr _von Tost_, and demanded their price of sixty ducats, remarking at the same time that I required the money for the furnishing of my new domicile. “I will provide you with that, complete in every respect” was his reply, “and much cheaper also than if you were to buy them yourself; for I have business transactions with all those with whom you will have to deal, and therefore can obtain them on lower terms than you. It will give me moreover an opportunity to collect some outstanding debts. Appoint therefore a day when I shall call for you and your wife in order that we may choose the things together.”

And so the thing was done. We first drove to the new apartments, where Herr _von Tost_ with great tact and business knowledge sketched an estimate of all we should require. We then went from one shop and warehouse to the other, and my wife and I had continually to guard against his choosing too much, and frequently the most costly and beautiful articles. We could not however prevent him from ordering for the best room, a suite of mahagony furniture with silk coverings and curtains to match; and for the kitchen, a mass of cooking utensils, crockery and a table service more befitting a capitalist than an unpretending artiste. It was in vain that _Dorette_ represented we should give no parties, and therefore did not require so large a table service. But he was not to be persuaded, and when I expressed the fear that the whole arrangements would be too expensive for my circumstances, he replied: “Make yourself easy, it will not cost you too much; neither shall I ask for any cash payment. By degrees you will soon square all accounts with your manuscripts.”

Nothing more was to be said against this and thus we found ourselves in possession of apartments fitted up in a style so handsome and yet tasteful, as for certain no other artist-family in the City could shew.

I now got every thing ready for my journey. My wife was invited to reside with a lady of her acquaintance, the sister of the Advocate _Zizius_, a great lover of music, in whose house we had frequently played, so that during my absence I could leave her without any uneasiness.

I had been informed, that a Leipsic merchant about to return home in his own carriage with extra-post-horses was desirous of meeting with a fellow-traveller; I hastened therefore to offer my company, and soon agreed with him upon the terms. I now no longer recollect his name, but, that he was a well informed and agreable companion, from whom I parted in the most friendly manner. We journeyed without stopping to Prague, but remained there a whole day to rest ourselves. I spent that day very pleasantly at the house of my friend _Kleinwächter_. On leaving Prague we were obliged to leave the high road to Dresden, as the armies of the belligerent powers were drawn up there opposite to each other, and the bridge over the Elbe had been made impassable, the French having blown up several arches. We were therefore obliged to find a way over the Erzgebirge, where we also met with detachments of troops, by which however, we were neither stopped nor turned back. We arrived therefore without further adventure at Chemnitz. But here something befell me that filled me with such terror, that I fainted away, a circumstance which with my strong frame of body, never occured to me before or since.

We arrived at Chemnitz at noon, just as a numerous company at the hotel were about to sit down to dinner. We joined them, and I took a seat between my fellow-traveller and the hostess. While the latter was helping the soup, I like the rest of the guests proceeded to cut a slice from a large brown loaf that lay before me. I applied the knife to the loaf, but it would make no incision, from having (as afterwards appeared) come in contact with a small stone baked into the crust. This induced me to think the knife was blunt, and to increase the force of the pressure. Upon this it suddenly slipped off and glancing on to the ball of my left fore finger cut off a considerable piece of the flesh, which fell upon the plate before me. A stream of blood followed. The sight of this, or rather the thought, that now there would be an end to my violin playing, and that I should no longer be able to support myself and family, filled me with such horror that I fell insensible from my chair. When after the lapse of about ten minutes I recovered my senses, I saw the whole company in commotion and occupied with me. My first look fell upon my finger, which I found wrapped round with a large piece of English plaister that the kind hostess had brought. It adhered closely in the hollow of the wound, and to my comfort I could now see that the whole ball of the finger had not been cut off, as I had at first imagined. Nevertheless almost the half of it, together with a large piece of the nail were gone. As I scarcely experienced any pain, I left the strapping undisturbed, and first applied to a surgeon on arriving at Leipsic, who also let the plaister remain, and only advised me to be careful of all ungentle contact with my finger.

Thus somewhat consoled I arrived home in Gotha. I found the Court very much annoyed about my contemplated removal to Vienna; the Dutchess was so angry that I had much difficulty to soothe her, and the more so, as I was now unable to play once more as she had so much wished, at a parting Court-Concert. My mother-in-law was also greatly grieved. I hastened therefore as much as possible to get away from all these unpleasant circumstances. A few weeks before, I had commissioned my old friend _Bärwolf_ to dispose of the furniture and things which I did not purpose taking with me. In this he had been successful. I had therefore the reserved articles packed up, consisting chiefly of beds, looking glasses, music, clothes, linen etc., and dispatched beforehand as freight to Ratisbonne for water carriage. Eight days afterwards I followed with my brother _Ferdinand_, my two children and a young girl, an orphan, whom my mother-in-law had taken charge of, and brought up, and now gave to me as nursemaid for the children.

The parting with my relations and dear Gotha, was a very sorrowful one; but favoured with the most delightful weather, we soon cheered up again, and I was highly amused with the artless remarks of the children upon the numerous objects now seen by them for the first time. So we arrived very tired it is true, but very happy, in Ratisbonne. There we stopped some days, during which I made every preparation for the voyage down the Danube to Vienna. I hired at a moderate price a boat to myself, and had my packages which had already arrived as freight, put on board. The beds were unpacked, and spread out under the little wooden house on board the boat, for our repose at night. The trunks and boxes served as seats. As we purposed continuing our voyage day and night without stopping anywhere, provisions for four or five days were laid in. The boat’s company consisted besides me and mine, of the skipper, his wife who undertook the cooking, the boatman, and three trades-apprentices to whom I gave a free passage and food, for which they had agreed to lend a diligent hand at the oars.

We were in the month of May, the moon was full, and the deep blue sky was outspread over the charming country round. Spring had just decked all nature in her first dress of tender green, and the fruit trees were still laden with their beautiful blossom. The bushy banks of the majestic stream were the resort of numerous nightingales, which in bright calm nights particularly, poured forth an unceasing melody. It was indeed a delightful voyage, and I have striven continually, during my whole long life, to make it again under similar favourable circumstances; but alas! in vain.

While we were passing the celebrated _Rapids_ and the _Whirlpool_, which at that time could not be effected wholly free from danger, our skipper who till then had been very jovial became all at once serious, and impressively cautioned the rowers to obey his orders with the greatest punctuality. The moment the downward rushing stream seized upon our boat, he turned pale, his wife threw herself upon her knees and howled more than spoke a prayer to the Holy Virgin. Hereupon I cautioned my brother who like me was a skillful swimmer, should any accident occur, to stand by me in saving the children. But we descended safely the shooting rapids and steered clear of the whirlpool, which is only dangerous for very small boats.

Upon the rock, which stands in the middle of the stream at the end of the rapids, and which by its throwing back the waves with violence occasions the whirlpool, dwellt then an old hermit, who subsisted upon the charitable gifts of the passing travellers. He put off and rowed over to us in his little skiff, to the great delight of the children, who had never before seen a hermit, and when alongside of us he received the customary donation.

On the fourth day of our voyage we arrived towards evening at Vienna, and from afar could see _Dorette_ in company with her hostess, awaiting our arrival at the landing place. That was a happy meeting! The luggage was taken to our new domicile the same evening, whither we moved the following day.

By the time I had arrived in Vienna, my wound was almost healed. To my surprise, and to that of the surgeon to whom I related it, under the English sticking plaister which still enveloped my finger, a new flesh had grown in the place of that which had been cut away, and had by degrees assumed the previous form and size of the ball of the finger. The piece cut out of the nail had also grown again, though but imperfectly joined to the rest of the nail, so that there yet remained a gap, which is even still visible, and shews plainly the extent of the excision. With the help of a leather finger stall I could use my finger again, and though I could not yet play a Solo, yet I could perform my duties in the orchestra.

I now led a very active and a very happy life in the enjoyment of the society of my family. The early dawn found me at the piano, or at the writing table, and every other moment of the day which my orchestral duties or the tuition of my pupils permitted was devoted to composition. Yes, my head was at that time so continually at work, that on my way to my pupils and when taking a walk I was constantly composing, and by that means acquired a readiness in working out mentally, not only long periods, but whole pieces of music so completely, that without any further labour they could be at once written off. As soon as this was done, they were as though effaced from my mind, and then I had room again for new combinations. _Dorette_ frequently chid me in our walks for this perpetual thinking, and was delighted when the prattle of the children diverted me from it. When this had once been done, I gladly gave myself up to external impressions; but I was not to be permitted to relapse into my thoughtful mood again, and _Dorette_ with great skill knew how to prevent it.

In the first summer of our residence in Vienna, we already made ourselves well acquainted with the beautiful environs of the City, and almost every fine evening, when I was not engaged at the Theatre, we spent in the open air. Then, accompanied by the nursemaid carrying our simple evening-repast in a small basket, we used to seek out some spot from whence we could have a fine view of the country, and see the sun go down. On Sunday, also, we used to hire a fly at the “Linie”, and make farther excursions to Leopoldsberg, or to the Brühl or to Laxenburg and Baden.

But the favorite walk of the children was always to Schönbrunn to see the menagery, or to the “Dörfl” in the Prater, where they ever beheld with new transport the puppet and dog shows, and other diverting wonders. I and my wife, half children too in disposition, shared intensely in all the pleasure of our little pets. It was a lovely, joyous time! so free from care!

After my return from Gotha, my first work was the composition of “Faust.” Before my journey thither, I had had another subject in view, which _Theodor Körner_ was to have worked out for me as an Opera. I had made the young poet’s acquaintance soon after my first arrival in Vienna; he was then already as much admired for his amiable manners as for the success of his theatrical pieces. I met him at almost every party where I played, and as _Körner_ was very fond of music we soon took to each other. When it was decided that I should remain in Vienna, I asked _Körner_ to write an Opera for me and proposed for subject the legend of the “Rübezahl”. _Körner_, who had been present at both performances of the “Last Judgement”, and who had a good opinion of my talent for composition acquiesced without hesitation, and went to work with zest upon the materials proposed. But, suddenly it was reported that _Körner_ was about to join _Lützow’s_ light horse, and fight for the freedom of Germany. I hastened to him and endeavoured like many other of my friends to dissuade him from that intention; but without success. We soon saw him depart. It became afterwards known, that it was not alone his enthusiasm for the war of German independance, but an unfortunate and unrequited love for the handsome actress _Adamberger_ that drove him from Vienna, and to an early death.

I thus saw my hope of an Opera-libretto from the pen of the youthful and gifted poet, destroyed, and was now obliged to look elsewhere for another. It was therefore very opportune that Herr _Bernhard_ had offered me his version of “Faust” for composition, and we were soon agreed upon the terms. Some alterations that I had wished to have made, were completed by the author during my journey to Gotha, so that I could begin upon it immediately after my return. From the list of my Compositions, I find that I wrote that Opera in less than four months, from the end of May to the middle of September. I still remember with what enthusiasm and perseverance I worked upon it. As soon as I had completed some of the parts I hastened with them to _Meyerbeer_, who then resided in Vienna, and begged him to play them to me from the score, a thing in which he greatly excelled. I then undertook the Vocal parts and executed them in their different characters and voices with great enthusiasm. When my voice was not sufficiently flexible for the purpose, I helped myself by whistling, in which I was well practised. _Meyerbeer_ took great interest in this work, which appears to have kept its ground up to the present time, as he during his direction of the Opera at Berlin put “Faust” again upon the stage, and had it studied with the greatest care.

_Pixis_ the younger, also, who then resided with his parents in Vienna, as well as _Hummel_ and _Seyfried_, shewed a great predeliction for this Opera, so that I offered it for representation at the Theatre “an der Wien” with the fairest hopes of a brilliant success. Count _Palffy_, with whom I was then still on good terms, accepted it immediately, and promised to distribute the characters as soon as possible and to bring it out. While engaged on the work, it is true, I had the personnel of my Theatre in my eye; and wrote the Faust for _Forti_, the Mephistopheles for _Weinmüller_, Hugo for _Wild_, Franz for _Gottdank_, Cunigunda for Madame _Campi_, and Rosa for Demoiselle _Teiner_; but nevertheless, (apart from the circumstance that I at that time especially did not yet understand how to keep myself within the bounds of the natural compass of the voice) all manner of things had escaped my pen that did not suit the above named singers, as, for instance: the long ornamental passages in the air of Hugo, for _Wild_, who at that time had but a limited power of execution. This at a later period was urged by the Count, when I had a disagreement with him, as an excuse for withdrawing his consent, and actually the opera was never produced while I was in Vienna. Some years afterwards, it was brought out with great success, and in more recent times was put upon the stage again with increased approbation. I, who had always felt an interest in my compositions so long only as I was engaged on them, and so to say, full of them; bore with great equanimity of mind the banishment of my score to the shelves of the library of the Theatre, and immediately set to work on new subjects. Even the pianoforte-arrangement of the opera that _Pixis_ had taken great pleasure in preparing, I did not publish till many years afterwards at _Peter’s_ in Leipsic.

After having finished Faust, I thought it my duty to proceed to the fulfillment of my agreement with Herr _von Tost_. I therefore enquired of him, what kind of composition he would now prefer. My Art-Mæcenas, reflected a while, and then said: a Nonet, concerted for the four stringed instruments, Violin, Viol, Violincello, and Double-Bass; and the five principal wind-Instruments, Flute, Oboë, Clarinet, Horn and Bassoon, written in such a manner that the character of each of those instruments should be properly brought out, might be both an interesting and grateful theme; and as he did not in the least doubt that I should successfully accomplish it, he would suggest that to me as the next subject to choose. I felt attracted by the difficulty of the task, consented to it with pleasure, and commenced the work at once. This was the origin of the well known Nonet, published by _Steiner_ in Vienna as op. 31, and which up to the present time is the only work of its kind. I completed it in a short time and delivered the score to Herr _von Tost_. He had it written out, and then invited the first artists in Vienna to his house, in order to study it under my direction. It was then performed at one of the first musical parties in the beginning of the winter, and met with such unanimous applause, that its repetition was frequently called for during the season. Herr _von Tost_ would then appear each time with a music-portfolio under his arm, lay the different instrumental parts upon the music-stands himself, and when the performance was ended, lock them up again. He felt as happy at the success of the work as if he himself had been the composer. I played, also, very frequently at musical parties, the two Quartetts of which he possessed the manuscripts, and thus his desire to be invited to numerous musical parties was fully accomplished. Indeed, wherever I played, people soon became so accustomed to see Herr _von Tost_, also, with his portefolio of music, that he used to be invited even when I did not play any of his manuscripts.

Before the end of the year 1813, I wrote another _Rondo_ for harp and violin for my wife and self, and a Quartett for stringed instruments for Herr _von Tost_. It is the one in G-Major, Op. 33 which from an oversight the publisher has marked as Nr. 2. It was nevertheless, written six months before the one in E-Major.

This Quartett was the occasion of my becoming entangled in a literary feud, which was the first and also the last that I ever engaged in about my compositions. It had met with a particularly favourable reception among the Artists and lovers of art in Vienna, and I considered it, also, and with reason, as the best I had written up to that time. It was therefore the more mortifying to me that the reviewer in a Viennese Art-journal of the day could find nothing good whatever in it. I was more particularly hurt by the malicious manner in which he spoke of the theoretical handling of the first theme, of which I was proud; and which had excited the admiration of connoisseurs. Even now, after so long a period I recollect the words, which were nearly as follow: “This eternal rechewing of the theme in every voice and key, is to me just as if one had given an order to a stupid servant, that he cannot understand, and which one is obliged to repeat to him over and over again in every possible shape of expression. The composer appears to have considered his auditors in the same light as the stupid servant.”

I soon ascertained that the anonymous reviewer was Herr _von Mosel_, the composer of a lyric tragedy called “Salem”, of which I certainly had said very openly: “I never heard any thing so wearisome in all my life.” This opinion had unluckily reached the ears of the writer, and had excited his gall to this degree. Herr _von Tost_ who was more proud of my compositions, particularly those he had in his portefolio than the composer himself, would not rest until I had written a replication to the criticism. What I said in reply, particularly in defence of the treatment of my theme, I now no longer remember, but I recollect, I was prodigal in side-thrusts at “Salem”. This was pouring oil on the fire, and so a disputation ensued, which would have been continued much longer, had not the censorship put a stop to it by forbidding the Editor of the journal to insert any thing more on the subject. As such quarrels were exceedingly unpleasant to me, I was very glad to be able to return to my harmless occupation of composing.

In the autumn of 1813, _Dorette_ presented me with a son. Our joy at this increase to our family was unfortunately of short duration; for the boy soon became sickly and died, before he was three months old. His poor mother sought and found relief in her harp; she practised with me the new _Rondo_ for my benefit-concert that was to take place in December. According to the musical journal, this concert took place in the small “Redouten-Saal”, and my brother _Ferdinand_ made his début in a Violin Duet with me.

In the meantime, the great battle of Leipsic had been fought. The allied armies had crossed the Rhine, and it was hoped they would soon enter Paris. In Vienna great preparations were made to celebrate that entry, and the return of the Emperor and his victorious army. All the Theatres, had had incidental commemorative pieces written and composed, and the newly instituted _Society of the friends of music of the Austrian Empire_ under the patronage of the Archduke _Rudolph_ made preparations for a monster performance of _Handel’s_ “Samson” in the Imperial Riding-school; for which Herr _von Mosel_ increased the instrumentation. Other Societies undertook similar performances. This gave Herr _von Tost_ the idea of making arrangements for a grand musical performance on the return of the Emperor, and he asked me if I would write a Cantata for the occasion, the subject of which should be the liberation of Germany. I willingly consented, but with the observation, that this subject in itself offered but few favourable passages to the composer, and that in order to obtain such, the text should be written by a _good_ poet.

“Oh! there shall be no want of that” was the reply. “I will immediately go to Frau _von Pichler_, and have no doubt, that she will untertake to furnish you with the text.” And so she did. I consulted with the authoress upon the form and contents, and she then handed me a text-book, which in rich variety of domestic and warlike scenes presented a succession of favourable materials for composition.

I immediately set to work upon it, and finished this Cantata, which takes two hours to perform, in less than three months, from January to the middle of March 1814, in the midst of all my other numerous occupations.

Meanwhile Herr _von Tost_, had engaged the four best singers in Vienna for the soli-parts, viz Mesdames _Buchwieser_ and _Milder_, and Messrs. _Wild_ and _Weinmüller_, and for the choruses he purposed to combine the whole of the church-choirs and the chorus-singers of the theatre. The vocal parts were written and distributed, and I had already gone several times to Madame _Milder_, to assist her in practising her part; when, one morning Herr _von Tost_ rushed into my room and exclaimed in despair: “I have just now had the great Redouten-Saal refused to me for our performance, under the idle pretence that it cannot be spared on account of the preparation for the Court-festivals! It is from sheer jealousy alone of the Musical Society, who will not allow any other grand performance in the Riding-school but their own. What is to be done? Since the destruction of the Apollo Saloon, there is no locale in Vienna except the “Great Redouten-Saal” fit for such a musical performance.”

At the moment, the thought occured to me of the Circus of Herr _de Bach_ in the Prater. We immediately drove out there, to see whether the Riding-ring in the centre of the building would afford sufficient room to hold our orchestra and the personnel of the theatre. I thought it would, and promised myself an immense effect from the disposing of the body of assistants in the centre of the building. But unfortunately, this locale also, for some reason which I no longer recollect, was not to be had, and so the whole undertaking failed, to the great grief of Herr _von Tost_.

This Cantata shared the same fate as “Faust.” It was first produced long after I had left Vienna. I heard it for the first time in 1815 at the musical Festival at Frankenhausen, on the anniversary of the battle of Leipsic.

As with me, so it fared with _Beethoven_ in a similar Festive composition; neither, also, was his performed at that period. It was called “Der glorreiche Augenblick”[14] and was published later with altered text by _Haslinger_ in Vienna.

[14] “The glorious moment.”

While mentioning _Beethoven_, it occurs to me, that I have not yet adverted to my friendly relations with that great artist, and I therefore hasten to supply the deficiency.

Upon my arrival in Vienna I immediately paid a visit to _Beethoven_; I did not find him at home, and therefore left my card. I now hoped to meet him at some of the musical parties, to which he was frequently invited, but was soon informed that, _Beethoven_ since his deafness had so much increased that he could no longer hear music connectedly, had withdrawn himself from all musical parties, and had become very shy of all society. I made trial therefore of another visit; but again without success. At length I met him quite unexpectedly at the eating-house where I was in the habit of going with my wife every day at the dinner hour. I had already now given concerts, and twice performed my oratorio. The Vienna papers had noticed them favourably. _Beethoven_ had therefore heard of me when I introduced myself to him, and he received me with an unusual friendliness of manner. We sat down at the same table, and _Beethoven_ became very chatty, which much surprised the company, as he was generally taciturn, and sat gazing listlessly before him. But it was an unpleasant task to make him hear me, and I was obliged to speak so loud as to be heard in the third room off. _Beethoven_ now came frequently to these dining rooms, and visited me also at my house. We thus soon became well acquainted: _Beethoven_ was a little blunt, not to say uncouth; but a truthful eye beamed from under his bushy eyebrows. After my return from Gotha I met him now and then at the theatre “an der Wien”, close behind the orchestra, where Count _Palffy_ had given him a free seat. After the opera he generally accompanied me to my house, and passed the rest of the evening with me. He could then be very friendly with _Dorette_ and the children. He spoke of music but very seldom. When he did, his opinions were very sternly expressed, and so decided as would admit of no contradiction whatever. In the works of others, he took not the least interest; I therefore had not the courage to shew him mine. His favorite topic of conversation at that time was a sharp criticism of the management of both theatres by _Prince Lobkowitz_ and Count _Palffy_. He frequently abused the latter in so loud a tone of voice, while we were yet even within the walls of his theatre, that not only the public leaving it, but the Count himself could hear it in his office. This used to embarrass me greatly, and I then always endeavoured to turn the conversation upon some other subject.

_Beethoven’s_ rough and even repulsive manners at that time, arose partly from his deafness, which he had not learned to bear with resignation, and partly from the dilapidated condition of his pecuniary circumstances. He was a bad housekeeper, and had besides the misfortune to be plundered by those about him. He was thus frequently in want of common necessaries. In the early part of our acquaintance, I once asked him, after he had absented himself for several days from the dining rooms: “You were not ill, I hope?”--“My boot was, and as I have only one pair, I had house-arrest”, was his reply.

But some time afterwards he was extricated from this depressing position by the exertions of his friends. The proceeding was as follows:

_Beethoven’s_ “Fidelio”, which in 1804 (or 1805) under very unfavourable circumstances, (during the occupation of Vienna by the French), had met with very little success, was now brought forward again by the director of the Kärnthnerthor-Theatre and performed for his benefit. _Beethoven_ had allowed himself to be persuaded to write a new overture for it (in E), a song for the jailor, and the grand air for Fidelio (with horns-obligati) as also to make some alterations. In this new form the Opera had now great success, and kept its place during a long succession of crowded performances. On the first night, the composer was called forward several times, and now became again the object of general attention. His friends availed themselves of this favorable opportunity to make arrangements for a concert in his behalf in the great “Redouten Saal” at which the most recent compositions of _Beethoven_ were to be performed. All who could fiddle, blow, or sing were invited to assist, and not one of the most celebrated artists of Vienna failed to appear. I and my orchestra had of course also joined, and for the first time I saw _Beethoven_, direct. Although I had heard much of his leading, yet it surprised me in a high degree. _Beethoven_ had accustomed himself to give the signs of expression to his orchestra by all manner of extraordinary motions of his body. So often as a _Sforzando_ occured, he tore his arms which he had previously crossed upon his breast, with great vehemence asunder. At a _piano_, he bent himself down, and the lower, the softer he wished to have it. Then when a _crescendo_ came, he raised himself again by degrees, and upon the commencement of the _forte_, sprang bolt upright. To increase the forte yet more, he would sometimes, also, join in with a shout to the orchestra, without being aware of it.

Upon my expressing my astonishment to _Seyfried_, at this extraordinary method of directing, he related to me a tragi-comical circumstance that had occurred at _Beethoven’s_ last concert at the Theatre “an der Wien.”

_Beethoven_ was playing a new Pianoforte-Concerto of his, but forgot at the first _tutti_, that he was a Soloplayer, and springing up, began to direct in his usual way. At the first _sforzando_ he threw out his arms so wide asunder, that he knocked both the lights off the piano upon the ground. The audience laughed, and _Beethoven_ was so incensed at this disturbance, that he made the orchestra cease playing, and begin anew. _Seyfried_, fearing, that a repetition of the accident would occur at the same passage, bade two boys of the chorus place themselves on either side of _Beethoven_, and hold the lights in their hands. One of the boys innocently approached nearer, and was reading also in the notes of the piano-part. When therefore the fatal _sforzando_ came, he received from _Beethoven’s_ out thrown right hand so smart a blow on the mouth, that the poor boy let fall the light from terror. The other boy, more cautious, had followed with anxious eyes every motion of _Beethoven_, and by stooping suddenly at the eventful moment he avoided the slap on the mouth. If the public were unable to restrain their laughter before, they could now much less, and broke out into a regular bacchanalian roar. _Beethoven_ got into such a rage, that at the first chords of the solo, half a dozen strings broke. Every endeavour of the real lovers of music to restore calm and attention were for the moment fruitless. The first _allegro_ of the Concerto was therefore lost to the public. From that fatal evening _Beethoven_ would not give another concert.

But the one got up by his friends, was attended with the most brilliant success. The new compositions of _Beethoven_ pleased extremely, particularly the symphony in A-Major (the seventh); the wonderful second theme was _encored_; and made upon me also, a deep and lasting impression. The execution was a complete masterpiece, inspite of the uncertain and frequently laughable direction of _Beethoven_.

It was easy to see that, the poor deaf _Maestro_ of the Piano, could no longer hear his own music. This was particularly remarkable in a passage in the second part of the first _allegro_ of the symphony. At that part there are two pauses in quick succession, the second of which, is _pianissimo_. This, _Beethoven_ had probably overlooked, for he again began to give the time before the orchestra had executed this second pause. Without knowing it therefore, he was already from ten to twelve bars in advance of the orchestra when it began the _pianissimo_. _Beethoven_, to signify this in his own way, had crept completely under the desk. Upon the now ensuing _crescendo_, he again made his appearance, raised himself continually more and more, and then sprang up high from the ground, when according to his calculation the moment for the _forte_ should begin. As this did not take place, he looked around him in affright, stared with astonishment at the orchestra, that it should still be playing pianissimo, and only recovered himself, when at length the long expected _forte_ began, and was audible to himself.

Fortunately this scene did not take place at the public performance, otherwise the audience would certainly have laughed again.

As the saloon was crowded to overflowing and the applause enthusiastic, the friends of _Beethoven_ made arrangements for a repetition of the concert, which brought in an almost equally large amount. For some time therefore _Beethoven_ was extricated from his pecuniary difficulties; but, arising from the same causes, these reoccurred to him more than once before his death.

Up to this period, there was no visible falling off in _Beethoven’s_ creative powers. But as from this time, owing to his constantly increasing deafness, he could no longer hear any music, that of a necessity must have had a prejudicial influence upon his fancy. His constant endeavour to be original and to open new paths, could no longer as formerly, be preserved from error by the guidance of the ear. Was it then to be wondered at that his works became more and more eccentric, unconnected, and incomprehensible? It is true there are people, who imagine they can understand them, and in their pleasure at that, rank them far above his earlier masterpieces. But I am not of the number, and freely confess that. I have never been able to relish the last works of _Beethoven_. Yes! I must even reckon the much admired Ninth Symphony among them, the three first themes of which, inspite of some solitary flashes of genius, are to me worse than all of the eight previous Symphonies, the fourth theme of which is in my opinion so monstrous and tasteless, and in its grasp of _Schiller’s_ Ode so trivial, that I cannot even now understand how a genius like _Beethoven’s_ could have written it. I find in it another proof of what I already remarked in Vienna, that _Beethoven_ was wanting in æsthetical feeling and in a sense of the beautiful.

As at the time I made _Beethoven’s_ acquaintance, he had already discontinued playing both in public, and at private parties; I had therefore but one opportunity to hear him, when I casually came to the rehearsal of a new Trio (D-Major 3/4 time) at _Beethoven’s_ house. It was by no means an enjoyment; for in the first place the pianoforte was woefully out of tune, which however little troubled _Beethoven_, since he could hear nothing of it, and, secondly, of the former so admired excellence of the virtuoso, scarcely any thing was left, in consequence of his total deafness. In the _forte_, the poor deaf man hammered in such a way upon the keys, that entire groups of notes were inaudible, so that one lost all intelligence of the subject unless the eye followed the score at the same time. I felt moved with the deepest sorrow at so hard a destiny. It is a sad misfortune for any one to be deaf; how then should a musician endure it without despair? _Beethoven’s_ almost continual melancholy was no longer a riddle to me now.

The next thing I wrote after finishing the Cantata, was a Violin-quartett (the tenth, op. 30 published by _Mechetti_ in Vienna.) Being very brilliant for the first violin, it was soon my hobby-horse, and I played it times innumerable at private parties. Then followed the Octett, in which by Herr _von Tost’s_ wish, who then contemplated a journey to England, I took up a theme from _Handel_, varied, and carried it out thematically, as he was of opinion it would on that account excite great interest in that country. I also played this composition very frequently, in which besides myself the clarinetist _Friedlowsky_ and the hornist _Herbst_, and another whose name I now forget, found especial opportunity to distinguish themselves.

In the autumn of 1814, the crowned heads of Europe and their Ministers assembled in Vienna, and that famed Congress began, from which the German nations expected to see the fulfilment of all the promises made to them for their self devotion. A swarm of idlers and curious poured from all parts into Vienna, to be present at the splendid festivities, with which the Emperor was to entertain his guests. Before the Emperor’s return to Vienna several had already taken place, which from their magnificence yet more increased the expectation of what was to follow. At one of these I had also assisted. It was a grand serenade in the Court-Yard of the Burg Palace, and was given either to the Emperor or to Prince _Schwarzenberg_, I now no longer recollect which. In the centre of that not very large square, surrounded by lofty buildings a raised platform was erected for the numerous personnel of the orchestra and choruses. Upon a balcony opposite the singers, the Court and State officials were assembled. The remaining space was filled by a numerous public, to whom free admission had been allowed.

When I saw the locality, and the assembled crowd which had increased to thousands, I felt alarmed, for I had promised to perform a violin-concerto, and now feared, that my tones would be unheard, and lost in the wide surrounding space. But to withdraw now, was no longer possible, so I resigned myself to my fate. But every thing went off better than I had expected. Already during the overture I remarked that the high buildings threw back the sounds right well, and I then came forward with renewed courage. The very first tones of my solo allayed all my anxiety that the damp night air would affect my strings, for my violin sounded clear and powerful as usual. As the public also, during my play, maintained the most perfect silence, even the finest shades of my instrumentation were every where distinctly heard. The effect, therefore, was a very favorable one, and was acknowledged by loud and long applause. I have never played before a more numerous nor a more sympathetic public.

Among the many strangers attracted by the Congress were several artists, who thought the opportunity a most favourable one to give concerts in Vienna. In this they very much deceived themselves. For as all the native artists gave concerts, these became so numerous and close upon each other, that it was impossible for all to be well attended! One that I and my wife gave on the 11. December was an exception to this, for it attracted a numerous and brilliant audience. I gave the overture to “Faust,” and it was received with great approbation. The reviewer of the Musical-journal says “it increased our desire to see this opera, which has now been ready a twelvemonth, brought out at last.” Several lovers of art among the ambassadors and foreign diplomatists who had heard me play for the first time at my concert, paid me a visit, and expressed the wish to hear me in a quartett. This was the cause of my giving several music-parties during the Congress, and in which I played to those lovers of art the new compositions I had written for Herr _von Tost_. I still recollect with great satisfaction the general delight with which those productions were received. Certainly, I was supported also, upon those occasions by the first artists in Vienna, so that as regards execution nothing more could be desired. I generally began with a Quartett, then followed with a quintett, and concluded with my octett, or nonett.

Others also besides me, gave music parties to the visitors to the Congress, among these my friend _Zizius_ particularly distinguished himself. All the foreign artists had been introduced at his house, and at his music parties therefore, there arose frequently a spirit of rivalry between the native and foreign virtuosi. I there for the first time heard _Hummel_ play his beautiful Septett, as well as several other of his compositions of that period. But I was mostly charmed by his improvisations in which no other Pianoforte-Virtuoso has ever yet approached him. I especially remember with great pleasure one evening when he improvised in so splendid a manner as I never since heard him whether in public or in private. The company were about to break up, when some ladies, who thought it too early, entreated _Hummel_ to play a few more walzes for them. Obliging and galant as he was to the ladies, he seated himself at the piano, and played the wished for walzes, to which the young folks in the adjoining room began to dance. I, and some other artists, attracted by his play, grouped ourselves round the instrument with our hats already in our hands, and listened attentively. _Hummel_ no sooner observed this, than he converted his play into a free phantasia of improvisation, but which constantly preserved the walz-rhythm, so that the dancers were not disturbed. He then took from me and others who had executed their own compositions during the evening a few easily combined themes and figures, which he interwove into his walzes and varied them at every recurrence with a constantly increasing richness and piquancy of expression. Indeed, at length, he even made them serve as fuge-themes, and let loose all his science in counterpoint without disturbing the walzers in their pleasures. Then he returned to the galant style, and in conclusion passed into a bravoura, such as from him even has seldom been heard. In this finale, the themes taken up were still constantly heard, so that the whole rounded off and terminated in real artistic style. The hearers were enraptured, and praised the young ladies’ love of dancing, that had conduced to so rich a feast of artistic excellence.