Chapter IX: Part 9

Among the foreign artists who came to Vienna before and during the Congress, were also, three of my former acquaintances, _Carl Maria von Weber_, _Hermstedt_ and _Feska_. _Weber_ played with great success and then left for Prague, whither he was summoned to direct the opera. _Hermstedt_ came at a time, when the concerts were so numerous, that he could not give one of his own. He played, however, with immense applause at a concert of the flutist _Dressier_, in which he accompanied the air with clarinet obligato in “Titus”, accompanied and played a pot-pourri of mine which I wrote for him for the occasion, after a new composition for harp and violin, that had particularly pleased _Hermstedt_. Both compositions were afterwards published; that for the clarinet with quartett-accompaniment as op. 81 at _Schlesinger’s_ in Berlin, and that for harp and violin as op. 118 by _Schuberth_ in Hamburgh.

_Feska_, who since I had known him in Magdeburgh, had become member of the Westphalian orchestra in Cassel, and now after its dissolution had been made Concert master at Carlsruhe, had made great progress both as violinist and composer. His quartetts and quintetts, which he executed in a pure, accomplished, and tasteful manner, took greatly in Vienna, and found a ready sale among the publishers there. One of them began in one of its themes with the notes, which form the composer’s name:

[Music]

This the auditors thought very pretty, and joked the other composers present, _Hummel_, _Pixis_, and me, on account of our unmusical names. This suggested the idea to me of making something musical out of my name, with the assistance of the abbreviation formerly used of the _piano_ into _po_, and of a quarter rest, which when written looks like an r. It was in this form:

[Music]

and I immediately took it as a theme for a new violin-quartett, which is the first of the three quartetts published in Vienna by _Mechetti_ as op. 29 and dedicated to _Andreas Romberg_. When I first played it at my friend’s _Zizius_, it met with great applause, and the originality of the theme, with its descending, diminished _Quarte_, was especially praised. I now called together those who had previously quizzed me for my unmusical name and _shewed_ them, (for naturally they had not _heard_ it) the famous thema formed out of my name. They laughed heartily at my artistic trick, and now quizzed the more both _Hummel_ and _Pixis_, who with all their skill could make nothing musical out of their names.

* * * * *

Meanwhile many things had changed in my position at the theatre and in respect to its proprietor. I had openly broken with Count _Palffy_. It was brought about by the following circumstance: One evening, when I entered the orchestra I saw Herr _Buchwieser_, the father of the prima donna, and third orchestra director, had taken _Seyfried’s_ seat. I observed to him that I alone was charged with the direction of the orchestra, when _Seyfried_ was prevented coming, and I therefore requested him to leave it. This he refused to do, with the remark, that the Count himself had ordered him to direct the opera, and at the express wish of his daughter, who preferred singing under his direction. As all my expostulations were unavailing, and I considered it beneath my dignity to play the first violin under so obscure a director, I quitted the orchestra, and returned home. The next morning I sent in a written remonstrance to the Count respecting this invasion of right that had been secured to me in my engagement, and requested, that I might be exposed to no further repetition of it.

The Count, incited by the _Prima Donna_, who was very incensed because I would not lead under the direction of her father, answered me with rudeness instead of with the apologies I had reason to expect, and which I replied to in yet stronger terms. From that moment, the Count and his creatures studied to annoy me in every possible manner that my position exposed me to. Added to this, since _Palffy_ had been so fortunate as to become lessee of the two Court Theatres, he put his own theatre greatly in the back-ground. He took away from it the best singers, and the best part of the chorus, to incorporate them with the personnel of the Kärnthnerthor-Theatre; so that “an der Wien”, from that time, _Spectacle-pieces_, and low class popular operas alone, were given. As I was not bound to assist at these, I had scarcely any thing more to do at the theatre. I could therefore clearly see, that I should be discharged after the termination of my engagement.

As now, after Napoleon was vanquished and banished to Elba, a general European peace seemed in perspective, and that I greatly desired to set out as soon as possible on my long projected artistic tour through all Europe; I made a proposition to the Count to cancel our agreement on the expiration of the second year, and demanded as compensation the half of my salary for the third year, paid down in _one_ sum. He readily consented to it, and so we parted in peace. I now hastened to make every preparation in order to be enabled to commence my journey in the spring. I contemplated first, to travel through Germany and Switzerland to Italy, whither I had long ardently desired to go. As I purposed taking my children with me, foreseeing that their mother would not be able to separate from them for so long a time without pining to death; I was first of all obliged to provide myself with a larger travelling carriage to hold us all, with the instruments. The difficulty was to build one for this purpose, sufficiently light of draught for three posthorses. I conferred upon this therefore with Herr _Langhaus_, the clever machinist at the theatre “an der Wien”, and afterwards director of public buildings in Berlin, who made a drawing of the design suggested in our conference, according to which the carriage should be built. It had a solid roof, upon which were packed the leather covered harp-case, and a trunk for linen. The violin-case was stowed in a boot under the coachman’s seat, so that the whole space in the interior of the vehicle remained for the travellers.

In my relations with Herr _von Tost_, also, a serious alteration had taken place. After the settlement of our earlier account, which was effected by the delivery of the Cantata “Das befreite Deutschland” I had delivered again, four manuscripts, the octett, two quartetts and a second quintett, without receiving the agreed price. At first I had argued no ill of this delay in settlement. But when it became suddenly reported in the city, that the wealthy Herr _von Tost_ had sustained severe losses, and was on the point of bankruptcy; that he no longer called upon me, and even failed to appear at a musical-party where I played one of his manuscripts, but sent the portfolio instead of coming; the matter looked dubious. I therefore took back to him the portfolio myself, in order if possible, to come to a clear understanding with him at the same time. I found the otherwise so jovial man very much depressed in spirits. He confessed to me his position without reserve. It was, he said, extremely painful to him, to be unable to fulfil his engagements with me; but as his plans for the future were unsettled if not quite destroyed, he would forthwith return all my manuscripts to me before the expiration of the stipulated time, so that I might sell them as soon as possible to a publisher. For the loss I might thereby sustain, he was willing to indemnify me with a bill for one hundred ducats, which as soon as his affairs had assumed a more favourable aspect, he would honourably meet. Upon this he fetched the whole of the manuscripts and handed them to me. I, who considered that Herr _von Tost_ had amply compensated me for the short time he had them in his possession, by the costly furniture he had bought for me, and reckoned at so low an estimate, was quite satisfied with the return of my manuscripts and refused all further indemnification. However, as I perceived that Herr _von Tost_ felt hurt by this arrangement, I took the bill, well knowing that from my contemplated departure from Vienna its early liquidation was not to be thought of.

I now sold the whole of the returned manuscripts to two Vienna publishers, and from their having acquired a great celebrity by their frequent performance, I received a considerable sum for them.

At the commencement of the year 1815, I wrote another Quartett, in C-major (No. 2 of the op. 29) and a new violin Concerto (the seventh, op. 38) as also Variations, which remained unpublished, for use upon the coming journey; the two last of these compositions I played at my farewell-Concert on the 19. February 1815. Respecting this last concert I gave in Vienna, the Musical journal spoke very favourably. Of the newest violin concerto (E-minor, C-major, E-major) it says: “Very difficult for the solo player as well as for those who accompany. A splendid, perfect composition; a fine flowing cantabile; striking modulations, replete with bold canonic imitations, an ever new, charming and happily calculated instrumentation. The melting _adagio_ is especially captivating.” In conclusion it says: “As to the merits of this masterly artist, both here and throughout Germany there is but _one_ opinion. We yet remember with lively satisfaction the triumph, which he achieved two years ago over his rival, the great _Rode_. He is now about to leave us upon a grand artistic tour. He first proceeds to Prague, where his new opera “Faust” is now being studied.... May he, who by his talent and his open, manly character has left an honourable memorial of his worth in our hearts, meet always, and every where with success!”

I at that time really had the intention of going first to Prague, to be present at the production of my opera, which was being studied under _Carl Maria von Weber_. But I afterwards abandoned that plan. I had in fact received a letter from my former Intendant Baron _von Reibnitz_ at Breslau, wherein in the name of a family of his acquaintance that of Prince _von Caroluth_, he asked me if I would feel disposed to pass the summer months with them at their seat, _Caroluth_, in Silesia? The Princess was very desirous, that her two daughters, one of whom played the harp, the other the pianoforte, should receive instruction in music from my wife. They would endeavour to make the stay of myself and family at their charming castle as agreable as possible. He, the Baron had been invited also, and would be extremely pleased if I would accept the invitation, so that he might again pass some time with me.

As the spring and summer were any way but little favourable seasons of the year to give concerts, and that _Dorette_ and the children anticipated much pleasure from the stay at Carolath, I readily assented. I therefore hastened the preparations for our journey, in order to avail ourselves of the opportunity to give a few concerts at Breslau and in its neighbourhood, before the fine season had set in. The next thing was to effect the sale of our furniture and household chattels, which was very speedily done, for immediately upon the announcement of the sale, a host of purchasers presented themselves. As our furniture was very elegant, and withal nearly new, the purchasers bid warmly against each other, and we therefore realised a sum far beyond our expectation. This as well as my Vienna savings, which were still in paper currency, I now took to a banker’s and changed for gold. Scarcely had I done this when all Vienna was alarmed by the intelligence that Napoleon had escaped from Elba, landed in France, and been hailed with the greatest joy. The rate of exchange fell suddenly so low, that if I had delayed the conversion of my paper into specie but _one_ day more, I should have suffered a loss of more than fifty ducats.

When first contemplating my grand tour through Europe, the idea struck me, also, of commencing an album, in which I purposed making a collection of the compositions of all the artists whose acquaintance I might make. I began immediately with the Viennese, and received from all the resident composers of my acquaintance, short, autographic works written for the most part expressly for my album. The most valuable contribution to me, is that of _Beethoven_. It is a Canon for three voices to the words from _Schiller’s_ “Jungfrau von Orleans”: “Kurz ist der Schmerz, und ewig währt die Freude.” It is worthy of remark, in the first place, that _Beethoven_ whose handwriting, notes as well as text, were usually almost illegible, must have written this page with particular patience; for it is unblotted from beginning to end, which is the more remarkable, since he even drew the lines without the aid of a ruler; secondly, that after the falling in of the third voice a bar is wanting, which I was obliged to complete. The pages concluded with the wish:

May you dear _Spohr_ where ever you find real art, and real artists, think with pleasure of me, Your friend.

_Ludwig van Beethoven._

Vienna March 3. 1815.

Upon all my subsequent travels I received contributions to this album, and possess therefore a highly interesting collection of short compositions from German, Italian, French, English and Dutch artists.[15]

[15] A selection from the pages of this album will be found in the appendix.

* * * * *

On the eve of taking leave of Vienna, I yet think I must recall some further incidents of my stay there, which hitherto I have had no opportunity of relating. First, in respect of my orchestral duties. These were sometimes very onerous for me; the same piece being frequently represented twenty or thirty nights in succession. This happened not only with two of _Mozart’s_ operas “Don Juan” and the “Zauberflöte”, which during my engagement were brought out with a new distribution of characters and with a very brilliant _mise en scene_; but, also, with a ballet, which during the Congress was repeated an innumerable number of times, and in which I had to play violin soli’s. What its name was, I no longer recollect, but that the celebrated dancers _Duport_, and mesdames _Bigottini_ and _Petit Aimée_, whom Count _Palffy_ had sent for from Paris, danced in it. It is true, I did not play those soli’s unwillingly, upon their own account, for the audience always listened with the greatest attention, and were profuse in their applause of me; but it annoyed me that I was obliged to measure my _tempi_, by the steps of the dancers and that I could not lengthen at pleasure my closes and cadences, as the dancers were unable to sustain themselves so long in their groupings. This gave rise therefore to many bickerings with the ballet master, until at length I learned compliance. I endeavoured to sweeten the monotony of my duties in some degree by always enriching and ornamenting my soli performances. This I did especially with the troubadour in “John of Paris” for whom a _pas de trois_ was introduced in that ballet. As in the opera of that name, there were three strophes, the first of which had to be executed by the horn, the second by the violincello, and the third by the violin, I at first ornamented my strophe in a very vocal style. But as I remarked, that the _Prima Donna_, demoiselle _Buchwieser_ at the next representation had borne them well in mind, sang them, and obtained great applause for them, this so annoyed me, as I could not bear the singer, that I thenceforth ornamented them in a style she could not imitate with her voice.

Besides the two above mentioned operas of _Mozart_, I experienced a third ordeal in a new popular-opera, with music by _Hummel_, which by a singular chance such as will assuredly never occur again, went through a long succession of nightly representations. It was called “Princess Eselshaut” and as far as the author’s text, was so wretched a piece of patchwork, that in spite of the pretty music of which five or six of the Numbers were received with great applause, it was at the conclusion unanimously hissed. This according to Vienna custom at once consigned it to the tomb. _Hummel_ who conducted, had, already, quite resignedly expressed himself to me, who in honour of him led as first violin. “Another pure labour in vain!” But on the following evening when another piece was to have been announced, it could not be given, owing to the illness of several of the performers in the opera and play, and the manager was therefore obliged to repeat the condemned opera though at the risk of exciting an uproar in the theatre. On that evening nevertheless, just on account of the anticipated tumult, the theatre was crammed to excess, and the piece was hissed at the end of each act, and again at the conclusion. But the musical pieces met with more applause than on the first night, and at the fall of the curtain when the hissing had ceased, the composer was even called for, and greeted with vehement applause. As the indisposition of the invalids still continued, a third trial of it was obliged to be made, which went off nearly like the former one. Yet was the opposition against the piece much less, and the music obtained more friends than ever. Thus it could be continued with confidence, and on the succeeding nights it again found new friends in sufficient number. At length it became the fashion to go and hiss the piece, and praise the music. _Hummel_ took speedy advantage of this, and published a piano-forte arrangement of the most favorite Numbers, which had a rapid sale. So it was no “labour in vain” after all, as he had feared on the first evening!

_Pixis_, was not so fortunate with his opera, the “Zauberspruch”. That was swamped by the badness of the libretto, nor could the music keep it above water, although it had, also, many successful “numbers.” It was the occasion for the display of a bit of real Viennese wit. A friend of the composer, not having been able to see the first representation of it, enquired of another who had been present “Well what do you think of the opera of _Pixis_?”--“Nix is!” was the reply.

I may here relate another of my Vienna recollections, since it is one of those which make a deep impression and therefore do not so easily fade from the memory. It was an unusually great inundation, such as occurs once only in every century, occasioned by the overflowing of the little river “die Wien” on the banks of which my house was situated. On that occasion it was so great from the simultaneous overflowing of the Danube, which would not allow the waters of the “Wien” an outlet. I had not observed the commencement of the inundation, being engaged at a rehearsal at the theatre. After it was over, I found the street leading to my house already flooded, and I saw that I must use all haste to be enabled even to wade through it.

Nevertheless I first fetched my violin-case out of the orchestra, as I foresaw that, also, would be laid under water. By this time the flood had risen so high that in some places the water reached above my knees. I found my family in the greatest consternation and the other inmates of the house still more so. My landlord, the cabinet-maker, with his family, were already hurrying up past my floor to the top of the house, and endeavouring to secure a dry stowage for their effects, in the loft. He had need to hasten; for the water rose so fast, that in a few hours it almost reached to the first floor. The terrified inhabitants of the suburb had now a scene before them such as they had never before beheld. The rushing waters swept by, bearing along with them articles of every description commingled in the strangest confusion. Implements of husbandry, carts laden with hay or wood, the wreck of stalls and stabling, dead cattle, and even a cradle containing a screaming infant, which, however, was happily rescued by a boat. The owners of the houses, furnished with long poles, were exerting themselves to keep off the objects as they floated by, so that they might not damage the walls of the houses, others on the other hand provided with boat hooks, endeavoured to lay hold of the furniture and other household chattels in order to save them, and pull them up into the windows for security. Some hours afterwards, when such like articles had ceased to float past, boats made their appearance laden with provisions, which were readily bought up by the inhabitants of the flooded streets. Other boats towards evening brought the employés and men of business from the city to their dwellings, and anxiously expecting families. As the rain also poured down in torrents, the inundation still continued at the same height, and even at night fall there was no perceptible decrease of the waters. So long as it remained light, the scene afforded great diversity of interest, but when night came it was fearful to behold. The roar of the waters, and the howling of the storm forbade all thought of repose; nor was it advisable to retire to rest, as no one knew what might yet occur. I therefore laid my children near me on my sofa with their clothes on, and as _Dorette_ had soon fallen asleep beside them, I sat down to my work, a new song-composition, in order to resist sleep more effectually. In this I succeeded. But my zeal at composition led me several times to the piano, which the family of my landlord who passed half the night in the floor above me upon their knees in prayer, took in very great dudgeon; for on the following morning the nurse-maid informed me, that the wife had bitterly exclaimed: “That Lutheran heretic will bring yet greater misfortune upon us with his unchristian singing and playing.” But the night passed without further misfortune, and by day-break the water had greatly decreased. Nevertheless, it was evening before it had sufficiently subsided to admit of again traversing the streets on foot. But the “Theatre an der Wien” remained closed for eight days, for it required that time before all traces of the inundation could be removed.

* * * * *

After a sorrowful parting from dear Vienna, where we had passed so many happy days, I set out with my family upon our great journey on the 18. March, 1815. My brother _Ferdinand_ whose engagement at the “Theatre an der Wien” was to last for another year, remained alone behind. After its expiration, he obtained an appointment in the Royal Orchestra of Berlin.

Our first resting place was at Brünn, where we gave a concert. How it succeeded, I no longer remember, but I well recollect, that I was very dissatisfied with the orchestral-accompaniment. In respect to that, of course my excellent orchestra in Vienna had accustomed me to a very different style of performance.

From Brünn we went to Breslau, where in April we also gave two concerts; but they were not well attended. The unsettled state of the public mind arising from the recommencement of hostilities and from the great sacrifices entailed upon each individual by the contributions required of them, was in truth then so general, that a more unfavourable time to give concerts could not well have presented itself. But in so musical a city as Breslau, even in that period of warlike commotion, there was no dearth of zealous musical amateurs, to whom music was a necessary of life. I was therefore frequently invited to private circles, in which I had an opportunity to perform my Vienna compositions of Herr _von Tost’s_ portfolio. They met with a brilliant reception, particularly the two Quintetts, which I was frequently obliged to repeat. At the earnest wish of my friend _Schnabel_, director of the Cathedral-orchestra, I wrote an Offertorium for a Solo-soprano voice and chorus, with violin obligato and orchestra, which, as is shewn by the catalogue of my compositions was performed in the Cathedral on 16. April, and where I took the violin-part. As I left behind me there the original score, and have never seen it since that time, I am unable to say whether the composition has any merit. Probably it is still to be found in the library of the cathedral.

* * * * *

On a fine evening in the spring, I arrived with my family at Carolath. As we had to pass over a small river near the castle, in a ferry-boat, our arrival was perceived before hand. We therefore found upon driving into the Castle-court, the whole of the Prince’s family assembled at the foot of the steps, and were welcomed by them in the most friendly manner. The prince himself led us to the apartments assigned to us. After we had changed our dress we were summoned to the supper-table. The Prince, a somewhat ceremonious but friendly and well meaning man from fifty eight to sixty years of age received us at the entrance of the dining-room, and introduced us to the other guests. They consisted of the Princess his second wife, her sister, a lady passionately fond of poetry and music, his two daughters by his first marriage, amiable maidens of fifteen and seventeen years of age, and their tutor, Herr _Kartscher_, a young man of polished manners. The conversation at table was with the exception of the somewhat antiquated formality of the Prince, both free from restraint and lively, and convinced me that I was in a high bred circle having a sympathy for all that was beautiful. _Dorette_ was also very pleased with the conversation of her neighbours the Prince and his sister-in-law, and the children in whom the young ladies had interested themselves in the most friendly manner, were also extremely happy. Our whole family looked forward therefore to a pleasant residence at the castle.

On the following day, the regulations were forthwith adopted for the subjects and hours of study, which with few exceptions remained unchanged during the whole time of our stay. In the forenoon, while _Dorette_ gave instruction to the Princesses, the eldest on the harp, the youngest on the piano, I also gave the first music lessons to my children. Afterwards they were permitted to participate in the lessons given to the Princesses by their tutor, and he was so good as to adapt his instruction as much as possible to the capacities of the children. Meanwhile, my wife and I occupied ourselves with our own musical-studies, or I composed. As the members of the Prince’s family were very fond of singing, this was inducement sufficient to me to write two small books of songs, the text of which was furnished by the sister of the Princess from her large collection of poetical pieces. Among these were also some poems of Herr _Kartscher_. Both volumes were published by _Peters_ of Leipsic as op. 37, and 41. When the studies of the forenoon were terminated, a careful toilette was made by all, to appear at the dinner-table, as it was always the custom with the Prince’s family to dine _en parure_, or full dress. The remainder of the day was devoted to social intercourse and amusements. When the weather was fine, coffee was served in the castle garden, and towards evening an excursion-drive was made into the neighbouring environs. A farm belonging to the Prince was a frequent object of our visit, and either there or in the woods around it we frequently partook of a rustic supper. At other times when the weather was overcast, or that visitors came from neighbouring parts, we had music in the evening. As soon, however, as Herr _von Reibnitz_ arrived as guest at the Castle, an attempt at Quartett music was made. The old valet of the Prince who in his younger days had played the violincello, was then summoned to produce his instrument, the schoolmaster of the village his viol, and Herr _von Reibnitz_ took the second violin. Unfortunately I had no other Quartetts with me, than my own, which were certainly never written for _such_ performers. The first attempt therefore was very discouraging. But as the others evinced much zeal, I was not wanting in patience and endurance; and by dint of several rehearsals I succeeded so far as to enable me to let the company hear two of my quartetts. They were not so well accustomed to enjoyments in art as not to receive their performance with great approbation. A polonaise also, which I then wrote (op. 40, published by _Peters_) pleased greatly, and soon became a frequently requested and favorite piece with the company, perhaps, merely, because they had seen it composed. After I and my family had passed the first two months of our residence in Carolath in this sufficiently pleasant though somewhat uniform manner, the Prince announced one day at dinner with some solemnity, that he would be obliged to leave his dear guests for one day, as it was his custom every year on the 24. June to proceed to Glogau, to be present at the Freemason’s festival of St. John. This induced me upon rising from table to make myself known to him as a brother Mason, which so agreably surprised the Prince that he immediately invited me to accompany him on the journey. I have forgotten to relate that I had already become a freemason in Gotha, had there received after the expiration of a year the second degree of the order, and a year later on a journey to Berlin, the third, of master-mason. But as in Austria, freemasonry was prohibited, and that for two years and a half I had frequented no lodge, I longed to assist once more at a meeting of the brothers. The Prince’s invitation to accompany him to Glogau came therefore very opportunely. Grand preparations were forthwith made. The great travelling carriage emblazoned with the Prince’s armorial bearings was drawn out of the coach-house, and cleansed from dust; a Jäger, and another servant had squeezed himself into the state livery, and the Prince himself made his appearance for the first time in state-uniform, with his star upon his breast. We set out early on the morning of the 24. Arrived at the lodge, the Prince was received and welcomed by a deputation, and his guest, also, after having testified his prerogative, was greeted as a brother in the most friendly manner. After the meeting of the work-lodge, a splendid dinner-lodge followed, in which I joined the musical brethren, directed their singing, and myself, sang with my powerful bass voice some mason’s songs and the “Heiligen Hallen” from the “Zauberflöte.” Among the musical brothers I found several acquaintances of my earlier travels through Silesia, who eagerly sought to honour me with their attentions.

The chairman, also, welcomed the “renowned craftsman” to the circle of brothers, and thanked the Prince for having introduced him. The Prince seemed greatly pleased to find the honours paid to his guest, redound to his own, for on his return to Carolath he redoubled his already great attentions towards me and my family, so that we were even frequently embarrassed by them.

After a further highly agreable stay of from six to eight weeks, we resumed our journey through Dresden and Leipzic to Gotha. Returned thither after an absence of nearly three years from her home, _Dorette_ felt so happy, that I could not think of leaving it for some time. I therefore settled down quietly for a few months, and only made a few short excursions in the neighbourhood. The first was to my parents at Gandersheim, where my father had in the meanwhile been transferred as District-Physician, and from thence to Hanover, where I gave a concert. The second was to Frankenhausen, where _Bischoff_ got up another musical festival.

Here begins one of my diaries which I continued without any break off up to my return from Italy. The title is “Passing Remarks, during a Musical-tour” and the work begins:

_Frankenhausen_, Oct. 19. 1815.

...... “In Hanover we made the interesting acquaintance of the _Violinist_, and the highly uninteresting one of the _Man, Kiesewetter_. As violinist he is distinguished for a powerful very pure, and even feeling style of play, without however as it seems to me, a true feeling for the beauties of art; as a man, he is the most inflated wind-bag, that I ever met! He conducted in our concert on the 11. October, but without certainty and foresight.

“After a pause of three years, the musicians of Thuringia have again assembled here, for the purpose of celebrating after the speedily terminated war, the now complete emancipation of Germany, upon the anniversary of the Leipsic “Battle of the Nations”, in a manner worthy of the musical science. This day, the first of the musical festival, the performance of my Cantata “Das befreite Deutschland” and the “Te Deum” of Gottfried _Weber_, took place. As it would not beseem me as composer to express an opinion of my own work, we will here alone speak of its performance. The solo-parts were throughout not well distributed, for which reason the arias and _ensemble_ parts produced the least effects. But the chorus and the orchestra were excellent, and therefore the overture and collective choruses produced a great sensation. The double chorus of the flying French and that of the pursuing Russians followed by the Prayer of thanks of the German peoples, and the concluding chorus with the fuge, pleased the most. I again experienced that in a spacious locality, and with a numerous orchestra and chorus, the most simple subjects when written in a worthy and noble style produce the greatest effects; that on the other hand, a richness of figures in the instrumentation, and a rapidly changing sequence of harmony are, there, by no means in their proper place. The _Te Deum_ of _Gottfried Weber_ which had been greatly extolled in favourable reviews of it in the public journals, did not quite fulfil my expectations. It betrays too much that, it was not the production of a moment of inspiration, but rather of cold speculation. The very commencement is a straining after effect, and as introduction to a _Te Deum_, certainly very unsuited. To what purpose the long roll of the kettle-drums that sounds like a passing peal of thunder? And then, above all, the ensuing flourish of four trumpets and sackbuts, like that with which cavalry draws up on parade?”

October, 20.

“On the second day, a miscellaneous Concert took place in the following order: A Symphony of _Mozart_ (C-Major) executed with spirit and precision, its effect was ravishing! To-day I became convinced that in a spacious _locale_, and with a powerfully appointed orchestra, the four themes of the concluding fuge, at the part where they combine to form the finale, can be right well understood by a practised ear. If, hitherto, this part appeared to me more scientific than effective, I was this day convinced of my error. 2^{dly} a violin-Concerto (E-Minor) my own. To-day, I again became convinced, that, the masses are far more taken with the skilful and brilliant execution of the virtuoso, than by the merit of the composition. All were delighted with my play, and but few adverted as well to the composition. 3^{dly} an Italian air with chorus, by _Paer_, sung by Herr _Strohmeyer_. This aria from an Oratorio called “_La Religione_” is written in so unecclesiastical a style, that with a change of the text it might be converted into a right good _Opera buffa_. During the time that the impersonation of Religion (who certainly might with much more propriety, sing soprano, instead of bass) executes the most common place operatic melodies, shakes and throat-tearing bounds, the chorus screams now and then _unisono_, and _fortissime_, _Santa! Santa!_ between; just as a robber-band would call out to travellers the “Stand! your money or your life!” As this aria gave Herr _Strohmeyer_ an opportunity to display his fine and powerful voice as well as his skill in its management, it was received with great applause. 4^{thly} an _Adagio_ and Potpourri of mine for the clarinet, played by Herr _Hermstedt_, likewise very favorably received. Yet I found, and several other musicians were of the same opinion, that, though _Hermstedt_ constantly made more progress in the technics of his instrument, he did not devellope his taste in the same degree. His execution has somewhat of a mannerism that borders on caricature. 5^{thly} a patriotic song on the melody of “God save the king” with orchestral and organ accompaniment by _Methfessel_. The public to whom the words had been distributed, joined in.”

Poor _Bischoff_ did not find his account in this third Frankenhausen musical festival. The reason of the deficit in the receipts was doubtless the quartering of Russian troops in the neighbourhood, which kept both the town and country residents from attending the festival. As _Bischoff_ was not in a position to cover this deficit from his own means, the musicians who had assisted, agreed, upon my proposition, to defray their own expenses of the journey both ways, and to collect the necessary sum by a concert to be given on their return home. To that effect I also gave one at Gotha on the 28. October, in which _Andreas Romberg_ who since two years had been director of concerts there, supported me in the most friendly manner.

_Gotha_, October, 29.

My intercourse with _Andreas Romberg_, the educated and reflective artiste, afforded me again many hours of rich enjoyment. But I again found that he performs his compositions in an indiscribably cold and dry manner, as though he himself did not feel the beauties they contain! He played several of his Quartetts, which I had long admired, because I had frequently heard them played by others, and have myself played them; but the soul which they so plainly bespeak, and which every violinist by whom I have heard them played till now has rightly seized, seems to have remained unknown to him, for in his execution of them, no trace of it was to be discovered! It struck me as remarkable, also, that his predeliction leaned more especially to those which seemed to me the weakest. But I was yet more astonished that he often takes his tempi, according to my feeling, false, and thereby frequently spoils their effect; for I almost invariably found the Allegro’s too slow, and the Adagio’s too fast.

_Meiningen_, October, 31.

We gave a concert here to-day, at which the Dutchess and the whole Court were present. Herr _Wassermann_, one of the cleverest of my former pupils, played my Concertante with me.

_Wurzburg_, Nov., 10.

I made here the acquaintance of two known artistes, that of Herr _Fröhlich_, and of _Witt_. The former, Professor at the University, lectures on æsthetics and is in many respects a highly talented artist, as well as a zealous contributor to the Musical journal. As a critic he appears tolerably conscientious, but I remarked, that he also, like many other reviewers, writes opinions upon works without having the score before him. He that knows how difficult it is even with the aid of the score, to acquire a knowledge of a work from merely reading it, must be greatly astonished that these gentlemen will commit such an oversight, and merely place the separate voices side by side, and alternately cast their eyes on each. In a work of many voices, the perusal of the score is not alone sufficient, to enable a correct judgement to be pronounced; it is necessary also to have heard it, and well performed too!.....

_Witt_ is Concert-master of the formerly grand-ducal Court-orchestra, which as well as the _personnel_ of the singers of the Castle-church, after the acquisition of the grand-duchy by Bavaria are still continued in pay as formerly, and have remained up till now at their full complement. It is kept in good play-practice, and accompanied me to my full satisfaction in the concert we gave on the 7. November. I experienced much pleasure also from the performance of one of _Haydn’s_ masses in the Castle-church, which was excellently executed under _Witt’s_ direction. Herr _Witt_ let me hear on the piano, his oratorio, “Die vier Menschenalter” (“The four ages of man”). As he played badly, and if possible sung still worse, it would be premature in me, from what I heard and read after him of the score, to give an opinion of the effect the work would produce when performed. Yet it seemed to me somewhat common-place, and here and there, almost trivial. Nevertheless, the fuges and some other “Numbers” written in the severe style showed great skill in counterpoint.

_Nürnberg_, Nov., 16.

Music appears very little cultivated in the ancient Imperial city, for the orchestra here is remarkably bad. At our concert yesterday, there was it is true both a numerous audience and no want of applause of our performance, but every thing accompanied by the orchestra was totally spoiled by it.

To render my diary complete, I must here add that, in Nürnberg, young _Molique_, then about fourteen years of age introduced himself to me, and requested me to give him instruction in music during my stay in Nürnberg; this I readily assented to, for the lad already then gave evidence of very uncommon talent for his years. As _Molique_, since that time, by an assiduous study of my violin-compositions formed himself more and more upon my model in style of play, and therefore called himself _Spohr’s_ pupil. I have mentioned this circumstance in a supplementary manner.

_Munich_, Dec., 12. 1815.

Our stay here afforded us much artistic enjoyment. Already on the day after our arrival we were present at an interesting concert, the first of the twelve winter-concerts given every year by the royal orchestra upon their own account. These concerts are very numerously attended, and merit it in a high degree. The orchestra consists of the simple harmony, twelve first, twelve second-violins, eight viols, ten violincelli and six double-basses. The violins and basses are excellent, and the wind instruments, also, up to the horns. At every concert, a _whole_ Symphony is performed; (which is the more praiseworthy, from its becoming unfortunately daily more rare, and that the public for that reason are losing more and more the taste for that noble kind of instrumental-music); then an overture, two vocal, and two concert pieces. As the Court-orchestra of Munich still maintains its ancient repute as one of the first in the world, my expectation was greatly on the stretch; yet was it far exceeded by the execution of _Beethoven’s_ Symphony in C-Minor, with which this first concert was opened. It is scarcely possible, that it could have been performed with more spirit, more power, and at the same time with greater delicacy, as also, throughout, with a closer observance of all the shades of forte and piano! It produced therefore a greater effect, also, than I had beleived it capable of, although I had already frequently heard it, and even under the direction of the composer himself in Vienna. Nevertheless, I found no reason to retract my former opinion respecting it. Though with many individual beauties, yet it does not constitute a classical whole. For instance, the introductory theme of the very first passage is wanting in that dignity which according to my feeling the commencement of a Symphony should of a necessity possess. Setting this aside, the short and easily comprehended theme, certainly permits of being carried out very thematically, and is combined also by the composer with the other principal ideas of the first subject in an ingenious and effective manner. The _Adagio_ in _as_ is in part very fine, yet the same passages and modulations repeat themselves much too frequently, and although always with richer ornamentation, become in the end wearisome. The _Scherzo_, is highly original, and of real romantic colouring, but the _Trio_ with the noisy running bass is to my taste much too rough. The concluding passage with its unmeaning noise, is the least satisfactory; nevertheless the return to the _Scherzo_ at this part is so happy an idea, that the composer may be envied for it. Its effect is most captivating! But what a pity that this impression is so soon obliterated by the returning noise!

In this first concert we heard also Herr _Rovelli_, a young and but recently engaged violinist, in a Concerto in C-Minor by _Lafond_ which is excellent, and was executed to the satisfaction of all. This young artist, a pupil of _Kreutzer_, combines with the chief excellencies of the Parisian school that which is usually wanting with pupils, viz, feeling and peculiar taste. The chief points of excellence in that school consist in a careful study and development of the Technics of the instrument, in which, however, the real cultivation of art is very frequently neglected. This, nevertheless, is not the case with Herr _Rovelli_; for he reads well from the sheet, and knows how to accompany, as I afterwards had an opportunity of proving when playing my quartetts.

Madame _Bamberger_ from Würzburg, of whose fine second-tenor voice and good school, I had there already heard spoken of in such praise, sang in the concert, but appeared nervous, which was probably the reason why she took breath so frequently, and rendered the tones so imperfectly.

In the second subscription-concert, we heard Herr _Flad_, who performed an hautboy-concerto in a very brilliant manner. He has a very fine tone, and a very tasteful execution. Herr _Legrand_, on the other hand, who played _Romberg’s_ violincello-concerto in E-Minor, seems to me to be already going down hill, for his play is wanting both in power of endurance, and in sure, and pure intonation. An overture from the Romeo and Juliet by _Steibelt_, does not reach beyond common-place.

In the third subscription-concert, my Symphony in E-Major was exceedingly well performed under the spirited yet circumspect direction of Herr Concertmaster _Maralt_, and made more effect here than in Frankenhausen, where I had heard it for the first time four years ago. Herr _Franzl_ director of music, played his old violin-concerto in C-Major with Turkish-music. Its composition is in the namby-pamby taste of _Pleyel’s_ time, and will never suit the taste of the present day. His play is just as antiquated, and retains of its former excellence nothing but its vigour, but which now carries him frequently away into an indistinctness and want of purity in intonation. Although this was the case to-day, also, yet he was applauded like mad. This might have impressed a stranger with an unfavourable opinion of the taste of the people of Munich, had it not been evident, how well a small party of his personal friends knew to carry away the public by an uproarious clapping of hands, and a vigorous shouting of bravo. Though it certainly may be conceded to an artist who excelled in former times, that he should still meet with applause in later years, yet this may readily mislead him to overstep the period when he should cease to appear in public.

In the fourth subscription-concert, I played with Herr _Rovelli_, my Concertante, in satisfaction of the expectation that every foreign artist who desires to be supported in his own concerts by the royal orchestra, is in duty bound to play in one of the subscription-concerts. I never heard my Concertante to better advantage. Herr _Rovelli_ had practised his part with the greatest attention and played in a masterly manner. The accompaniment was equally good. The _Adagio_ with the three violincelli-obligati had a particularly fine effect.

_Vogler’s_ celebrated overture to “Castor and Pollux” did not come up with my expectations. It begins in a spirited and powerful manner it is true, but becomes lame towards the end, and the commencement itself derives its effect only from the noise of the brass instruments.

On the third of December, we played before the Queen in her private apartments, where besides herself and the King, a few only of the élite of the Court were present. Both Sovereigns appeared to take great interest in our play, for they loaded us with civilities. Besides ourselves, Madame _Dulcken_, a distinguished artiste played also, with her daughter and pupil, a _Rondeau_ by _Steibelt_ for two piano-forti.

On the sixth, our public concert took place in the Redouten-saloon, which the Queen also honoured with her presence, a mark of distinction, that for many years had been shewn to no foreign artists. I derived a great satisfaction from hearing my compositions again performed with so much brilliancy.

In the Museum, I found the Musical-journal, and therein a notice of the last musical-festival at Frankenhausen, which also contains an opinion upon my Cantata: “The emancipation of Germany.” The writer adduced so many shallow and false objections to that work, that I was greatly inclined to reply to it, had I not come to the resolution since my paper-war with _Mosel_, never again to write an anti-criticism.

_Würzburg_, Dec., 26.

On our journey thither from Munich, we have given in ten days, in four different towns, four flying concerts, that we had previously made arrangements for, which were numerously attended, and returned a rich harvest; viz, on the 16. in Nuremberg, on the 18. in Erlangen, on the 22. in Bamberg, and yesterday, the first day after Christmasday, here. It was nevertheless an arduous exertion, particularly for _Dorette_; the continual packing up and unpacking, rehearsing and concert-giving! We will now give ourselves a little rest.--The day before yesterday, I let Herr Professor _Fröhlich_ hear my two Vienna Quartetts, dedicated to _Romberg_, chiefly with the view that he might notice them in the musical-journal. They went off well, and therefore did not fail to make a favourable impression upon the hearers.

_Frankfurt on the Mayne_, January, 14. 1816.

Our stay here was but very poor in art-enjoyments. During the whole time, not a single concert besides our own, not one musical party! While eight years ago, on our first coming here we scarcely could find time to satisfy all the invitations to musical-soireés, now, not one of the Frankfurt musical amateurs (if indeed there are any left) takes it into his head to make a single demand upon our talents.

Even the theatre offered nothing very attractive, and only one, (for us new) opera, viz, “Carlo Fioras” by _Fränzl_, was performed.--Madame _Graff_ in this opera, and as the countess, in the “Marriage of Figaro” proved herself a singer of an excellent school, gifted with feeling and taste. The remaining _personnel_ of vocalists is of no importance, but the orchestra excellent, and worthy of its ancient repute.

On the twelfth, we gave a concert at the Red-House. Madame _Graff_ sang brilliantly the grand scena from “Faust.” The orchestra accompanied with predeliction, and the greatest precision.