The matter was in this wise: Previous to beginning my work, I had certainly taken pains to inquire of HerrSchwenkerespecting the range of voice and the capabilities of the Hamburgh singers, and in accordance therewith, I had constructed the chief parts of the opera. But as I was without all experience in these things, I had neglected to ascertain the personal appearance of the singers, so that, for MadameBecker, a small, delicate figure, I had written the part of Donna Isabella, who seeks for her faithless lover at the Court of Princess Matilda disguised in man’s clothes, and at last challenges him to mortal combat armed cap-à-pied as a knight. So long as MadameBecker, knew no more about the Opera than her part, she was highly satisfied and began to practice with great zeal. But as soon as she had read the libretto, she declared, that she could not undertake the part, as she would make herself perfectly ridiculous. Exceedingly annoyed at my mistake I set off for Hamburgh, to remedy it wherever possible, and to induce the representation of the opera. I found oldSchröderin very low spirits, and exceedingly dissatisfied with his theatrical untertaking. But he had every reason to be so. Several of the performers had failed to make their appearance, others came too late, and some had not answered the expectations entertained of them; his new Plays and Comedies had not been very successful, and empty houses had been the result. Of the four Operas which he had Music written for, two were already laid aside, because they had displeased. The one composed byWinter: “Die Pantoffeln” had lived through some few thinly attended representations; that ofClasing: “Welcher ist der Rechte?” had been withdrawn from theRepertoireimmediately after the first night, for in spite of the strenuous efforts ofClasing’snumerous friends it was a complete failure.
With such disappointments, it was not to be wondered that the old grumbler should be mistrustful of my Opera also, and the more so since the most favorite singer of his theatre would not lend her aid. But when he offered me payment of the sum agreed for it, and at the same time laid it aside without having given it a trial, I was much hurt and protested against it in the most positive manner. At length after much entreaty, I obtainedSchröder’sconsent that I should make a trial of it with another singer, who hitherto had played only in secondary characters, and practise her in the rôle refused by MadameBecker. In this singer, a MadameLichtenheld, I found great willingness and natural capacity, and when I had simplified the most difficult bravura passages of the part to her powers of execution, I succeeded well with her. Thus at length the rehearsals could be commenced, and whenSchröderhad heard one, and had become convinced that MadameLichtenheldwould fill the part satisfactorily, the first representation was announced for the 15. November. My former musical acquaintances one and all, includingRombergandPrell, offered their services to me in the two representations in which I was to lead the orchestra.Hermstedt, also, who had come to Hamburgh to give a Concert with my support, joined them, and undertook the First Clarinet part, for which there were some telling Soli’s and a concerted accompaniment or a Soprano-air. With the aid of these distinguished artists the Orchestra was considerably strengthened, and as the Singers and the Chorus were likewise well practised, I was already greatly pleased with the precision with which my music was performed in the rehearsals, and therefore entertained the most lively hopes that the Opera would please. Nevertheless on the evening of the representation, it was not without fresh anxiety that I took my place at my desk, for it had come to my ears that,Clasing’sfriends would evince an inimical feelingtowards me in revenge for the failure of his opera. But when the music had begun, I thought of that alone, and forgot every thing else around me. The applause with which the Overture was received, shewed me, nevertheless, that the unfriendly party would not make any demonstration; and so it proved. Almost every piece was applauded, and the approbation increased yet more towards the end of the opera. Upon the fall of the curtain a long sustained storm of applause was given to the composer.
I ought now to have been very happy, but was by no means so. Already at the first rehearsal some things in my music had displeased me. At every fresh rehearsal these were increased by something new, and before the actual representation, the half of my Opera had become distasteful to me. I now thought I well knew how I could have made it better, and was greatly annoyed that I had not discovered it before. Yes, indeed, had my work appeared to me in that light on my arrival at Hamburgh, I should have made no opposition toSchröder’sintention to lay it aside unperformed. But my musical friends were of a different opinion; they were exceedingly pleased with this work, and wished me every further success.Schwenkewrote a full and very laudatory criticism of the Opera, wherein he adroitly combated the well founded opinion of its opponents, that it contained many reminiscences of the Operas ofMozart, and while admitting that the form of the musical pieces as well as the whole design recalledMozart, he assigned that, as a recommendatory feature and proof of its excellence. By this, made watchful of myself, I became sensible of the necessity to break myself of it, and think that I already fully effected it in “Faust” my next Dramatic work.
With my permission,Schwenkehad some time before made a Piano-forte arrangement from the Opera, which was now published byBöhmin Hamburgh, and soon found an extensive circulation.
Of the Concert which I then gave in Hamburgh with my wife andHermstedt, I recollect but little more than that thelatter created a great sensation by his highly cultivated skill. But I have a clearer recollection of another Concert in Altona, at which we and several of our Hamburgh friends assisted, and in which all manner of little misfortunes befell us, which afterwards afforded matter for much merriment.
This Concert was given by a rich Musical-amateur of Altona, who invited the assistants from Hamburgh to a luxurious dinner. After the company had been at table for two hours, and addressed themselves diligently to the champaign, they became so merry and forgetful, that nobody gave a thought to the Concert that was to follow. The terror therefore was general, when a Messenger suddenly appeared, and announced that the numerous Audience which had assembled was become impatient and demanded the opening of the concert. All now hurried to the Concert saloon; although in reality no one was any longer in a fit state to make a public appearance. It was especially remarkable that, those who were usually the most timid had now become the most courageous. The Altona dilettanti-Orchestra, who were to serve as nucleus and support to the Hamburgh Artists, were already in their places, and the Concert immediately began with an Overture byRombergwho conducted it himself. He, who was unjustly accused of taking thetempiof his Compositions too slow, hurried theAllegroof his Overture this time so much, that the poor Dilettanti could not keep up with him. Little therefore was wanting for the whole thing to break down from the very overture. My wife and I were then to follow with a Sonata for harp and violin, which as usual we were about to play without notes. Just as we had seated ourselves, and I was about to begin, my wife, who at all other times was self-possession itself, whispered anxiously to me: “For Heaven’s sake,Louis, I cannot remember which Sonata we are to play, nor how it begins!” I hummed softly in her ear the commencement of it, and restored to her the necessary calmness and self-possession. Our Play now proceeded without mishap to the end, and was received with great applause.It was now MadameBecker’sturn to sing an Air, andRomberghad just led her forward to the raised platform of the Orchestra, when to the great astonishment of the public, she all at once ran off, and disappeared in the room adjoining.Dorette, allarmed lest she should have been taken suddenly ill, hastened after her. But, both shortly reappeared, and I now ascertained from my wife, that MadameBeckerhad found her breath too short from the effects of the dinner, and was therefore obliged to have her clothes loosened before she could sing.
Hermstedt, now followed with a difficult composition of mine. He, who always when appearing in public, went to work with the most nervous precision in every thing, emboldened now to rashness by the fumes of the champaign, had screwed on a new and untried plate to the mouthpiece of his Clarinet, and even spoke vauntingly of it to me as I mounted the platform of the orchestra. I immediately anticipated no good from it. The Solo of my composition began with a long sustained note, whichHermstedtpitched almost inaudibly, and by degrees encreased to an enormous power, with which he always produced a great sensation. This time he began also in the same way, and the public listened to the increasing volume of tone with wrapt expectancy. But just as he was about to encrease it to the highest power, the plate twisted, and gave out a mis-tone, resembling the shrill cry of a goose. The public laughed, and the now suddenly sobered Virtuoso turned deadly pale with horror. He nevertheless soon recovered himself, and executed the remainder with his usual brilliancy, so that there was no want of enthusiastic applause at the end.
But with poorSchwenkeit fared worse than all. The waist-buckle of his pantaloons had given way during the dinner, without his being aware of it. When therefore he had mounted into the orchestra to take the Viol-part in a Pot-Pourri with Quartett-accompaniment which I played at the close of the Concert, shortly after he had begun to play, hefelt his pantaloons begin to slip with every movement he made in bow-ing. Much too conscientious a Musician, to omit a note of his part, he patiently waited for the pauses, to pull up his nethergarment again. His predicament did not long escape the notice of the public, and occasioned considerable merriment. But towards the close of the Pot-Pourri, when a 1/16 movement shook him so roughly, that the downward tendency of his pantaloons made serious progress, and threatened to exceed the limits of propriety, the public could no longer restrain itself, and broke out into a general titter. By this untoward interruption of the execution of my Solo, I was thus dragged also, into the general calamity of the day.
On my return to Gotha, I found a letter fromBischoff, in which he informed me that he had been commanded by the Governor of Erfurt to make arrangements for a grand Musical Festival there, in the ensuing summer, in celebration of the birthday of Napoleon, August 15. He had already agreed with him as to the terms, and now asked me to untertake its direction, and to write a new Oratorio for the first day. I had long desired to try for once, something in the Oratorio-style, also, and readily consented to the proposal. A young poet in Erfurt had already offered me the text of an Oratorio, in which I had found several grand passages for composition. It was called: “The last Judgement.”
I sent for the libretto, and set to work at once. But I soon felt that for the Oratorio-style I was yet too deficient in Counter-point and in Fugeing; I therefore suspended my work, in order to make the preliminary studies requisite for the subject. From one of my pupils I borrowedMarpurg’s“Art of Fuge writing” and was soon deeply and continuously engaged in the study of that work. After I had written half a dozen Fugues according to its instructions, the last of which seemed to me very successful; I resumed the composition of my Oratorio, and completed it without allowing any thing else to intervene. According to a memorandum I made, it was begun in January 1812, and finished in June. Therewould not therefore have been sufficient time to write it out and practise it before the performance, had I not sent the two first parts of the work toBischoff, immediately after their completion. By that means, not only could the Choruses be carefully practised in it, but I had also sufficient time to study the Orchestral-parts with my own orchestra, which was again to form the nucleus of the great Erfurt orchestra. In this manner, although the work is a very difficult one, I was enabled after one general rehearsal only, to effect a tolerably successful performance of it. One of the Solo-singers, alone, who sang the part of Satan, did not give me satisfaction. This part which was written with a powerful instrumentation, I gave by the advice ofBischoffto a village schoolmaster in the neighbourhood of Gotha, who was celebrated throughout the whole district for his colossal bass-voice. In power of voice he had indeed quite sufficient to outroar a whole Orchestra, but in science, and in Music, he could by no means execute the part in a satisfactory manner. I taught and practised him in the part myself, and took great pains to assist him a little, but without much success. For when the day of public trial came, he had totally forgotten every instruction, and admonition, and gave such loose to his barbarian voice, that he first of all frightened the auditory, and then set them in a roar of laughter.
From overstraining his voice, he moreover almost always intonated too high, and by that spoiled several of the most effective parts of the oratorio. I suffered intensely from this, and my pleasure in my composition was greatly embittered. Nevertheless it gave general satisfaction, and was most favourably spoken of in a detailed notice of the Musical Festival in one of the Thuringian newspapers. Another criticism which appeared in a South-German (if I am not mistaken a Francfort Journal) found on the other hand much to cavil with in the work, and was altogether written in a bitter and malevolent tone. For many years I suspected this malicious criticism was written by CounsellorAndréof Offenbach, as hewas present at the Festival with two of his pupils,ArnoldandAloys Schmidt. What induced me to suspect him of it, althoughAndréhad expressed himself to me personally in praise of the work, I now no longer remember; and in later years when I questioned him on the subject, he assured me that he was not the author. I, myself, not only considered the work the best I had written up to that time, but I thought I had never heard any thing finer. Even to this day I like so much some of the choruses and Fuges, as well as the part of Satan, that I could almost pronounce them to be the most grand of all I ever wrote. Not so, however, with the other themes particularly with the Soli-parts of Jesus and Mary. These are wholly written in the Cantata style of that day and overladen with bravoura and ornamental passages. Shortly afterwards, also, I felt the impropriety of this style, and in later years frequently resolved to re-write those Soli parts. But when about to begin, it seemed to me as though I could no longer enter into the spirit of the subject, and so it remained undone. To publish the work as it was I could not make up my mind. Thus in later years it has lain by with out any use being made of it.
As the above mentioned Festival in honour of Napoleon’s birth-day was the last that took place in Erfurt and in Germany just before the Russian Campaign, it was considered to have been ominous, that the principal Musical piece then performed should have been “the last Judgement”.
In the Autumn of 1812 I again applied for a leave of absence for myself and wife, which after some reluctance on the part of the Dutchess was granted. We this time directed our journey to Vienna as the least disturbed by the war, and the passage of troops. Our first stay was at Leipsic, where we assisted at a Concert given byHermstedt, and where I afterwards performed my new oratorio. Of this the Musical Journal speaks in the following manner:
“HerrHermstedt’sConcert as regards the Compositions executed, was one of the most attractive that could be heard. With the exception ofMozart’sOverture, and the Scena byRighini, all the pieces were of the composition of Concert-MasterSpohr, and with the exception of the Clarinet-Concerto, all newly written. This Concerto, the first in C-Minor, and, as a Composition, the most brilliant of all Concerti for that instrument, was again listened to with great satisfaction. A grand Sonata for Violin and Harp, played by Herr and MadameSpohr, the leading theme of which must be pronounced masterly in conception and elaboration, and the second, consisting of a delightful Pot-Pourri of happily combined and most pleasingly handled melodies from the “Zauberflöte”,—this as well as each of the other pieces were received with the warmest approbation. We heard besides another Violin-Concerto[13]played by HerrSpohrand a Pot-Pourri for the Clarinet with Orchestral accompaniment. In the former, the firstAllegro, as regards composition and execution pleased us least. Here and there, it seemed to us both tricky and overladen with ornament, and considering its contents, much too long; neither was the execution of the Virtuoso every where sufficiently distinct and clear. But theAdagio, as regards composition and execution is one of the finest we ever heard on this instrument, we may even say the very finest that was ever produced by any Virtuoso.”
Of the Oratorio, also, it speaks upon the whole, favourably. It contains not only “many details that are original and attractive, some even that are really charming, but which, also, too closely crowd upon and obliterate each other. Every hearer whether he agrees or not withSpohrin his idea of an Oratorio, that is, whether he may be disposed or not to tolerate its combination of almost every kind of treatment and style, or rather, to see them replace each other in turn—yet every hearer must be impressed with a lively interest inthis work, and experience a real pleasure not unmingled with astonishment at several of its principal parts.”
According to a notice in the Musical Journal of the 8. November, I do not appear to have made any stay at Dresden, upon this journey. But in Prague I gave a Concert on the 12. November, and eight days after, my Oratorio at the Theatre. A very favourable notice of the former appears in the Musical Journal, which adverts especially to the “enchanting unity” of execution, from which the most perfect harmonic marriage of the two admirable artistes was to be recognised.
Of the performance of the Oratorio I alone remember that FräuleinMüllerafterwards MadameGrünbaum, sang exquisitely in it, and that the work was right well received by the public.
I now hastened towards the chief object of my journey. Vienna was at that time indisputably the Capital of the Musical world. The two greatest Composers and Reformers of Musical taste,HaydnandMozarthad lived there, and there produced their Master-pieces. The generation still lived, which had seen them arise, and formed their taste in Art from them. The worthy successor of those Art-heroes,Beethoven, still resided there, and was now in the zenith of his fame, and in the full strength of his creative power. In Vienna therefore the highest standard for Art creations was set up, and to please there—was to prove one’s self a Master.
I felt my heart beat as we drove over the Danube-bridge, and thought of my approaching début. My anxiety was yet more increased by the reflexion that I should have to compete with the greatest Violinist of the day; for in Prague I had learnt thatRodehad just returned from Russia, and was expected in Vienna. I still vividly recalled to mind the overpowering impression whichRode’splay had made upon me ten years before in Brunswick, and how I had striven for years to acquire his method and execution. I was now therefore anxious in the highest degree to hear him again, in order thereby to measure my own progress. My first questiontherefore on alighting from the carriage was whetherRodehad arrived, and had announced a concert. This was answered in the negative, but with the assurance that he had long been expected.
It was now therefore a matter of importance to me to be heard beforeRode, and I hastened as much as possible the announcement of my concert. I succeeded also in appearing first; butRodehad arrived meanwhile, and was present at the concert. To my great surprise I felt less intimidated than inspired by that circumstance, and played as well as I could have desired. The Musical Journal spoke of my appearance before “a crowded house” in the following manner:
“On the 17. December we had the pleasure to hear and admire HerrLouis Spohrand his wife at a concert. We subscribe gladly to the favourable opinions expressed of this worthy Artiste-pair and can only add that here also every one was charmed by their masterly play. HerrSpohrplayed a Violin-Concerto with a SpanishRondoand at the end a Pot-Pourri, both of his composition; with his wife, he executed one of his published Sonatas for harp and violin. The composition both of the Concerto and this Sonata are excellent, and contrasted not a little with the watery, patchwork productions with which so many practising Musicians without talent or genius for composition, make their appearance here.”
By the advice of some kind friends I relinquished my intention of giving my Oratorio at my own expense, as I had projected doing in a second Concert; since the great expenditure which a large Orchestra and a numerous Chorus would have superadded to that of an usual Concert, forbade the hope to realise any profit from the undertaking. Yet as I was very desirous to have this work heard in Vienna, for I still considered it one of the grandest of its kind, I offered to perform it for the benefit of “the Widow’s and Orphan’s Society” on the condition only, that for its production, the society would provide a well appointed orchestra supported by the most distinguished Singers and Instrumentalists in Vienna. This condition was accepted, and fully carried out by the society, which provided apersonelof three hundred assistants from among the best artistes in the city. The work was carefully studied in two grand rehearsals, and on its production, was performed better than I had yet heard it. I became anew enraptured with my creation, and with me several of the assistant Musicians, among whom more especially HerrClementthe Director of the Orchestra of the “Theatre an der Wien”.
He, had so thoroughly imbibed the spirit and substance of the work, that the day after its performance he was enabled to play to me on the Piano several entire parts, note for note, with all the harmonies and orchestral figures, without ever having seen the score. ButClementpossessed a musical memory such perhaps as no other artiste ever possessed. It was at that time related of him in Vienna, that after he had heard several times “the Creation” ofHaydn, he had learned it so thoroughly, that with the help of the text book he was able to write a full Pianoforte arrangement of it. He shewed this to oldHaydn, who was not a little alarmed at it, thinking at first that his score had either been stolen or surreptitiously copied. Upon a nearer inspection he found the Pianoforte arrangement so correct, that afterClementhad looked through the original score, he adopted it for publication.
Before my Oratorio was performed, I had a quarrel with the Censorship, which nearly subverted the whole untertaking. They would not suffer the names ofMaryandJesusto be used in the list of the Dramatis-Personae of the Text-Book, nor above the words which they had to sing. But after long negotiation, upon the omission of these, the text was allowed to be printed. I could readily accede to this omission, since from the context it was easy to understand who the persons were.
Greatly as the work pleased the Musicians, and increased their opinion of my talent for composition, yet its reception by the Public was not nearly so brilliant as that which myplay, and my Concerted compositions had met with. It is true there was no want this time also of marked applause, but it was not so general as to attract a numerous audience to the second performance which took place three days afterwards. This second representation in Vienna was the last the work ever had; for in later years I saw too well its weak points and deficiencies ever to persuade myself to give it again in public. Of the first representation in Vienna on the 21. January the Musical Journal spoke tolerably well.
Salierithe Leader of the Imperial Orchestra had undertaken the direction of the whole; HerrUmlaufpresided at the Piano, and I led the violins. The principal parts were sung by DemoiselleKlieber, MadameAnenheim, DemoiselleFlamm, Messrs.Anders,Wild, andPfeiffer. “It is difficult” says the notice “here in Vienna to bring out an Oratorio, so as either to awaken attention to it, or to procure for the work a permanent name—here where such grand, successful masterpieces of the kind first made their appearance, which are familiar to every body and which have procured for their creators a lasting fame in the musical world. HerrEibleralready attempted to set the “Four last Things” ... to music. But his work was only twice publickly performed, because he failed in a thoroughly even and original style, and his composition would not bear comparison with the works of his great predecessors of this kind. The same may be said also of HerrSpohr’s“Last Judgement” although the composer of that work is infinitely superior in severe passages to the writer of the “Four last things.” All the chorusses and fugues in the severe style, with which one can find fault in some secondary parts only, have a real artistic merit; are worked out with great industry, and were received also with loud and general enthusiasm. The Airs, Duetts and single Song passages, depart however too much from the real Oratorio style, are too frequently repeated in the text, and approach more or less to the Italian Operatic style. Some too striking reminiscences of the “Creation” and particularly of the “Zauberflöte”lessen the merit of the work in respect of originality. The Chorus of Devils at the end of the first part would be more admissably in its place if introduced in a ballet. HerrAugust Arnoldthe author of the text, has also, certainly not produced a work such as might satisfy the composer for musical treatment.... The Theatre was scarcely half full. On the 24., this Oratorio was repeated before scarcely two hundred auditors. But a work of this kind should not have been brought out in such a pleasure loving City in Carnivaltime!”—
A fortnight after my first appearance,Rode’sConcert came in turn. Relying on his European reputation he had chosen the most spacious Concert-room in Vienna, the great “Redouten-Saal” and he found it completely filled. With almost feverish excitement I awaited the commencement ofRode’splay, which ten years before had served as my highest model. But, already, after the first Solo, it seemed to me thatRodehad lost ground in that time. I now found his play cold, and full of mannerism. I missed his former boldness in conquering great difficulties, and felt particularly dissatisfied with his execution of the Cantabile. The composition as well of the new Concerto, appeared to me far behind that of the seventh in A-Minor. In his execution of the Variations in E-Major, which I had heard him play ten years before, convinced me fully, that he had greatly lost in technical precision, for he had not only simplified for himself many of the most difficult passages, but he produced also those modified passages with timidity and a degree of uncertainty. Neither did the public seem satisfied; at least he failed to rouse them to any enthusiasm. The Reviewer in the Musical Journal says, also, thatRodehad “notquite” satisfied the expectation of the public. “His bow-stroke” continues the Reviewer, “is long, grand and forcible, his tone full and strong—indeed, almost too strong, cutting; he has a correct, pure intonation and is always sure in his rebounds up to the very highest notes; his double notes although occurring but seldom,are good, and inAllegrohe conquers great difficulties with ease: on the other hand he is wanting in that which electrifies and carries away all hearts—fire, and that winning grace which is not otherwise to be defined, that witchery of charm that ravishes the ear and inspires the soul. InAdagio, the sharpness of his tones was still more perceptible than inAllegro; the result therefore was cold. Neither did the composition awaken much interest; it was thought far fetched and mannered. It is probable the vast size of the great “Redouten-Saal” may have induced HerrRodeto bring out his tones so sharply, and thus they lost much of their sweetness.”
Eight days afterRode’sConcert I gave my second, in the small “Redouten Saal.” The Musical Journal speaks of it as follows: “Spohrshewed himself to be a great Master of violin-play. He produced a new composition in A-Major (published as the tenth), which was solemnly and slowly preceded by an introduction in A-Minor. TheAdagiowas in D-Major. A most charmingRondoconcluded it. In the pleasing, and the tender,Spohris indisputably the nightingale, of all living, at least, to us known, Violinplayers. It is scarcely possible to execute anAdagiowith more tenderness and yet so clearly, combined with the purest good taste; added to this, he overcomes the most difficult passages in quick-time measure, and effects the greatest possible stretches with wonderful ease, to which certainly the large size of his hand may be of some advantage to him. This evening he again received a general and unanimous applause, and was repeatedly called forward, an honour—which so far as we remember,—was conferred only upon HerrPolledro. With his wife, HerrSpohrplayed anAllegrowhich she performed upon the harp, with great execution, taste and expression. We think, of all the Virtuosi whom we have heard upon that instrument none possesses so much school, and such intensity of feeling in expression, as MadameSpohr; though DemoiselleLonghimay have more power, and DemoiselleSimonin-Polletmore equality in their play.”
Speaking ofRode’ssecond Concert, the Musical Review says: that “with a very crowded saloon he met with much more applause than before; but in the Cantabile this time, also, he did not sufficiently satisfy the expectations of the public.”
On the 28. January I played withSeidlerof Berlin in his Concert, and as a notice of it says “bore away the palm although HerrSeidler’splay was worthy of praise.”
I could thus be very satisfied with the reception I had met with in Vienna as an Artiste; for the public newspapers also awarded the palm to me. At private Parties where as the rule, I not only met the above named Violinist, but also the most distinguished of the native Violinists HerrMayseder, and had to compete with all these, my performances met also with special acknowledgment and attention. On these occasions there was at first always a dispute who should begin, for each desired to be the last, in order to eclipse his predecessor. But, I, who always prefered playing a well combined Quartett to a Solo piece, never refused to make the beginning, and invariable succeeded in gaining the attention and sympathy of the company by my own peculiar style of reading and executing the classical quartetts. Then when the others had each paraded his hobby-horse, and I observed that the company had more liking for that sort of thing than for classical music, I brought out one of my difficult and brilliant Pot-Pourri’s, and invariably succeeded in eclipsing the success of my predecessors.
In the frequent opportunities of hearingRodeI became more and more convinced that he was no longer the perfect Violinist of earlier days. By the constant repetition of the same compositions, a mannerism had crept by degrees into his execution, that now bordered on caricature. I had the rudeness, to remark this to him, and asked him if he no longer remembered the way in which he played his compositions ten years ago. Yes! I carried my impertinence so far, as to lay the variations in G-Major before him, and said, that I would play them exactly as I had heard him play them so frequentlyten years before. After I had finished playing, the company broke out into a rapturous applause, andRode, for decency’s sake was obliged to add a “bravo”; but one could plainly see that he felt offended by my indelicacy. And with good reason. I was soon ashamed of it, and advert to the circumstance now, only, to show how high an opinion I then had of myself as a Violinist.
Satisfied in the highest degree with Vienna, I now thought of proceeding farther, when quite unexpectedly I received from CountPalffythe 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 HerrTreitschke, 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 OrchestraSalieriandWeigl, 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 outa 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, afterDorettehad 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, conductorvon Seifriedproceeded 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 anensemblethat 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 brotherFerdinand, and one of the most gifted of my other pupils,Moritz Hauptmannof 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 Herrvon Tost, a proprietor of manufactories and a passionate lover of music. In excusefor 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, Herrvon Tostreplied: 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 Herrvon Tostcould 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 Herrvon Tostintended 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 Herrvon Tost’sspeculation, 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 Herrvon Tosthad 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 Herrvon 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 Herrvon 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 whomyou 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 Herrvon Tostwith 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 thatDoretterepresented 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 AdvocateZizius, 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 uponthe 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 friendKleinwächter. 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 uponmy 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 friendBärwolfto 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 brotherFerdinand, 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 celebratedRapidsand theWhirlpool, 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 thewaves 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 seeDorettein 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 wereas though effaced from my mind, and then I had room again for new combinations.Dorettefrequently 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, andDorettewith 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, whichTheodor Körnerwas 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 asKörnerwas very fond of music we soon took to each other. When it was decided that I should remain in Vienna, I askedKörnerto 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 thatKörnerwas about to joinLützow’slight 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 actressAdambergerthat 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 HerrBernhardhad 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 toMeyerbeer, 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.Meyerbeertook 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.
Pixisthe younger, also, who then resided with his parents in Vienna, as well asHummelandSeyfried, 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. CountPalffy, 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 forForti, the Mephistopheles forWeinmüller, Hugo forWild, Franz forGottdank, Cunigunda for MadameCampi, and Rosa for DemoiselleTeiner; 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, forWild, 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 thatPixishad taken great pleasure in preparing, I did not publish till many years afterwards atPeter’sin Leipsic.
After having finished Faust, I thought it my duty to proceed to the fulfillment of my agreement with Herrvon 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 bySteinerin 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 Herrvon 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. Herrvon Tostwould 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 Herrvon 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 anotherRondofor harp and violin for my wife and self, and a Quartett for stringed instruments for Herrvon 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 Herrvon 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. Herrvon Tostwho 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 tome, I was very glad to be able to return to my harmless occupation of composing.
In the autumn of 1813,Dorettepresented 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 newRondofor 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 brotherFerdinandmade 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 institutedSociety of the friends of music of the Austrian Empireunder the patronage of the ArchdukeRudolphmade preparations for a monster performance ofHandel’s“Samson” in the Imperial Riding-school; for which Herrvon Moselincreased the instrumentation. Other Societies undertook similar performances. This gave Herrvon Tostthe 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 agoodpoet.
“Oh! there shall be no want of that” was the reply. “I will immediately go to Frauvon 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 inrich 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 Herrvon Tost, had engaged the four best singers in Vienna for the soli-parts, viz MesdamesBuchwieserandMilder, and Messrs.WildandWeinmüller, 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 MadameMilder, to assist her in practising her part; when, one morning Herrvon Tostrushed 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 Herrde Bachin 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 Herrvon Tost.
This Cantata shared the same fate as “Faust.” It was first produced long after I had left Vienna. I heard it forthe first time in 1815 at the musical Festival at Frankenhausen, on the anniversary of the battle of Leipsic.
As with me, so it fared withBeethovenin 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 byHaslingerin Vienna.
While mentioningBeethoven, 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 toBeethoven; 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,Beethovensince 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.Beethovenhad 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, andBeethovenbecame 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.Beethovennow came frequently to these dining rooms, and visited me also at my house. We thus soon became well acquainted:Beethovenwas 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 thetheatre “an der Wien”, close behind the orchestra, where CountPalffyhad 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 withDoretteand 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 byPrince Lobkowitzand CountPalffy. 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’srough 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.Beethovenhad 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 ofBeethovenwere 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 sawBeethoven, direct. Although I had heard much of his leading, yet it surprised me in a high degree.Beethovenhad accustomed himself to give the signs of expression to his orchestra by all manner of extraordinary motions of his body. So often as aSforzandooccured, he tore his arms which he had previously crossed upon his breast, with great vehemence asunder. At apiano, he bent himself down, and the lower, the softer he wished to have it. Then when acrescendocame, he raised himself again by degrees, and upon the commencement of theforte, 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 toSeyfried, at this extraordinary method of directing, he related to me a tragi-comical circumstance that had occurred atBeethoven’slast concert at the Theatre “an der Wien.”
Beethovenwas playing a new Pianoforte-Concerto of his, but forgot at the firsttutti, that he was a Soloplayer, and springing up, began to direct in his usual way. At the firstsforzandohe threw out his arms so wide asunder, that he knocked both the lights off the piano upon the ground. The audience laughed, andBeethovenwas 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 ofBeethoven, 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 fatalsforzandocame, he received fromBeethoven’sout 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 ofBeethoven, 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.Beethovengot 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 firstallegroof the Concerto was therefore lost to the public. From that fatal eveningBeethovenwould not give another concert.