But the one got up by his friends, was attended with the most brilliant success. The new compositions ofBeethovenpleased extremely, particularly the symphony in A-Major (the seventh); the wonderful second theme wasencored; and made upon me also, a deep and lasting impression. The execution was a complete masterpiece, inspite of the uncertain and frequently laughable direction ofBeethoven.
It was easy to see that, the poor deafMaestroof the Piano, could no longer hear his own music. This was particularly remarkable in a passage in the second part of the firstallegroof the symphony. At that part there are two pauses in quick succession, the second of which, ispianissimo. This,Beethovenhad probably overlooked, for he again began to give the time before the orchestra had executed this second pause. Without knowing it therefore, he was already from ten to twelve bars in advance of the orchestra when it began thepianissimo.Beethoven, to signify this in his own way, had crept completely under the desk. Upon the now ensuingcrescendo, he again made his appearance, raised himself continually more and more, and then sprang up high from the ground, when according to his calculation the moment for theforteshould begin. As this did not take place, he looked around him in affright, stared with astonishment at the orchestra, that it should still be playing pianissimo, and only recovered himself, when at length the long expectedfortebegan, and was audible to himself.
Fortunately this scene did not take place at the public performance, otherwise the audience would certainly have laughed again.
As the saloon was crowded to overflowing and the applause enthusiastic, the friends ofBeethovenmade arrangements for a repetition of the concert, which brought in an almost equally large amount. For some time thereforeBeethovenwas extricated from his pecuniary difficulties; but, arising from the same causes, these reoccurred to him more than once before his death.
Up to this period, there was no visible falling off inBeethoven’screative powers. But as from this time, owing to his constantly increasing deafness, he could no longer hear any music, that of a necessity must have had a prejudicial influence upon his fancy. His constant endeavour to be original and to open new paths, could no longer as formerly, be preserved from error by the guidance of the ear. Was it then to be wondered at that his works became more and more eccentric, unconnected, and incomprehensible? It is true there are people, who imagine they can understand them, and in their pleasure at that, rank them far above his earlier masterpieces. But I am not of the number, and freely confess that. I have never been able to relish the last works ofBeethoven. Yes! I must even reckon the much admired Ninth Symphony among them, the three first themes of which, inspite of some solitary flashes of genius, are to meworse than all of the eight previous Symphonies, the fourth theme of which is in my opinion so monstrous and tasteless, and in its grasp ofSchiller’sOde so trivial, that I cannot even now understand how a genius likeBeethoven’scould have written it. I find in it another proof of what I already remarked in Vienna, thatBeethovenwas wanting in æsthetical feeling and in a sense of the beautiful.
As at the time I madeBeethoven’sacquaintance, he had already discontinued playing both in public, and at private parties; I had therefore but one opportunity to hear him, when I casually came to the rehearsal of a new Trio (D-Major ¾ time) atBeethoven’shouse. It was by no means an enjoyment; for in the first place the pianoforte was woefully out of tune, which however little troubledBeethoven, since he could hear nothing of it, and, secondly, of the former so admired excellence of the virtuoso, scarcely any thing was left, in consequence of his total deafness. In theforte, the poor deaf man hammered in such a way upon the keys, that entire groups of notes were inaudible, so that one lost all intelligence of the subject unless the eye followed the score at the same time. I felt moved with the deepest sorrow at so hard a destiny. It is a sad misfortune for any one to be deaf; how then should a musician endure it without despair?Beethoven’salmost continual melancholy was no longer a riddle to me now.
The next thing I wrote after finishing the Cantata, was a Violin-quartett (the tenth, op. 30 published byMechettiin Vienna.) Being very brilliant for the first violin, it was soon my hobby-horse, and I played it times innumerable at private parties. Then followed the Octett, in which by Herrvon Tost’swish, who then contemplated a journey to England, I took up a theme fromHandel, varied, and carried it out thematically, as he was of opinion it would on that account excite great interest in that country. I also played this composition very frequently, in which besides myself the clarinetistFriedlowskyand the hornistHerbst, andanother whose name I now forget, found especial opportunity to distinguish themselves.
In the autumn of 1814, the crowned heads of Europe and their Ministers assembled in Vienna, and that famed Congress began, from which the German nations expected to see the fulfilment of all the promises made to them for their self devotion. A swarm of idlers and curious poured from all parts into Vienna, to be present at the splendid festivities, with which the Emperor was to entertain his guests. Before the Emperor’s return to Vienna several had already taken place, which from their magnificence yet more increased the expectation of what was to follow. At one of these I had also assisted. It was a grand serenade in the Court-Yard of the Burg Palace, and was given either to the Emperor or to PrinceSchwarzenberg, I now no longer recollect which. In the centre of that not very large square, surrounded by lofty buildings a raised platform was erected for the numerous personnel of the orchestra and choruses. Upon a balcony opposite the singers, the Court and State officials were assembled. The remaining space was filled by a numerous public, to whom free admission had been allowed.
When I saw the locality, and the assembled crowd which had increased to thousands, I felt alarmed, for I had promised to perform a violin-concerto, and now feared, that my tones would be unheard, and lost in the wide surrounding space. But to withdraw now, was no longer possible, so I resigned myself to my fate. But every thing went off better than I had expected. Already during the overture I remarked that the high buildings threw back the sounds right well, and I then came forward with renewed courage. The very first tones of my solo allayed all my anxiety that the damp night air would affect my strings, for my violin sounded clear and powerful as usual. As the public also, during my play, maintained the most perfect silence, even the finest shades of my instrumentation were every where distinctly heard. The effect, therefore, was a very favorable one, and was acknowledgedby loud and long applause. I have never played before a more numerous nor a more sympathetic public.
Among the many strangers attracted by the Congress were several artists, who thought the opportunity a most favourable one to give concerts in Vienna. In this they very much deceived themselves. For as all the native artists gave concerts, these became so numerous and close upon each other, that it was impossible for all to be well attended! One that I and my wife gave on the 11. December was an exception to this, for it attracted a numerous and brilliant audience. I gave the overture to “Faust,” and it was received with great approbation. The reviewer of the Musical-journal says “it increased our desire to see this opera, which has now been ready a twelvemonth, brought out at last.” Several lovers of art among the ambassadors and foreign diplomatists who had heard me play for the first time at my concert, paid me a visit, and expressed the wish to hear me in a quartett. This was the cause of my giving several music-parties during the Congress, and in which I played to those lovers of art the new compositions I had written for Herrvon Tost. I still recollect with great satisfaction the general delight with which those productions were received. Certainly, I was supported also, upon those occasions by the first artists in Vienna, so that as regards execution nothing more could be desired. I generally began with a Quartett, then followed with a quintett, and concluded with my octett, or nonett.
Others also besides me, gave music parties to the visitors to the Congress, among these my friendZiziusparticularly distinguished himself. All the foreign artists had been introduced at his house, and at his music parties therefore, there arose frequently a spirit of rivalry between the native and foreign virtuosi. I there for the first time heardHummelplay his beautiful Septett, as well as several other of his compositions of that period. But I was mostly charmed by his improvisations in which no other Pianoforte-Virtuoso has ever yet approached him. I especially remember with greatpleasure one evening when he improvised in so splendid a manner as I never since heard him whether in public or in private. The company were about to break up, when some ladies, who thought it too early, entreatedHummelto play a few more walzes for them. Obliging and galant as he was to the ladies, he seated himself at the piano, and played the wished for walzes, to which the young folks in the adjoining room began to dance. I, and some other artists, attracted by his play, grouped ourselves round the instrument with our hats already in our hands, and listened attentively.Hummelno sooner observed this, than he converted his play into a free phantasia of improvisation, but which constantly preserved the walz-rhythm, so that the dancers were not disturbed. He then took from me and others who had executed their own compositions during the evening a few easily combined themes and figures, which he interwove into his walzes and varied them at every recurrence with a constantly increasing richness and piquancy of expression. Indeed, at length, he even made them serve as fuge-themes, and let loose all his science in counterpoint without disturbing the walzers in their pleasures. Then he returned to the galant style, and in conclusion passed into a bravoura, such as from him even has seldom been heard. In this finale, the themes taken up were still constantly heard, so that the whole rounded off and terminated in real artistic style. The hearers were enraptured, and praised the young ladies’ love of dancing, that had conduced to so rich a feast of artistic excellence.
Among the foreign artists who came to Vienna before and during the Congress, were also, three of my former acquaintances,Carl Maria von Weber,HermstedtandFeska.Weberplayed with great success and then left for Prague, whither he was summoned to direct the opera.Hermstedtcame 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 flutistDressier, 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 pleasedHermstedt. Both compositions were afterwards published; that for the clarinet with quartett-accompaniment as op. 81 atSchlesinger’sin Berlin, and that for harp and violin as op. 118 bySchuberthin 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:
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 thepianointopo, and of a quarter rest, which when written looks like an r. It was in this form:
and I immediately took it as a theme for a new violin-quartett, which is the first of the three quartetts published in Vienna byMechettias op. 29 and dedicated toAndreas Romberg. When I first played it at my friend’sZizius, it met with great applause, and the originality of the theme, with its descending, diminishedQuarte, was especially praised.I now called together those who had previously quizzed me for my unmusical name andshewedthem, (for naturally they had notheardit) the famous thema formed out of my name. They laughed heartily at my artistic trick, and now quizzed the more bothHummelandPixis, 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 CountPalffy. It was brought about by the following circumstance: One evening, when I entered the orchestra I saw HerrBuchwieser, the father of the prima donna, and third orchestra director, had takenSeyfried’sseat. I observed to him that I alone was charged with the direction of the orchestra, whenSeyfriedwas 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 thePrima 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, sincePalffyhad 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 inonesum. 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 HerrLanghaus, 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 Herrvon Tost, also, a seriousalteration 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 Herrvon Tosthad 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 Herrvon Tosthad 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 Herrvon Tostfelt 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 totwo 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 meltingadagiois especially captivating.” In conclusion it says: “As to the merits of this masterly artist, both here and throughout Germany there is butoneopinion. We yet remember with lively satisfaction the triumph, which he achieved two years ago over his rival, the greatRode. 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 underCarl Maria von Weber. But I afterwards abandoned that plan. I had in fact received a letter from my former Intendant Baronvon Reibnitzat Breslau, wherein in the name of a family of his acquaintance that of Princevon 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 otherthe 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 thatDoretteand 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 butoneday 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 ofBeethoven. It is a Canon for three voices to the words fromSchiller’s“Jungfrau vonOrleans”: “Kurz ist der Schmerz, und ewig währt die Freude.” It is worthy of remark, in the first place, thatBeethovenwhose 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 dearSpohrwhere 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]
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 ofMozart’soperas “Don Juan” and the “Zauberflöte”, which during my engagement were brought out with a new distribution of characters and with a very brilliantmise 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 dancersDuport, and mesdamesBigottiniandPetit Aimée, whom CountPalffyhad sent for from Paris, danced in it. It is true, I did not playthose 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 mytempi, 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 apas de troiswas 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 thePrima Donna, demoiselleBuchwieserat 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 ofMozart, I experienced a third ordeal in a new popular-opera, with music byHummel, 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.Hummelwho 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 begiven, 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.Hummeltook 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 ofPixis?”—“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 wassituated. 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 asDorettehad 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 brotherFerdinandwhose 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 Iwell 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 Herrvon Tost’sportfolio. They met with a brilliant reception, particularly the two Quintetts, which I was frequently obliged to repeat. At the earnest wish of my friendSchnabel, 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 assignedto 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, HerrKartscher, 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.Dorettewas 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, whileDorettegave 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 HerrKartscher. Both volumes were published byPetersof Leipsic as op. 37, and 41. When the studies of the forenoon were terminated, a careful toilette was madeby all, to appear at the dinner-table, as it was always the custom with the Prince’s family to dineen 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 Herrvon Reibnitzarrived 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 Herrvon Reibnitztook the second violin. Unfortunately I had no other Quartetts with me, than my own, which were certainly never written forsuchperformers. 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 byPeters) 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 agreablysurprised 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 Leipzicto Gotha. Returned thither after an absence of nearly three years from her home,Dorettefelt 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, whereBischoffgot 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 theViolinist, and the highly uninteresting one of theMan, 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 GottfriedWeber, 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 andensembleparts 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. TheTe DeumofGottfried Weberwhich 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 aTe 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 ofMozart(C-Major) executed with spirit and precision, its effect was ravishing! To-day I became convinced that in a spaciouslocale, 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. 2dlya 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. 3dlyan Italian air with chorus, byPaer, sung by HerrStrohmeyer. Thisaria 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 goodOpera 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 thenunisono, andfortissime,Santa! Santa!between; just as a robber-band would call out to travellers the “Stand! your money or your life!” As this aria gave HerrStrohmeyeran opportunity to display his fine and powerful voice as well as his skill in its management, it was received with great applause. 4thlyanAdagioand Potpourri of mine for the clarinet, played by HerrHermstedt, likewise very favorably received. Yet I found, and several other musicians were of the same opinion, that, thoughHermstedtconstantly 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. 5thlya patriotic song on the melody of “God save the king” with orchestral and organ accompaniment byMethfessel. The public to whom the words had been distributed, joined in.”
PoorBischoffdid 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. AsBischoffwas 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 whichAndreas Rombergwho since two years had been director of concerts there, supported me in the most friendly manner.
Gotha, October, 29.
My intercourse withAndreas 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. HerrWassermann, 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 HerrFröhlich, and ofWitt. 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 eyeson 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!.....
Wittis Concert-master of the formerly grand-ducal Court-orchestra, which as well as thepersonnelof 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 ofHaydn’smasses in the Castle-church, which was excellently executed underWitt’sdirection. HerrWittlet 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, youngMolique, 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. AsMolique, since that time, by an assiduous study of my violin-compositions formedhimself more and more upon my model in style of play, and therefore called himselfSpohr’spupil. 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, awholeSymphony 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 ofBeethoven’sSymphony 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 permitsof 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. TheAdagioinasis 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. TheScherzo, is highly original, and of real romantic colouring, but theTriowith 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 theScherzoat 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 HerrRovelli, a young and but recently engaged violinist, in a Concerto in C-Minor byLafondwhich is excellent, and was executed to the satisfaction of all. This young artist, a pupil ofKreutzer, 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 HerrRovelli; for he reads well from the sheet, and knows how to accompany, as I afterwards had an opportunity of proving when playing my quartetts.
MadameBambergerfrom 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 HerrFlad, who performed an hautboy-concerto in a very brilliant manner. He has a very fine tone, and a very tasteful execution. HerrLegrand, on the other hand, who playedRomberg’sviolincello-concertoin 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 bySteibelt, 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 ConcertmasterMaralt, and made more effect here than in Frankenhausen, where I had heard it for the first time four years ago. HerrFranzldirector of music, played his old violin-concerto in C-Major with Turkish-music. Its composition is in the namby-pamby taste ofPleyel’stime, 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 HerrRovelli, 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. HerrRovellihad practised his part with the greatest attention and played in a masterly manner. The accompaniment was equally good. TheAdagiowith the three violincelli-obligati had a particularly fine effect.
Vogler’scelebrated overture to “Castor and Pollux” did not come up with my expectations. It begins in a spiritedand 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, MadameDulcken, a distinguished artiste played also, with her daughter and pupil, aRondeaubySteibeltfor 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 withMosel, 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 forDorette; 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 ProfessorFröhlichhear my two Vienna Quartetts, dedicated toRomberg, 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” byFränzl, was performed.—MadameGraffin 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 remainingpersonnelof 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. MadameGraffsang brilliantly the grand scena from “Faust.” The orchestra accompanied with predeliction, and the greatest precision.
We passed a day rich in music at the house ofAndré, in Offenbach. I found him mounted upon a new hobby, which he rode with yet greater self satisfaction than his former ones. It was called “declamation!” He is firmly convinced, and affirms it also with honest openheartedness, that with the exception of himself, no composer, fromMozarttoBornhardhas understood how to declaim a song properly, and to set it to music as it ought to be. He has therefore taken compassion of that neglected art-orphan, and written a number of pattern-songs! He had heard of my new songs and urged me to sing them. But already at the second, he found a reason to return to his own. Fräuleinvon Goldnerhis pupil, sang them, and really in a most charming manner. It is not to be denied, that she declaims correctly, and has given a reading to several of them both new and interesting in its kind. When executed besidesin so masterly a manner as they are by Fräuleinvon Goldner, the effect is certainly very great. I readily admitted this, but did not conceal from him at the same time what I thought objectionable therein: which is principally, that he has frequently sacrificed both form, rhythm, and melody to the right declamation. In order to avoid the fault of many song-composers, who restrict themselves too stringently to the rhythm of the poem, he has fallen into the opposite extreme. In order to give every syllable its proper duration and accent, he frequently changes the time in many of these songs, and thereby destroys the rhythm as well as the melody. Thus, the hearer cannot follow, and feels dissatisfied. I had further to object, that, the piano accompaniment to most of these songs is too much obligato, and distracts the attention from the song. Some sound like independant piano-fantasia’s, to which the song has been adapted. The selfsatisfaction with whichAndrégave us these songs to hear, was quite unbearable. For instance, he took an old song ofSchulze: “O selig, wer liebt” sang it burlesqued to make it appear ridiculous, and then requested Frauleinvon Goldnerto execute his own on the same text. “Aha!” said every one of the company, “You shew us the shadow first, that the light may have the greater effect afterwards!” This ill treatment of an old meritorious composer annoyed me so much, that I could not refrain from saying:
“DearAndré, you seem to forget, that it does not redound to the credit of your song, that it should require a piece of buffoonery to introduce it; that this song ofSchulzewas composed upwards of five and twenty years ago, when the notions of song-composition were very different from what they now are; that the melody, which appears antiquated to us, was new at that time, and that you in the end have made no happy selection for your purpose, since this song with all its simplicity of form and melody is nevertheless correctly declaimed, and in the repetition of the: “O selig, wer liebt” at the end of every strophe, has some depth of feeling in it,whereas it is very problematical whether our songs will impart so much pleasure after a lapse of five and twenty years, as this song is still capable of doing when it iswellsung.”
Andréseemed somewhat ashamed, and from that moment evinced much more discretion. I was now desirous to gratify his wish to hear some of my Vienna Quartetts and Quintetts; but the accompaniment was so bad, that I soon relinquished it, and gave no more than the first.
After dinner, HerrAloys Schmittgave us a Fantasia upon the piano “A sea voyage with a storm”. Although this trivial style of thing first introduced byWölffl, was not bad, yet from so clever a virtuoso on the piano I should have expected to hear something more refined and solid.
In the evening,Andrétook us to HerrEwald, a great lover of music, at whose house the Offenbach Singing-academy had assembled to let him hear three compositions which they had practised with great care. It was called “Die drei Worte” (The three Words) ofSchiller, set to music byAloys Schmitt, a patriotic chorus byAndré, and “Die Bürgschaft” (The pledge) bySchiller, also composed byAloys Schmitt, all with piano-forte accompaniment. The chorus numbered about forty eight voices, and the performance succeeded well. The only regret was, that the locality was not more spacious. The music to the “Drei Worte” pleased me very much. It evinced a great talent for that kind of lyrical composition. The poem is also right well adapted to it. The second; “Die Bürgschaft” is less so. In this, the composer distributes the persons represented as speaking, among the several solo-voices; but it sounds very strange to hear these sing what the poet relates. The chorus has its share in the text distributed in the same arbitrary manner. It is nevertheless not to be denied, that several of theirentreéshave an extraordinary effect, as for instance, where it says: “Und unendlicher Regen giesset herab”. “And neverceasing rain pours down”, and later, where the exhausted wanderer hears the murmering of a spring of water. The whole poem throughout is conceived and rendered with muchfancy, yet the music suffers from a want of form through the frequent change of the tempi and measure. The repetition ofsinglewords which of themselves express no meaning is very much to be reprehended, and sometimes sounds truly comical. The four handed piano-forte-accompaniment is so rich in ornamentation, passages and modulations, that with very little modification it would not require to be rewritten for the orchestra.André’schorus was not distinguished by any thing remarkable. At the conclusion, HerrHasemannof the Frankfurt orchestra, who as violincellist accompanied me in my Quartett in the morning much better than any of the others, astonished us with his skill on the bass-sackbut! He played variations on the well known song: “Mich fliehen alle Freuden” (All pleasures depart from me). But it makes an unpleasant impression upon a hearer of taste, when an instrument is constrained to produce what is neither natural to, nor consistant with its character.
Darmstadt, 9. Febr.
Constrained to nearly a month’s stay by the illness of my goodDorette, I have had ample time to inform myself on the state of music here. Little satisfactory can be said of it. The Grand-Duke is certainly very fond of music, and spends considerable sums of money upon it; but this love of it is one sided, egotistical, and is limited solely to Theatrical music. He takes a pleasure for instance in enacting the Director of music, and Manager, in the Opera-rehearsals; he therefore not only directs the orchestra from a desk in the theatre, but directs also every thing upon the stage. As he considers himself incapable of error in both capacities, nor will allow either the director of the orchestra, or the stage manager to gainsay his regulations in the least, as a matter of course many mistakes occur. For, although of all Grand-Dukes he may be the best director of an opera, that does not make hima good one! He clearly proves this in his selection of the works which he allows to be performed in his theatre. As he has so liberally endowed the theatre that themanagement has no need to study the taste of the public for the sake of the receipts, they might therefore procure a Repertoire of really good and meritorious works, if he would only allow them the choice. But this he reserves to himself, and therefore not only much of what is given is of mediocrity merely, but many excellent works are wholly excluded, such as the operas ofCherubini, because the Grand-Duke cannot bear them. He may by chance let “Den Wasserträger,” (the Watercarrier) pass, but only the first act of it. Neither do the operas ofMozartseem to please him any better; for when a few days ago the turn came again for “Don Juan”, after nothing else had been given for thirty consecutive nights butPoissl’s“Athalia”, and that the orchestra relieved from the distressing wearisomeness with which that opera had overcome them, executed the first finale with great spirit, the Grand-Duke turning to the director of the orchestra, said: “AfterPoissl’sopera there’s no relishing “Don Juan!”
Considering the large salaries paid by the Grand-Duke, thepersonnelof solo-singers might be a much better one, with a few exceptions, than it really is; but it is maintained, that he only wishes for middling talents, so that they may yield more willingly to his regulations. The chorus (thirty females and thirty men) is very excellent. The orchestra is also very numerous, and comprises several very good artists among its members; but there is also a good deal of ordinary talent among them. The Grand-Duke may claim some credit for theirensemble, and particularly in thepianissimo; but as regards pure intonation, and clearness of expression, there is yet much to be desired. No orchestra in the world is so harrassed as this is; for the whole of the members without exception, must attend every blessed evening in the theatre, from 6 to 9 or 10 o’clock. Every Sunday, there is opera; on two other days in each week a play; and on the four remaining days the Grand-Duke has his opera-rehearsals. These never fail unless he is prevented by illness. Then no operas are given. A short time ago he was obliged to keephis room for several weeks with a bad leg; during this time no rehearsal dare be held, nor any opera performed. He seemed to beleive, or wished others to beleive that without him, nothing could be studied.
It is a singular sight, to see the old gentleman already grown quite crooked, seated at the desk in uniform with his star on his breast, giving the time; ordering the chorus and the “statists” to recollect this thing or the other, or calling outpianoorforteto the orchestra. If he but understood all this, there would be no better director of an opera; for he has not only great zeal and perseverance, but from his station also, as Grand-Duke, the necessary authority. But his knowledge of scores extends no farther than at most to enable him to read after the violin-voice, and as he once played the violin when a young man, he continually harrasses the poor violinists with his reminiscenses, without making things any better! On the other hand, the singers may sing as false or with as little taste as they choose, or the wind-instruments may be one beat before or behind,—and he does not observe it!