The Project Gutenberg eBook ofLouis Spohr's AutobiographyThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: Louis Spohr's AutobiographyAuthor: Louis SpohrRelease date: June 16, 2014 [eBook #45997]Most recently updated: October 24, 2024Language: EnglishCredits: Produced by Henry Flower and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)*** START OF THE PROJECT GUTENBERG EBOOK LOUIS SPOHR'S AUTOBIOGRAPHY ***
This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: Louis Spohr's AutobiographyAuthor: Louis SpohrRelease date: June 16, 2014 [eBook #45997]Most recently updated: October 24, 2024Language: EnglishCredits: Produced by Henry Flower and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)
Title: Louis Spohr's Autobiography
Author: Louis Spohr
Author: Louis Spohr
Release date: June 16, 2014 [eBook #45997]Most recently updated: October 24, 2024
Language: English
Credits: Produced by Henry Flower and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK LOUIS SPOHR'S AUTOBIOGRAPHY ***
The cover image was produced by the transcriber, and is placed in the public domain.
TRANSLATED FROM THE GERMAN.
COPYRIGHT EDITION.
LONDON:LONGMAN, GREEN, LONGMAN, ROBERTS, & GREEN.CASSELL AND GŒTTINGEN: GEORGE H. WIGAND.1865.
In publishing an English translation of the unadorned yet highly interesting Autobiography of the celebrated Violinist and great ComposerLouis Spohr, we consider we are but satisfying a natural desire on the part of his many admirers in this country to become more intimately acquainted with both the public and private life of this great musical genius—this noble, manly character, in whom were combined in so high a degree the qualities of the true artist with those of the really great-minded and thoroughly good man.
Although nearly twelve years have elapsed sinceSpohr’slast appearance in England, and during that time numberless foreign artists of distinction have visited us and gathered well-earned laurels and golden opinions in these islands; yet still above allSpohrshines out a star of the first magnitude, and there are no doubt thousands yet amongst us who were present at the performance of his oratorios, under his direction, at Norwich, or attended his concerts in London, and to whom this Autobiography will be of interest. We have little to say of it here—it speaks for itself. Simple and truthful throughout, it is a mirror of the mind of him who jotted down the details composing the same. Modest and unassuming at the commencement of his career,Spohrcontinued so till the end, notwithstanding the celebrity he achieved and the high position to which he attained. The praises showered upon him neither turned his brain nor puffed him up with pride; and he has left us an example of high morality, great amiability,and bright domestic virtues, too rare alas! among artists and men of genius.
Spohrwas a man devoted to his art, and although far from wealthy, often sacrificed his time—which to him, as to most of us, was money—in giving gratuitous instruction to young men of ability too poor to pay for lessons; and not unfrequently has he unhesitatingly dismissed some rich, well-paying, but dull scholar to make way for a poor but talented pupil, in hopes of thereby benefitting his art—and this was his sole reward.
Another prominent trait inSpohr’scharacter was his childlike simplicity, combined with never-failing good-nature and an inability to bear malice. Nor did the many unavoidable trials and vexations of a long life ever permanently disturb his good humour or sour his temper; and even gross injustice failed to do more than temporarily ruffle the calm serenity of his soul. Thus he passed through the world, an active and highly useful member of society, beloved and respected by all who knew him, till in process of time he went down to his grave full of years and honour.
As is explained in the text, the Autobiography comes to an end with the month of June 1838; but the description of the life and doings of the great master from that date till the time of his death was continued from reliable materials furnished by Mrs.Spohrand other members of the family; so that the whole forms a true account and lively picture ofSpohr’searthly career from his cradle to his grave.
With these few remarks we submit the work to the perusal and kind consideration of the gentle reader.
London, October 1864.
THE TRANSLATOR.
Vol. I.Page1784 to 1799.Spohr’schildhood and youth at Seesen and Brunswick.—Musical proclivities, and the instrument of his choice.—His first instructors on the violin.—First attempts at composition.—Sent by his father to Hamburg to seek his fortune.—Disappointed hopes, and return to Brunswick.—Singular interview with the Duke of Brunswick.—Appointed violinist in the court orchestra of the Duke.—Undertakes the musical education of his brotherFerdinand.—His admiration of the music ofMozart.—Disturbs the Duchess of Brunswick at her party of “ombre” with his “murderous fiddling.”11802.Spohrproceeds withFranz Eckto St. Petersburg.—Revisits Hamburg.—Cultivates at intervals his fondness for drawing and painting in water-colours.—His first love.—Dussek.—Spohr’sfirst published work, violin concertoOp. 1.—Stay at Strelitz.—Romantic adventure.—Second capture ofSpohr’sheart.—Königsberg.—St. Petersburg.—Impressions, and incidents during his stay in that Capital.—Returns by sea to Germany.—Arrival at Brunswick141803. Appointed court musician at Brunswick621804. Musical tour to Leipsic, Dresden and Berlin671805. Appointed Concert-Master at Gotha.—Present with PrinceLouis Ferdinandat the military manœuvres at Magdeburg841806. Marriage ofSpohrwithDorette Scheidler951807. Musical tour to Weimar, Leipsic, Dresden, Prague, Munich, Frankfort, Stuttgard and Heidelberg1011808. Pedestrian tour through the Harz with his pupils112Composes his opera of “Alruna”115Congress at Erfurt1171809. Musical tour to Leipsic, Breslau, Berlin and Hamburg1281810. Musical festival at Frankenhausen139Performance of the opera: “Zweikampf mit der Geliebten,” at Hamburg1531812. Performance of the oratorio: “Das jüngste Gericht” at the Musical festival at Erfurt157Musical tour to Leipsic, Prague and Vienna1591813. Appointed director of the orchestra at the theatre An der Wien168Composes his opera of “Faust”1781814. Composes his cantata: “The Liberation of Germany”1821815. Journey to Brünn, Breslau, Carolath.—Third musical festival at Frankenhausen203Musical tour to Wurzburg, Nuremberg and Munich2111816. Frankfort.—Strasbourg, &c.217Visit to Switzerland234Journey to Milan251Journey to Venice270Journey to Bologna, Florence and Rome2831817. Departure from Rome.—Arrival at Naples325Vol. II.1817. Residence in Naples1Ascends Mount Vesuvius3Departure from Naples to Rome32“Miserere” in the Sistine Chapel36Departure from Rome41Addenda in reference to the Italian journey47Visit to Holland53Appointed director of the orchestra at Frankfort531818. Composes the opera: “Zemire and Azor”58Journey to the musical festival at Mannheim591819. Leaves Frankfort66Musical tour to Berlin, Dresden, Leipsic and Cassel68Visit to Brussels681820. Journey to London72First concert at the Philharmonic Society82Spohr’sconcert at the New Argyll Rooms, London94Mr. Logier’s Musical Academy98Return to Germany102Musical festival at Quedlinburg105Journey to Paris by way of Frankfort and Heidelberg1051821. Return to Gandersheim134Concerts at Alexisbad and Pyrmont135Removal to Dresden1381822. Appointed director of the orchestra of the court theatre at Cassel1411823. Institutes the Society of St. Cecilia147Composes the opera: “Jessonda” in Cassel, where it is first performed1481824. “Jessonda” performed in Leipsic1531825. “Jessonda” performed in Berlin157Composes the opera of “The Mountain Sprite” in Cassel, where it is first performed1571826. Composes the oratorio of: “Die letzten Dinge” in Cassel, where it is first performed159Musical festival at Düsseldorf1611827. Composes the opera: “Pietro von Abano”1631828. Musical festival at Halberstadt1651829. Musical festival at Nordhausen1661830. Composes the opera: “The Alchymist”1681831. Celebration festival upon the occasion of the grant of a constitution to Hesse172Celebration ofSpohr’s“Silver Wedding”173Terminates his work “The Violin School”1761832. Composes the symphony: “Die Weihe der Töne”178Celebration of the “Golden Wedding” ofSpohr’sparents1801833. Musical festival at Halberstadt1831834. Journey to Marienbad184Death ofSpohr’sfirst wife1871835. Finishes the oratorio: “Des Heilands letzte Stunden” (Calvary) in Cassel, where it is performed for the first time188Journey to Sandfort in Holland1881836.Spohr’ssecond marriage194Journey to Leipsic, Dresden and Saxon Switzerland195Musical festival at Brunswick197Millenium-jubilee at Paderborn1991837. Projected musical festival at Cassel202Journey to Prague204Vienna—Salzburg, &c.2061838. Death ofTheresa Spohr209Journey to Carlsbad209Continuation ofSpohr’sBiography by his family2101839. Composes his “Historical Symphony”215Departure to the musical festival at Norwich2151840. Journey to the musical festival at Aix-la-Chapelle227Journey to Lübeck and Hamburg2291841. Journey to Switzerland by way of Stuttgard and Hechingen232Musical festival at Lucerne235Composes his “Double Symphony”237Musical performance in honour ofMozartin Cassel2391842. Journey to Carlsbad2401843. Invitation to Prague244Journey to London to direct the “Fall of Babylon”2491844. Composes the opera: “The Crusaders”257Journey to Paris257Journey to the musical festival at Brunswick2601845. His opera of “The Crusaders” performed for the first time, at Cassel261Journey to Oldenburg, Carlsbad and Berlin262Journey to Bonn to the inauguration of the memorial erected toBeethoven2701846. Journey to Leipsic and Carlsbad2761847.Spohr’stwenty-fifth Anniversary as director at Cassel282Spohr’sjourney to London287Musical performances in commemoration of the death ofMendelssohn2911848. Festivities at Cassel2931849. Journey to Leipsic and Carlsbad2931850.Spohr’sfall upon the ice295Composes his symphony “The Seasons”295Journey to Leipsic, Breslau and Berlin2961851. Journey to Switzerland and Italy300Journey to Göttingen3001852. Law-suit relative to the fine imposed uponSpohrfor his absence on a journey without permission301Journey to London to direct the performance of his opera: “Faust”302Appointment of a second director of the orchestra, Mr.Bottat Cassel3061853. Journey to London to direct the performance of his opera “Jessonda,” &c.3081854. Journey to Switzerland, Munich and Alexandersbad3141855. Journey to Hannover316Journey to Hamburg and Lübeck3191856. Journey to Dresden, Saxon Switzerland and Prague321Journey to the Harz3211857. Journey to Holland323Spohrpensioned off by the Elector of Hesse325Breaks his arm3271858. Journey to Magdeburg, &c.327Journey to Bremen329Journey in Prague to the jubilee of the conservatory329Visit to Alexandersbad331Journey to Wiesbaden to the musical festival of the Middle-Rhine331Journey to Leipsic331HisLast composition3341859. Journey to Meiningen.Spohrdirects an orchestra for the last time336Journey to Detmold338Journey to Alexandersbad and Würzburg339Spohr’slast illness and death341
My father,Carl Heinrich Spohr, Doctor of Medecine, afterwards Medical Councillor, was the son of a Clergyman at Woltershausen in the district of Hildesheim. He married, November 26, 1782,Ernestine Henke, daughter of the Clergyman of the Aegydian church of Brunswick, and at first resided with her parents at the parsonage[1]. I was the eldest child of this marriage, and was born April 5, 1784. Two years later, my father was transferred as district physician to Seesen. My earliest recollections reach back to that removal; for the impression made upon me by my mother’s weeping, after having taken leave of her parents, and our arrival at the simple and somewhat rustic house at Seesen, have remained with me up to the present time. I remember also the smell of the newly whitewashed walls striking me as disagreeable, and even now I still retain an uncommon acuteness and sensibility of the senses.
In Seesen were born my four brothers, and one sister. My parents were musical: my father played the flute, and my mother, a pupil of the ConductorSchwanebergerin Brunswick, played on the piano with great ability, and sang the Italianbravuras of that time. As they practiced music very often in the evening, a sense and love for the art was early awakened in me. Gifted with a clear soprano voice, I at first began to sing, and already in my fourth or fifth year I was able to sing duets with my mother at our evening music. It was at this time that my father, yielding to my eagerly expressed wish, bought me a violin at the yearly fair, upon which I now played incessantly. At first I tried to pick out the melodies I had been used to sing, and was more than happy when my mother accompanied me.
Soon after, I had lessons from HerrRiemenschneider, and I still remember, that, after the first lesson, in which I had learned to play theG-sharp accord upon all four strings, in an extasy at the harmony, I hastened into the kitchen to my mother, and arpeggiod the chord to her so incessantly that she was obliged to drive me out. When I had learned the fingering of the violin from notes, I was also allowed to practise music with the others in the evening, as violinist, and there were particularly three trios byKalkbrenner, for piano, flute and violin, which, after being studied, were executed in presence of our circle of friends.
About the year 1790 or 91 a French emigrant, namedDufour, came to Seesen. Although an amateur, only, he was an accomplished violinist and violoncellist. He settled there; and being supplied with free board by the more wealthy inhabitants, maintained himself by giving French lessons. The days on which he used to come to my parents, we always practised music, and I still remember having been moved to tears the first time I heard him play. I now gave my parents no rest until I had lessons from him.
Dufour, astonished at my rapid progress, was the first to persuade my parents to devote me entirely to music. My father, who had predestined me for the study of medecine, was from his love of music soon brought to agree to this; but he had a hard struggle with my grandfather, whose idea of a Musician was limited to that of a Tavern-fiddler whoplayed to dancers. Subsequently, after I had been so early appointedKammermusicus[2]in Brunswick, I had the satisfaction to induce my grandfather, who loved me very much, to adopt a higher opinion respecting my chosen career as a musicalartiste.
It was while I took lessons from M.Dufour, that I made my first attempts at composition, but without yet having had any instruction in harmony. They consisted in duets for two violins, and I executed them with my teacher at our musical soirées; astonishing my parents with them in the highest degree. To this day, I recollect the proud feeling of being already able to appear before the friends of the house as a composer. As a reward, I received from my parents a gala dress, consisting of a red jacket with steel buttons, yellow breeches, and laced boots with tassels; a dress for which I had long prayed in vain. The duets, which my father has carefully preserved, are indeed incorrect and childish, but possess a certain form and a flowing melody.
This first brilliant success in composition, so inspired me, that from this time I devoted nearly every hour which the school allowed me, to similar attempts: I even ventured upon a little opera, the text of which I took from “Weisse’s Kinderfreund.” It may be mentioned as characteristic, that, I began with the title-page, and first of all painted it very finely with Indian ink; then followed the overture, then a chorus, then an air, and there the work came to a standstill. As I had never yet seen an opera performed, I took the model for these musical pieces fromHiller’soperas “Die Jagd”, and “Lottchen am Hofe”, of which my mother had a pianoforte arrangement, and which she had often sung with me and my father. But I soon felt that I needed both knowledge and experience for such an undertaking, and I therefore set to work at other attempts. In this however, I had a hard struggle with my father, who strongly insisted that every work once begun should be completed before another was commenced; and onlybecause my father was convinced that I was unequal to so great a task, was an exception made on this occasion; but it was never allowed again. To this severity I owe my perseverance in working, and I have always recollected the paternal precept.
As my father liked to superintend the labours of his son, he allowed me to establish myself in his study, not being at all disturbed by the humming and whistling of the young composer. When I had written down anything wrong, which happened frequently enough, and was obliged to scratch it out, my father heard it at once, and would say half angrily: “Now the stupid boy is making windows again!”—for thus he designated the marks I made across the lines, in scratching out. I was very sensitive to this, and that is perhaps the reason why I acquired early the habit of writing off a clean score without erasing anything.
Since it was now determined, on the advice ofDufour, that I should devote myself entirely to music;Dufourinsisted that I should be sent to Brunswick to enjoy the advantage of better lessons, particularly in theory. This could not take place till I was confirmed. According to a law strictly observed in the Dutchy of Brunswick, confirmation could not take place before the age of fourteen; in order therefore to lose no time, I was sent to my grandfather in the district of Hildesheim, where it was left to the decision of the clergyman as to when the children could be admitted to confirmation. Here, during the winter, I had lessons from my clever grandfather, both in religion, and other things; but music-lessons were not attended to, for neither my grandfather nor my uncles understood anything about it. I was therefore obliged to walk twice a week to Alefeld with my violin, to take lessons from the precentor there. Tedious as were these journeys, owing to the frequent severity of the winter weather, I was always pleased with them, chiefly, indeed, because I felt that I was above my teacher, and often brought him into difficulties by my fluent reading of the notes; and besides,I had not unfrequently the secret triumph of seeing him brought to a standstill.
Half way to Alefeld, stood a solitary mill. I once entered there during a heavy shower of rain, and gained the good will of the miller’s wife to such a degree, that from that time I was obliged to call every day I passed by, and was treated with coffee, cakes and fruit; for which I used to improvise something upon my violin by way of thanks. I still remember having once so completely ravished her by playingWranitzky’svariations upon “Du bist liederlich”, into which all the juggles with whichPaganiniafterwards enchanted the world were introduced, that she would not let me leave her during the whole day.
Soon after returning from Woltershausen, I was sent to Brunswick, where I was received into the house of the rich gingerbread-bakerMichaelis, as one of his own children, and treated with kindness by all the members of the family; my father had been their physician and had curedMichaelis’wife of a dropsy.
I commenced my musical and other studies with eagerness. I received instruction on the Violin fromKammermusicus Kunisch, a well grounded and amiable teacher, to whom I owe much. Less friendly was my instructor in harmony and counterpoint, an old organist namedHartung; and I still remember how severely he once rebuked me, when, soon after the beginning of the lessons, I showed him a composition of my own. “There is time enough for that,” said he, “you must learn something first.” But after some months he himself encouraged me to make trials in composition: he corrected me, however, so mercilessly, and scratched out so many ideas which to me appeared sublime, that I lost all desire to show him anything further. Not long afterwards, our lessons were brought to a close by the ill health of the old man; and these were the only lessons in theory, I ever had. I was now obliged to seek for instruction in theoretical works. But the reading of good scores was of special advantage to me; these I obtained from the Theatrical library through the interest of my teacherKunisch. In this manner I soon learned to write harmony correctly; and I now ventured for the first time to appear publicly in Brunswick with a composition for the violin. This took place in the School-concert of theKatharinen-Schule, which I attended as aSecundaner. These concerts were instituted by the Prefect for the practice of the School-choir; but from several members of theHof-Kapelle, the Town musicians, and accomplished amateurs taking part in them, they became so important, that greater works could always be executed, such as Cantatas, Symphonies, and instrumental Concertos. From this time everything was studied very exactly, and the performances, which were held in the tolerably large saloon of the head class, soon became so celebrated, that it enabled a trifling entrance money to be charged to defray the expenses. At one of these concerts I thus appeared for the first time in my native-town, and achieved so much success that I was invited to assist at the Subscription concerts at theDeutsches Haus, and received the usual remuneration. This first payment which I earned as an artist made me very happy, nor have I forgotten the proud feeling with which I announced it to my parents. I now frequently played solos at the subscription concerts, and generally some of my own compositions. I was also allowed to play in the Orchestra of the Theatre for my own practice, and, thereby, became familiar with much good music.
At this time, still possessing my clear, high soprano voice, it gave me much pleasure also to join the School chorus in its perambulations through the town. The leader, who since then has become celebrated as the Bass singer,Strohmeyer, gave the soprano solos to me very readily, from my being able to sing them without fault at sight.
My teacherKunisch, who interested himself for me in a paternal manner, now insisted that I should take lessons of the Concert-DirectorMaucourt, the best violinist of the Brunswick orchestra. My father agreed readily, although itwas much against his grain to pay the higher charge for this instruction; and the more so, as I had been obliged to leaveMichaelis’house from his inability to give me up a special apartment, and that it was quite impossible for me to play and compose quietly in the same room with the children of the house. A further consequence of this change of dwelling was, that my father was obliged to arrange with his former aquaintances about my having free board; this was very galling to his ambitious son. Nevertheless I was treated in a friendly way by all these people, and thus the humiliating feeling of my position was soon dissipated. I now, with anotherSecundaner, inhabited a room in the house of the organistBürger; here however I could practise and compose undisturbed, for our landlord, who interested himself in my musical studies, placed his music room and pianoforte at my disposal.
With M.Maucourt’sinstruction, I progressed more and more towards becoming (for my age) an excellent solo player: and after the lapse of about a year, as my father was unable to defray the great expense of my living in Brunswick, on account of the growing up of his other children, he considered me to have made progress enough to enable me to try my luck in the world as a travelling “Artiste.” He determined therefore to send me first to Hamburgh, where he had acquaintances to whom he could give me letters of recommendation.
Accustomed to obey my father in everything, and well disposed to consider myself a shining light, I had no objection to this. If it appear hazardous in the extreme to send a boy of fourteen into the world, left entirely to himself, and trust everything to fortune, its explanation is to be found in the character and life-experience of my father. Bold and enterprising in the highest degree, he also had already emancipated himself in his sixteenth year. In order to escape punishment at school, he had run away from Hildesheim, and supported himself most precariously in Hamburgh, first as a teacher of languages, and afterwards, by giving lessons in theBüschingCommercial school. He then attended several Universities, struggling throughgreat privations by help of his enterprising spirit and unwearying activity; and, at last, without any help from home; after a most adventurous youth, succeeded in establishing himself in practice as a physician in Brunswick. He found it therefore very natural that his son should try the same course, although my mother shook her head thoughtfully at it. Scantily provided with money for the journey, but furnished with much good advice, I was sent by the mail to Hamburgh. Still, filled with the lively impression made upon me by the crowded Commercial City, and the ships, now seen for the first time, I went, full of hope and in high spirits, to ProfessorBüsching, to whom I had a letter of introduction from my father. But how soon were those hopes to be destroyed! The Professor, after he had read the letter with increasing astonishment, exclaimed: “Your father is then still, the same as ever! What madness to send a boy into the world trusting merely to good luck!” He then explained to me, that, in order to arrange a concert in Hamburgh, one must either possess a well known name, or at least, the means to bear the great expenses it would entail. But, that in summer, when all the rich people were at their country seats, such an undertaking would be quite impossible. Completely down cast by this explanation, I could not answer a single word, and was hardly able to repress my tears. I took leave in silence, and hastened to my lodging full of despair, without thinking of delivering the other letters of recommendation. Here, upon thinking over my situation, the certainty that my money would hardly suffice for a couple of days, terrified me to such a degree, that, in thought, I already saw myself in the claws of the crimps of whom my father had drawn a warning picture. I made up my mind at once, packed up my violin and other things again, sent them to Brunswick by the mail, paid my bill, and with the scanty remainder of my money, which might perhaps suffice to my subsistence, I set out on foot, on my return to Brunswick.
Some miles from the town, calmer reflection brought regret for this overhaste; but it was too late; had it not been so, I would have turned back. I said to myself that it wasfoolish not at least to have delivered the other letters first. They might perhaps have procured for me the aquaintance of some musical person who would have appreciated my talent, and have procured some information how arrangements might have been made for a Concert. To this was added the humiliating thought that my father who had been so enterprising himself, would upbraid me as childish, cowardly and thoughtless. Thus, saddened to the depth of my soul, I wandered farther, thinking continually how I might avoid the humiliation of returning to my paternal home without having effected anything whatever.
At last, the idea struck me of addressing myself to the Duke of Brunswick, to solicit from him the means to carry on my studies. I knew that the duke had earlier played the violin himself, and I therefore hoped that he would recognise my talent. When (thought I) he has heard me play but one of my concertos, my fortune is made. With newly awakened courage I now journeyed onward, and got over the rest of the road in the most cheerful disposition of mind.
Scarcely arrived in Brunswick, I concocted a petition to the Duke, in which I laid before him my whole situation, ending with the request either for aid towards improving myself, or, for a situation in the ducal orchestra. As I knew that the Duke was in the habit of walking every morning in the park of the Palace, I sought him there with my petition in my pocket, and had the good fortune to have it accepted by him. After having glanced over it and asked me some questions about my parents and former Instructors, which I fearlessly answered, he enquired who had worded the petition. “Well, who but I myself? I need no help for that,” was my reply, half offended at the doubt as to my ability. The Duke smiled and said: “Well, come to the palace to-morrow at eleven; we will then speak further about your request.” Who so happy as I! Punctually at eleven I presented myself before the groom of the chambers and requested to be announced to the Duke. “And who mayEr[3]be?” snarled the groom to me in unfriendly tone. “I am noEr. I am here by the Duke’s command, andErhas to announce me”, was my indignant reply. The groom went to announce me, and before my excitement had subsided I was introduced. My first word to the Duke was therefore, “Your Serene Highness! your servant calls me “Er”; I must earnestly remonstrate against that.” The duke laughed aloud, and said: “Come, calm yourself; he will not do it again”. Then, after having put several questions to me to which I gave the most unembarrassed answers, he said: “I have enquired about your abilities from your last teacherMaucourt, and am now desirous to hear you play one of your own compositions; this can take place at the next concert in the apartments of the Duchess. I will have it intimated to the directorSchwaneberger.”
In most happy mood I left the Palace, hastened to my lodging, and prepared myself for the concert in the most careful manner.
The Court concerts in the apartments of the duchess took place once a week, and were most disagreeable to the musicians of the Ducal Orchestra: for, according to the then prevailing custom, cards were played during the music. In order not to be disturbed, the Duchess had ordered the orchestra, always to playpiano. The leader therefore left out the trumpets and kettle drums, and insisted strongly that noforteshould be played in its full strength. As this was not always to be avoided in Symphonies, however softly the band might play, the Duchess ordered a thick carpet to be spread out under the orchestra, in order to deaden the sound. One heard therefore the words “I play”, “I stand” and so forth, much louder than the music.
However, the evening on which I played there for the first time, the card tables and carpet had disappeared; theorchestra, informed that the Duke would be present, had well prepared themselves, and the music went on excellently. As I then still appeared without any timidity, and well knew that my whole future fate depended upon the success of that day, I played with real inspiration; and must have surpassed the expectations of the Duke, for he, even while I was playing, cried repeatedly “bravo”. After I had finished, he came to me, patted me on the shoulder, and said, “The talent is there; I will take care of you. Come to me to-morrow.” In an extasy of delight I returned to my lodging, wrote immediately to my parents of my good fortune, and could get no sleep for a long time, from excitement and joy.
The next day, the Duke said to me, “there is a place vacant in the orchestra, I will give it to you. Be diligent and behave well. If after some years you have made good progress, I will send you to some great master; for here you have no great model to follow!” This last speech filled me with astonishment, for till then I had considered the playing of my InstructorMaucourt, as the utmost that could be attained.
In this manner, in the beginning of my fifteenth year I was appointedKammermusicus. The Rescript of my appointment which was drawn up later, is dated August 2nd, 1799. Although the salary was only 100 thalers, yet by great economy, and with the help of other trifling earnings, it sufficed to me; and I did not now need any further help from home. Nay, I was even happy enough to be enabled to render the education of the other children easier for my parents, by taking my brotherFerdinand, who was eight years younger than I, and who showed an inclination and talent for music, to live with me, and give him my assistance to become an artist.
From this time, the youngKammermusicuswas in full activity. His duties consisted in playing at the Court-concerts and in the Theatre, for which latter, a French operatic and dramatic company had been engaged shortly before. I therefore became earlier acquainted with the French dramatical music than with the German; and this was not without influence upon the tendency of my taste, and upon my compositions of that time. At last, during the two fairs, a German operatic company from Magdeburgh was also engaged, and the grandeur ofMozart’soperatic music burst upon me.Mozartnow became for my life time my ideal and model. Even now I well remember the transport and dreamy enchantment with which I heard for the first time, the “Zauberflöte” and “Don Juan”; and that I had no rest until I had got the scores lent to me, and had brooded over them half the night long.
Neither did I fail to be present at all the other musical parties in the town: I was a member of all the quartetto circles. In one of these which had been formed by two of the singers of the French opera, who played the violin, I heard for the first time the quartettos ofBeethoven, and from that time raved no less about them than I had before done about those ofHaydnandMozart. With such constant practice, my playing and taste could not fail to become more and more cultivated. The presence of two foreign violinists who at this time visited Brunswick, produced also a favourable influence upon me. These wereSeidler, and the boyPixis. The former impressed me by his beautiful tone and his pure playing, the latter by his execution, which for his years, was extraordinary.
I very often played in private parties, with the brothersPixis, and in their second public concert I performed in a double concerto, by Pleyel the violinist. After such encouragement I always studied with redoubled diligence. The duke, who did not lose sight of me, had allowed me to inform him whenever I intended to execute a new composition at the Court concerts, and he was sometimes present, to the great annoyance of the duchess, who was thus disturbed in her party at Ombre. One day when the duke was not there, and for that reason nobody was listening to the music; the prohibition regarding thefortebeing renewed, and the dreadful carpet again spread, I tried a new concerto of my own. I can only call these performances rehearsals, because no preparation was ever made beforehand, excepting on the days upon which we knew that theduke would be present. Engrossed with my work which, I heard for the first time with the orchestra, I quite forgot the prohibition, and played with all the vigour and fire of inspiration; so that I even carried away the orchestra with me. Suddenly, in the middle of the solo, my arm was seized by a lackey, who whispered to me, “Her Highness sends me to tell you that you are not to scrape away so furiously.” Enraged at this interruption I played, if possible, yet more loudly; but was afterwards obliged to put up with a rebuke from the Marshal of the Court.
The Duke, to whom I complained the next day; laughed heartily: but on this occasion he at the same time adverted to his former promise, and told me to choose a teacher at once from among the great Violinists of the day. Without hesitation I namedViotti, and the duke approved of the choice. He was immediately written to, to London, where he resided at the time. Alas! He refused the request: he wrote word that “he had become a wine merchant,”—“occupied himself but seldom with music, and therefore could not receive any pupils”[4].
Next toViotti,Ferdinand Eck, in Paris was at that time the most celebrated violinist. He was therefore next applied to. But he also, would take no pupils. A short time before, when engaged in the Court orchestra at Munich, he had eloped with a rich countess; had married her in Switzerland, and now led an affluent life, partly in Paris, and partly upon an estate near Nancy which had been bought with the fortune of the countess. He, however, proposed his younger brother and pupil,Francis Eck, as master. As he was at that time travelling through Germany, and had appeared with great success at Berlin, he was written to; and, in case of his accepting the proposition,invited to Brunswick.Eckcame; played at Court, and pleased the Duke greatly. As however he was about to start for Petersburgh upon an artistic tour, I was sent with him as a pupil for a year; and it was settled that I should bear half the expenses of the journey: and thatEck, at the end of the instruction should receive a suitable reward from the Duke. A diary of this journey exists, which from some extracts may perhaps be of interest. It commences a few days before our departure (which took place April 24, 1802), in the following childish manner; notwithstanding I was already a youth of eighteen.
“The Leave-taking.”
“To the most sorrowful hours of life, belong those of leave taking from loving parents, and tried friends. Not even the prospect of an agreeable and profitable journey can brighten them; time only, and the hope of a speedy meeting again, can assuage their pain. From these also do I expect relief on recommencing my musical tour. Farewell, therefore, parents and friends! The remembrance of the many happy hours enjoyed with you will always accompany me.”
We first went to Hamburgh, whereEckintended giving concerts. I regarded this town again, from which I had fled some years ago so full of despair, with a certain degree of self-satisfaction and content.
AfterEckhad delivered his letters of recommendation, the lessons began. Concerning these, the following is written in my diary:
“This morning, April 30, HerrEckcommenced my lessons. But alas! how was I humiliated! I, who imagined myself one of the first virtuosi of Germany, could not play one single bar to his satisfaction; but was obliged to repeat it ten times at least, in order in some degree to gain his approbation. My bow-ing particularly displeased him, to alter which, I now also see is very necessary. At first it will of course be difficult for me; but at last, convinced of the great advantage of the change, I hope to accomplish it.”
The diary now describes everything that the travellers saw and heard. Attractive as these were to me, yet I did not neglect my musical studies for them. The forenoon, which in Hamburgh lasts till three o’clock, was devoted entirely to practising whatEckgave me. It was not long before he expressed himself favourably as to my progress. Already on May 10, I wrote:
“HerrEckbegins to be more satisfied with my playing, and was kind enough to assure me yesterday that I was now able to play the concerto I had studied under him, without fault.”
The intervals between practising, I employed in painting. From my earliest youth I had applied myself to drawing and painting in water colours, and had attained some proficiency without ever having had any good instruction. Yes, I had even hesitated for some time, as to which of the two arts, music or painting, I should choose for my profession. I now made my first attempt at portrait painting. The 12thof May I wrote:
“On Sunday I commenced a miniature which I finished this forenoon. I tried to paint myself, and am quite satisfied with the result. This, and playing on the violin have occupied me so fully, that I have not left the house for four days. I sent this picture to my parents, and then commenced painting HerrEck, who was patient enough to sit to me.”
It is now time to mention that the young artist, from his earliest youth, was very susceptible to female beauty, and already when a boy fell in love with every beautiful woman. It is therefore not to be wondered at, that, the diary of the youth of eighteen contains many pages of the outpourings of the emotions of his heart. But there is great comicality in the earnestness with which these fleeting inclinations are spoken of.
In Hamburgh it was a MissLütgens, the daughter of a music master, who particularly won my heart. After a visit paid to the father, I wrote the following:
“His eldest daughter, a girl of thirteen, a very fine, innocent creature, pleased me particularly by her agreable and modest demeanour. She is very beautiful, has hair that curlsnaturally, very lively brown eyes, and a neck of dazzling whiteness. Her father, whose hobby is counterpoint and harmony, entertained me continually with the resolution and combination of the chords; finding in me the most patient listener to his sermon, while I would much have greatly preferred to speak with his amiable daughter about the combination of hearts and lips.”
In order to a more frequent near approach, I asked permission to take her likeness, which was willingly granted. But before the sittings commenced, I was warned by HerrEck, whom oddly enough I had made my confidant, that she was a coquette, and unworthy of my regard. At first I could not believe that a girl of thirteen could already be a coquette, but after the first sitting, I became of the same opinion, and wrote the following remarks:
“Henrietta begged me to take her portrait in the dress which she wore, assuring me that she had chosen it expressly; for her other dresses were not cut low enough, and covered her neck too much. I was astonished at her vanity, and the sight of this charming neck which otherwise would have enchanted me now saddened me; being convinced that she was already infected by the vanity and shamelessness of the Hamburgh ladies. While I painted, she chatted with her cousin, (an ugly but vain girl,) of nothing but the dress she intended wearing at the ball which was to take place on the following evening. Quite vexed, I returned home, and wished that we might now leave as soon as possible, for Hamburgh began to displease me more and more. My sociable heart, which could so willingly attach itself to any one, finds here nobody. In this girl, I thought to have found something on which to set my affections; but I see I am again deceived. I had intended making a copy of this portrait for myself; but I am still too much embittered against her to be able to do so. Neither have I now any wish to go to the ball.”
But two days afterwards I wrote, “This forenoon I worked diligently at MissLütgens’portrait—and began also a copy of it for myself. After dinner I went to her..... Henriettareceived me with reproaches for not having been at the ball.... To-day, she was so modestly dressed, and spoke so reasonably, that I occupied myself more with her than with my painting, which was the cause of my not quite finishing it. It is really a thousand pities that this girl with so much talent and good sense, lives in such vulgar society, and is thereby led away into the follies of Hamburgh.”
With the presentation of the portrait, and our departure, which took place immediately after; this little romance, that never came to a declaration, terminates.
With respect to the point I had at that time reached in my art, and my views of the latter, my diary shews proofs at every page, of my opinion of what I heard in Hamburgh. Without doubt those judgments are pronounced with the naïve assurance that belongs to youth, and require without a doubt many modifications, if these were possible after the lapse of so long a time. The opinion about Operas, and their performance, may be well passed over, for those works have for the most part, disappeared from the repertoire, and the singers, also, have passed away.
But respecting other matters, as well as those of my Instructor, the following incidents may be mentioned.
“May 5. To-day we were invited to dinner by HerrKiekhöver, and there metDussekand some other musicians. This was very agreeable to me, as I had long earnestly wished to hearDussekplay. HerrKiekhöverand his wife are very kind people, and in their house good taste is combined with splendour. The conversation at table, was almost always in French. As I am not well versed in that language I could take but little part in it. But, I took all the more in the music which followed. HerrEck, began with a quartett of his own composition, and enchanted all the listeners. Then HerrDussekplayed a sonata for the piano, of his own composition, which however did not seem to please particularly. Now followed a second quartett by HerrEck, which so delighted HerrDussek, that he enthusiastially embraced him. In conclusion,HerrDussekplayed a new quintett he had composed in Hamburgh, which was praised to the skies. However, it did not entirely please me; for, despite the numerous modulations, it became tedious towards the end, and the worst was, that it had neither form nor rhythm, and the end could quite as well have been made the beginning as not.”
At a musical party at M.Thornton’scountry house, I became acquainted with FräuleinGrund, at that time the most esteemed singer of Hamburgh. My diary speaks of her with great enthusiasm. Among other remarks:
“At first, the conversation was very vapourous; for the merchants spoke of nothing but the contrary winds that prevented their ships entering the Elbe. By and by however, it became more interesting, particularly when FräuleinGrundjoined in it. I had already admired her correct and polished language, and her captivating and obliging manners. But when at table, she spoke alternately French with one, and English with another, and that one gentleman informed me she spoke and wrote four languages correctly, I began to envy her, and to be ashamed that I, as a man, was so far behind this girl. She had also attained great proficiency in music, and enchanted us so much yesterday evening by her singing, that HerrEckproposed to her to sing at his Concert, which she also promised to do. My neighbour at dinner, informed me that her father maintained his family by giving Instruction in Music, and spent a great deal upon the education of his children. In this, his eldest daughter assisted him greatly; since she not only instructed her brothers and sisters in music and languages, but also earned a considerable sum by giving lessons in the first houses in Hamburgh. I would gladly have made her acquaintance at once, but she was so surrounded by young men that I could not approach her.”
My diary mentions the following with regard to HerrEck’spublic concert in theLogensaalon theDrehbahnon the eighteenth of May:
“HerrEckhad great reason to be satisfied with the orchestra, for his concerti were admirably accompanied; not so the arias of FräuleinGrund, which were somewhat difficult for the wind instruments. At the head of this well drilled orchestra, isMassoneau, well known by his charming compositions. The appearance of this man by no means indicates his great talent; for his manner of playing and his bow-ing are so bad, that one might take him for the greatest bungler—and yet he does not direct at all badly.”
Our stay at Hamburgh lasted till June 6. HerrDussekwho was commissioned to arrange the concert at a festival with which the English living in Hamburgh were about to celebrate the 4thof June, in honour of their king, engaged HerrEckto perform a violin concerto. It was not until the rehearsal which took place on the evening of June 3, at nine o’clock, that HerrEckdiscovered that the concert was to be given in the open air, which, until then, had never been mentioned. A tent had been erected, in which the orchestra, about one hundred strong, was disposed on a terrace-like platform. HerrDussekfirst tried aCantata, composed by him for the occasion, and which, had an uncommon effect upon me; for not only was it well written and thoroughly well studied, but from the accompainment of a large organ which had been erected in the back ground of the orchestra and “from its being executed in the silence of night, it partook of so solemn a character that I was quite charmed by it.”
After the Cantata, HerrEckwas to try his Concerto. But, he fearing that the damp night air would have an unfavourable effect upon his strings, and that his violin, after so powerful a volume of vocal sound, and hemmed in by the linen walls, would tell badly, had resolved not to play at all. He explained this; and at the same time reproached HerrDussekwarmly for not having told him at once, that the concert was to take place in the open air. Hereupon a sharp dispute followed, the consequence of which was thatEckleft the place immediately with me, and we took no part in the festival itself.
We now went to Ludwigslust, whereEckwished to play atCourt. But his offer was declined; and he came also to Strelitz at an unfortunate time, for the Court was absent. Nevertheless, as it was soon expected to return, and the pleasant little town with its charming park, bounded by the lake, invited us to make a longer stay; and, asEckforesaw that in the height of summer it would be impossible to do much in Stettin, Dantzic and Konigsberg, he made up his mind to await the return of the Court. We looked out therefore for private lodgings, and made ourselves at home there for some time.
This was the most favourable period for my studies, during the whole journey.Eck, who was now at leisure, devoted himself with great zeal to the instruction of his pupil, and initiated me in all the secrets of his art. I, for my part, urged on by youthful ambition, was indefatigable. I rose very early and practised until exhaustion obliged me to cease. But, after a short rest I began again, and in this way, sometimes brought it to ten hour’s practising a day, including the time thatEckdevoted to me. In a letter from Brunswick, I had been informed that those who did not wish me well had loudly expressed themselves, that I should distinguish myself as little as all the other youths whom the duke had hitherto assisted in their studies. In order to controvert this opinion, I was determined to do my utmost, and even when my zeal sometimes flagged, the thought of my first appearance in Brunswick upon my return, animated me directly to fresh exertion.
In this manner I succeeded after a short time in acquiring such dexterity and firmness in the management of my instrument, that none of the then known Concerto-music was too difficult for me. In these exertions I was supported by sound health, and a Herculean frame.
Between whiles, I composed, painted, wrote and read; and in the later hours of the afternoons we used to make excursions into the neighbourhood. A favourite amusement of the travellers was to row across the lake, and to take supper at a farm house, situated on the opposite shore. As I was already at that time an accomplished swimmer, I often undressed during thesetrips, and swam a while alongside the boat. The relation in which I stood toEck, which was more that of one comrade to another than of pupil to teacher, admitted of such privileges.