Transcriber's Note
Text printed in italics is indicated by _underscores_, gesperrt
text by ~swung dashes~, and superscript with caret signs, e.g.
4^{thly}.
LOUIS SPOHR’S AUTOBIOGRAPHY.
TRANSLATED FROM THE GERMAN.
_COPYRIGHT EDITION._
LONDON:
LONGMAN, GREEN, LONGMAN, ROBERTS, & GREEN.
CASSELL AND GŒTTINGEN: GEORGE H. WIGAND.
1865.
PREFACE.
In publishing an English translation of the unadorned yet highly
interesting Autobiography of the celebrated Violinist and great
Composer _Louis 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 since _Spohr’s_ last
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 all _Spohr_ shines
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, _Spohr_
continued 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.
_Spohr_ was 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 in _Spohr’s_ character 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. _Spohr_ and other members of
the family; so that the whole forms a true account and lively picture
of _Spohr’s_ earthly 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.
Chronological Index of Contents.
Vol. I.
Page
1784 to 1799. _Spohr’s_ childhood 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 brother _Ferdinand_.--
His admiration of the music of _Mozart_.--Disturbs the Duchess of
Brunswick at her party of “ombre” with his “murderous fiddling.” 1
1802. _Spohr_ proceeds with _Franz Eck_ to St. Petersburg.--Revisits
Hamburg.--Cultivates at intervals his fondness for drawing and
painting in water-colours.--His first love.--Dussek.--_Spohr’s_ first
published work, violin concerto _Op. 1._--Stay at Strelitz.--Romantic
adventure.--Second capture of _Spohr’s_ heart.--Königsberg.--St.
Petersburg.--Impressions, and incidents during his stay in that
Capital.--Returns by sea to Germany.--Arrival at Brunswick 14
1803. Appointed court musician at Brunswick 62
1804. Musical tour to Leipsic, Dresden and Berlin 67
1805. Appointed Concert-Master at Gotha.--Present with Prince
_Louis Ferdinand_ at the military manœuvres at Magdeburg 84
1806. Marriage of _Spohr_ with _Dorette Scheidler_ 95
1807. Musical tour to Weimar, Leipsic, Dresden, Prague, Munich,
Frankfort, Stuttgard and Heidelberg 101
1808. Pedestrian tour through the Harz with his pupils 112
Composes his opera of “Alruna” 115
Congress at Erfurt 117
1809. Musical tour to Leipsic, Breslau, Berlin and Hamburg 128
1810. Musical festival at Frankenhausen 139
Performance of the opera: “Zweikampf mit der Geliebten,” at Hamburg 153
1812. Performance of the oratorio: “Das jüngste Gericht” at the
Musical festival at Erfurt 157
Musical tour to Leipsic, Prague and Vienna 159
1813. Appointed director of the orchestra at the theatre An der Wien 168
Composes his opera of “Faust” 178
1814. Composes his cantata: “The Liberation of Germany” 182
1815. Journey to Brünn, Breslau, Carolath.--Third musical
festival at Frankenhausen 203
Musical tour to Wurzburg, Nuremberg and Munich 211
1816. Frankfort.--Strasbourg, &c. 217
Visit to Switzerland 234
Journey to Milan 251
Journey to Venice 270
Journey to Bologna, Florence and Rome 283
1817. Departure from Rome.--Arrival at Naples 325
Vol. II.
1817. Residence in Naples 1
Ascends Mount Vesuvius 3
Departure from Naples to Rome 32
“Miserere” in the Sistine Chapel 36
Departure from Rome 41
Addenda in reference to the Italian journey 47
Visit to Holland 53
Appointed director of the orchestra at Frankfort 53
1818. Composes the opera: “Zemire and Azor” 58
Journey to the musical festival at Mannheim 59
1819. Leaves Frankfort 66
Musical tour to Berlin, Dresden, Leipsic and Cassel 68
Visit to Brussels 68
1820. Journey to London 72
First concert at the Philharmonic Society 82
_Spohr’s_ concert at the New Argyll Rooms, London 94
Mr. Logier’s Musical Academy 98
Return to Germany 102
Musical festival at Quedlinburg 105
Journey to Paris by way of Frankfort and Heidelberg 105
1821. Return to Gandersheim 134
Concerts at Alexisbad and Pyrmont 135
Removal to Dresden 138
1822. Appointed director of the orchestra of the court
theatre at Cassel 141
1823. Institutes the Society of St. Cecilia 147
Composes the opera: “Jessonda” in Cassel, where it is
first performed 148
1824. “Jessonda” performed in Leipsic 153
1825. “Jessonda” performed in Berlin 157
Composes the opera of “The Mountain Sprite” in Cassel,
where it is first performed 157
1826. Composes the oratorio of: “Die letzten Dinge” in Cassel,
where it is first performed 159
Musical festival at Düsseldorf 161
1827. Composes the opera: “Pietro von Abano” 163
1828. Musical festival at Halberstadt 165
1829. Musical festival at Nordhausen 166
1830. Composes the opera: “The Alchymist” 168
1831. Celebration festival upon the occasion of the grant of a
constitution to Hesse 172
Celebration of _Spohr’s_ “Silver Wedding” 173
Terminates his work “The Violin School” 176
1832. Composes the symphony: “Die Weihe der Töne” 178
Celebration of the “Golden Wedding” of _Spohr’s_ parents 180
1833. Musical festival at Halberstadt 183
1834. Journey to Marienbad 184
Death of _Spohr’s_ first wife 187
1835. Finishes the oratorio: “Des Heilands letzte Stunden” (Calvary)
in Cassel, where it is performed for the first time 188
Journey to Sandfort in Holland 188
1836. _Spohr’s_ second marriage 194
Journey to Leipsic, Dresden and Saxon Switzerland 195
Musical festival at Brunswick 197
Millenium-jubilee at Paderborn 199
1837. Projected musical festival at Cassel 202
Journey to Prague 204
Vienna--Salzburg, &c. 206
1838. Death of _Theresa Spohr_ 209
Journey to Carlsbad 209
Continuation of _Spohr’s_ Biography by his family 210
1839. Composes his “Historical Symphony” 215
Departure to the musical festival at Norwich 215
1840. Journey to the musical festival at Aix-la-Chapelle 227
Journey to Lübeck and Hamburg 229
1841. Journey to Switzerland by way of Stuttgard and Hechingen 232
Musical festival at Lucerne 235
Composes his “Double Symphony” 237
Musical performance in honour of _Mozart_ in Cassel 239
1842. Journey to Carlsbad 240
1843. Invitation to Prague 244
Journey to London to direct the “Fall of Babylon” 249
1844. Composes the opera: “The Crusaders” 257
Journey to Paris 257
Journey to the musical festival at Brunswick 260
1845. His opera of “The Crusaders” performed for the first
time, at Cassel 261
Journey to Oldenburg, Carlsbad and Berlin 262
Journey to Bonn to the inauguration of the memorial
erected to _Beethoven_ 270
1846. Journey to Leipsic and Carlsbad 276
1847. _Spohr’s_ twenty-fifth Anniversary as director at Cassel 282
_Spohr’s_ journey to London 287
Musical performances in commemoration of the death of _Mendelssohn_ 291
1848. Festivities at Cassel 293
1849. Journey to Leipsic and Carlsbad 293
1850. _Spohr’s_ fall upon the ice 295
Composes his symphony “The Seasons” 295
Journey to Leipsic, Breslau and Berlin 296
1851. Journey to Switzerland and Italy 300
Journey to Göttingen 300
1852. Law-suit relative to the fine imposed upon _Spohr_ for his
absence on a journey without permission 301
Journey to London to direct the performance of his opera: “Faust” 302
Appointment of a second director of the orchestra, Mr.
_Bott_ at Cassel 306
1853. Journey to London to direct the performance of his opera
“Jessonda,” &c. 308
1854. Journey to Switzerland, Munich and Alexandersbad 314
1855. Journey to Hannover 316
Journey to Hamburg and Lübeck 319
1856. Journey to Dresden, Saxon Switzerland and Prague 321
Journey to the Harz 321
1857. Journey to Holland 323
_Spohr_ pensioned off by the Elector of Hesse 325
Breaks his arm 327
1858. Journey to Magdeburg, &c. 327
Journey to Bremen 329
Journey in Prague to the jubilee of the conservatory 329
Visit to Alexandersbad 331
Journey to Wiesbaden to the musical festival of the Middle-Rhine 331
Journey to Leipsic 331
His _Last composition_ 334
1859. Journey to Meiningen. _Spohr_ directs an orchestra for the
last time 336
Journey to Detmold 338
Journey to Alexandersbad and Würzburg 339
_Spohr’s_ last illness and death 341
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.
[1] The house is still standing, and, as Number 7, forms the corner of
the Aegydian churchyard in Monk street. For several years it has been
given up to the Military musical institution, since the parish was
abolished during the Westphalian times.
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
Conductor _Schwaneberger_ in Brunswick, played on the piano with great
ability, and sang the Italian bravuras 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 Herr _Riemenschneider_, and I still
remember, that, after the first lesson, in which I had learned to
play the _G_-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 by _Kalkbrenner_, 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, named _Dufour_, 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 who
played to dancers. Subsequently, after I had been so early appointed
_Kammermusicus_[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 musical _artiste_.
[2] Musician in the Ducal Orchestra, or Court Musician.
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 from _Hiller’s_ operas “_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 only because 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 of _Dufour_, that I should
devote myself entirely to music; _Dufour_ insisted 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 playing
_Wranitzky’s_ variations upon “_Du bist liederlich_”, into which all
the juggles with which _Paganini_ afterwards 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-baker
_Michaelis_, 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 cured _Michaelis’_ wife of a dropsy.
I commenced my musical and other studies with eagerness. I received
instruction on the Violin from _Kammermusicus Kunisch_, a well
grounded and amiable teacher, to whom I owe much. Less friendly was
my instructor in harmony and counterpoint, an old organist named
_Hartung_; 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 teacher _Kunisch_.
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 the _Katharinen-Schule_, which I attended as a _Secundaner_.
These concerts were instituted by the Prefect for the practice of
the School-choir; but from several members of the _Hof-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 the _Deutsches
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 teacher _Kunisch_, who interested himself for me in a paternal
manner, now insisted that I should take lessons of the Concert-Director
_Maucourt_, the best violinist of the Brunswick orchestra. My father
agreed readily, although it was much against his grain to pay the
higher charge for this instruction; and the more so, as I had been
obliged to leave _Michaelis’_ 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
another _Secundaner_, inhabited a room in the house of the organist
_Bürger_; 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’s_ instruction, 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 the _Büsching_ Commercial school.
He then attended several Universities, struggling through great
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 Professor _Büsching_, 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 was foolish 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
may _Er_[3] be?” snarled the groom to me in unfriendly tone. “I am no
_Er_. I am here by the Duke’s command, and _Er_ has 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 teacher _Maucourt_, 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 director
_Schwaneberger_.”
[3] _Er_, or he, used in this mode of address, is a contemptuous style
of expression in the German language, which has its equivalent only in
the English word _fellow_, used in a rude sense.
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 play _piano_. The leader therefore
left out the trumpets and kettle drums, and insisted strongly that no
_forte_ should 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; the orchestra, 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 Instructor _Maucourt_, as the utmost that could be attained.
In this manner, in the beginning of my fifteenth year I was appointed
_Kammermusicus_. The Rescript of my appointment which was drawn up
later, is dated August 2^{nd}, 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
brother _Ferdinand_, 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 young _Kammermusicus_ was 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 of _Mozart’s_
operatic music burst upon me. _Mozart_ now 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 of
_Beethoven_, and from that time raved no less about them than I had
before done about those of _Haydn_ and _Mozart_. 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
were _Seidler_, and the boy _Pixis_. 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 brothers _Pixis_,
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 the _forte_ being
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 the duke 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 named _Viotti_, 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].
[4] It is related of _Viotti_ (the father of Modern Violin-Playing)
when thus established in London as a Wine-merchant, that, a Nobleman
who had previously been a great admirer and patron of his talent,
rebuked him for having abandoned his art to become a dealer in Wine!
“My dear Sir” replied _Viotti_, “I have done so, simply because I find
that the English like Wine better than Music!”
Next to _Viotti_, _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. _Eck_ came; 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 that _Eck_,
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, where _Eck_ intended 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.
After _Eck_ had delivered his letters of recommendation, the lessons
began. Concerning these, the following is written in my diary:
“This morning, April 30, Herr _Eck_ commenced 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 what _Eck_ gave me. It was
not long before he expressed himself favourably as to my progress.
Already on May 10, I wrote:
“Herr _Eck_ begins 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 12^{th} of 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 Herr _Eck_, 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 Miss _Lütgens_, 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 curls naturally, 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 Herr _Eck_, 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
Miss _Lütgens’_ portrait--and began also a copy of it for myself. After
dinner I went to her..... Henrietta received 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 Herr _Kiekhöver_, and there
met _Dussek_ and some other musicians. This was very agreeable to me,
as I had long earnestly wished to hear _Dussek_ play. Herr _Kiekhöver_
and 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. Herr _Eck_, began with a quartett of his own composition,
and enchanted all the listeners. Then Herr _Dussek_ played a sonata
for the piano, of his own composition, which however did not seem to
please particularly. Now followed a second quartett by Herr _Eck_,
which so delighted Herr _Dussek_, that he enthusiastially embraced him.
In conclusion, Herr _Dussek_ played 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’s_ country house, I became
acquainted with Fräulein _Grund_, 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 Fräulein _Grund_ joined 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 Herr _Eck_ proposed 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 Herr _Eck’s_ public
concert in the _Logensaal_ on the _Drehbahn_ on the eighteenth of May:
“Herr _Eck_ had great reason to be satisfied with the orchestra, for
his concerti were admirably accompanied; not so the arias of Fräulein
_Grund_, which were somewhat difficult for the wind instruments. At the
head of this well drilled orchestra, is _Massoneau_, 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.”