obliged to procure on credit what was most necessary, before I could
give with my fellow-traveller the concert which we had already
announced. In the meantime, I practised diligently upon a very good
violin by _Stainer_ which I borrowed of a student from Hanover, and
thus prepared, I made my first appearance out of Brunswick as an
artiste. The concert was unusually well attended. Perhaps the account
of my loss had contributed to it. The Solo performances of the two
artistes, as also together, in my Concertante, were received with
enthusiastic applause.
This it is true was very encouraging for a further prosecution of the
journey; but anxiously concerned for my reputation, I could not make up
my mind to appear publicly, before I had procured a good violin of my
own, and had carefully practised myself upon it.
As _Beneke_ was unwilling to proceed further on the journey without
me, we therefore returned to Brunswick. The intelligence of my loss
had already become generally known there. The Duke, also, had heard of
it, and in order to facilitate my purchase of a new instrument sent
me again a handsome present. With the aid of that, I purchased from
a _Herr von Hantelmann_, a distinguished amateur, the best violin
in Brunswick at that time, but I soon felt, that it could not fully
replace the one which I had lost.
In order to prepare myself well for a future journey, I again applied
myself diligently to composition. Thus I wrote the Concerto in D-Minor
which was published by _Kühnel_ of Leipsic as (Op. 2), a Potpourri upon
chosen themes (published also by the same, as Op. 5.) and a Concerto
in A-Major which has remained in manuscript. In these, as also, in some
subsequent compositions, _Rode’s_ style is predominant, from which
at a later period only, my own style and peculiar mode of execution
develloped themselves.
In this manner passed the summer of 1804. In the autumn, fully prepared
for a fresh Musical tour, I felt disposed to repair first to the German
Capitals. I much desired also to appear once in Leipsic, which through
the excellently conducted Musical Journal of _Rochlitz_ had risen to
be the Centre of Musical criticism. I therefore set out upon my second
Artistic tour on the 18. October, through Leipsic and Dresden, to
Berlin.
Of this journey also, a Diary exists, but which extends only to the
9. December, and then suddenly breaks off. The cause of this will be
related hereafter.
I made my first stay at Halberstadt, where I gave a public Concert, and
on the following day played at the house of Count _Wernigerode_. Among
the Musical amateurs who received me in a particularly kind manner I
must mention the Vicar of the Cathedral, _Augustin_, and the Auditor
_Ziegler_. With the latter, who was an accomplished connoisseur of
Music and an excellent pianist, I remained on terms of intimacy until
his death. I received also great attention and assistance in getting up
my Concert, from the there resident Musicians, the brother Organists
_Müller_ and _Holzmärker_, the Violinist _Glöckner_, with whom I
played my Duetts, the Bassonist _Barnbeck_, and _Clase_, the Secretary
and Musical Director of Count _Wernigerode_. I therefore passed many
pleasant days in Halberstadt.
One afternoon, “I took a walk with Herr _Holzmärker_ and one of his
friends outside the gate of the town. We visited the Klus, a mountain
on the top of which rise several isolated steep rocks, the inside of
which is excavated, and which according to the legend was the work
of robbers, who in former times took up their abode there. I could
not resist the desire to ascend one of these rocks, hazardous as
was the attempt, and earnestly as my companions dissuaded me from
it. I succeeded in reaching the summit without accident, and besides
the pleasure I felt at having effected what few had the courage to
attempt, I had that of an extensive and magnificent view. So far all
went well. But when at length I wished to descend, and looked down the
declivity, a sudden giddiness overcame me, and I was instantly obliged
to sit down to save myself from falling over the precipice. Full ten
minutes elapsed before I could summon the necessary composure to make
the descent, and it is doubtful whether I should have effected it in
safety, if the gentlemen below had not shouted to me, where to set my
feet, which I could not see to do, having my face turned towards the
rock. Trembling from the exertion and the convulsive clinging to the
rock, as well as thoroughly ashamed at having disregarded the warning
of the two gentlemen, I reached them at length, and returned with them
to the town not a little glad to have escaped uninjured from so eminent
a danger.”
On the 22. October, I gave my Concert. At the rehearsal, my Concerto in
D-Minor had made a great sensation.
“Messrs. _Ziegler_, _Müller_ and others declared to my great
satisfaction, that they had never heard a finer Violin Concerto.”
“The Concert itself began at five o’clock. The Theatre was very
empty, but the audience was composed of persons possessed of a high
intelligence of Art, as I could readily see by the deep silence and
sympathy with which my play was listened to.” Among other things, the
following were executed: A Symphony by _Haydn_; my Concerto in D-Minor;
a Concerto in D-Major by _Kreutzer_; a Polonaise by _Rode_ from the
Quartett in Es-Major. After the Concert, Count _Wernigerode_ expressed
his satisfaction to me, and invited me to a Concert at his house on the
following day, in which the third Count assisted as Clarionetist in the
orchestra. I played _Rode’s_ Concerto in A-Major and his Quartett in
Es-Major.
“After the Concert was over, the company surrounded me and overwhelmed
me with expressions of praise. I was obliged to relate to the ladies a
great deal about St. Petersburgh.”
In Magdeburg, as artiste I also met with the most friendly reception.
Captain _von Cornberg_, Major _von Witzleben_, Regimental Quartermaster
_Türpen_, and Privy Counsellor _Schäfer_, to whom I was recommended,
exerted themselves to the utmost, both to procure a numerous audience
for me, and to make my stay as agreeable as possible. Already at my
first Concert on the 3. November, the audience was very numerous. I
played my D-Minor-Concerto, the A-Minor-Concerto of _Rode_, and the
G-Major-variations.
“I succeeded right well in all, and the people seemed to be quite
carried away by my play.”
At this time I occupied myself with the remodelling of my last Concerto
but one, in E-Minor. I wrote an entirely new Adagio for it.
At a Musical party at the house of the Secretary to the Board of
Finance, _Feska_, I heard his son play in a Quartett of his own
composition.
“The Quartett,” says the Diary, “is very well worked out and evinces
great talent. As a Player he pleased me less. He is certainly not
wanting in mechanical skill, but in a finished and well regulated
handling of the bow, and therefore in a good tone, and in clearness of
the passages. Neither was his intonation always pure. Were he to study
under a good master, he might become something great.”
I went frequently to parties at the houses of the Merchants
_Hildebrandt_ and _Schmager_, of the Criminal-Counsellor _Sukrow_, and
the Privy Counsellor _Schäfer_, and “everywhere pleased much.”
“I was also invited by _Türpen_ to an interesting Musical Soirée. I
found assembled there a small but a very select company of the most
zealous friends of Music in Magdeburg. I played Quartetts by _Haydn_,
_Beethoven_, _Mozart_, and in conclusion the Es-Major-Quartett of
_Rode_. I was accompanied very well in all of them, so I that could
give myself entirely up to my feelings. The company seemed enchanted.
Herr _Türpen_ affirmed that I understood better than any one how to
render the peculiar style of each Composer. As finale, our host played
a Trio by _Mozart_, right well, on a very good pianoforte by _Blum_
of Brunswick. But he has the bad habit of drawing out the “Canto” too
much, by which he rather injures the expression than improves it.”
On the 10. November, I gave my second Concert, which was not quite so
numerously attended as the first, and in which I executed a Symphony by
_Haydn_ and my Violin-Concerto in E-Minor, I also played a Concertante
by _Eck_, with _Feska_. The remodelled E-Minor-Concerto went well. The
new Adagio appeared to please very much.
Of the other circumstances that occurred while I was in Magdeburg,
I will only mention a theatrical representation, the Author of the
Piece having made himself a name in the theatrical world by his
piquante notice “Musical Ollapodrida from Paris.” It was the first
representation of “The Female Abällino” by _Sievers_.
“Never have I read or seen enacted a more wretched piece. It is a
sorry imitation of the well known “Great Bandit,” but has neither
the exciting scenes nor the clever dialogue which made that piece a
favorite of the public. The chief personage Rosa Salviatti, who in
order to protect her lover from a conspiracy of his uncle’s, resorts to
the most romantic and absurd means, explains the reasons of her conduct
in a speech that lasts at least a quarter of an hour. The public, which
had already previously manifested signs of impatience, became so noisy
during this discourse, that the play could scarcely be concluded. At
length when the curtain fell, a general hissing and whistling broke
forth. The unfortunate Author, unappreciated as he considered he had
been in Brunswick, and who thought to achieve a triumph here, is said
to have been present in the Theatre, but made a hasty retreat before
the end of the piece.”
Respecting my stay in Halle, whither I next went, the Diary gives
but very scanty information. The more I was drawn into society by an
increased circle of acquaintances, the less pleasure I took as it
would appear, in the previous frequent freedom of style in my remarks
upon it. I may also not have had the time, as I was very careful in
preparing myself for every performance whether public or private, and
was constantly engaged in composing.
My two Concerts on the 21. and 23. November, were very well attended.
Besides my own works, I played a Concerto of _Rode_, A-Minor and the
G-Major variations.
“My play met with an enthusiastic reception.” The persons, who took a
particular interest in me, and whom I have to thank for many pleasant
hours, were the Family _Garrigues_, consisting of the father, mother,
daughter and two sons, all of them very charming, polite people;
_Lafontaine_ and his fascinating adopted daughter; _Chodowiecki_,
_Niemeier_ and _Loder_. Among the students I made the acquaintance of
some clever amateurs. One Herr _Schneider_ played well on the piano;
another, Herr _Müller_ right well on the violin. Herr _Gründler_, from
Trebnitz near Breslau, immediately took instruction from me on the
violin.
I yet remember also the following incident: Among those who were
also of assistance to me in the arrangements for my Concert was the
celebrated Counterpointist _Türk_. He directed the Academical Concerts,
one of which took place during my stay in Halle. The Opera “_Titus_”
was given as Concert-Music. The public had been already assembled
for the space of half an hour; the Orchestra had finished tuning and
awaited the signal to begin. Among the Student part of the audience,
great dissatisfaction had begun to shew itself at the delay in the
appearance of the Singer; but when he at length made his appearance,
in very unseemly dress for the occasion, in an overcoat and with dirty
boots, the general disapprobation was shewn by hissing and a shuffling
of the feet. The Singer, into whose hands the impatient Director had
already thrust the notes, stepped forward and said with a contemptuous
look: “If I do not please you as I am, why then I can go away again!”
Hereupon he threw the notes at the feet of the Director and rushed out
of the place. They ran after him to bring him back; but all in vain! I
now expected that the Concert would be postponed, or at least that all
those “Numbers” in which Titus has to sing, would be omitted. Nothing
of the kind! The conscientious Director did not allow his auditory to
go short of a single bar of the music; he knew how to help himself!
~He played upon his Grand-Piano the whole Part of Titus, Recitative,
Airs, and Concerted-pieces from the first note to the last!~ I was
astounded, and knew not whether to be vexed, or to laugh at the
singularly naive expedient. But it was made quite clear to me that
evening, that a man may be a learned Counterpointist and yet not
possess an atom of good taste!
After my arrival in Leipsic on 29. November, the Diary gives two
short notices and then remains wholly silent. The first concerns
a representation of the Opera by _Paer_: “Die Wegelagerer” (The
Way-layer); the second relates to a visit to the Drapers-Hall-Concerts.
“These Concerts”, it says, “are got up by a Society of shopkeepers.
But they are not Amateur-concerts; for the orchestra is alone composed
of professional musicians, and is both numerous and excellent. For the
Vocal part a foreign female singer is always engaged, as the Director
of the Theatre does not allow his singers to appear in concerts.
This year it is a Signora _Alberghi_ from Dresden, the daughter of a
Church-singer of that City. She is still very young, but has already
a very good method, and a clear, melodious voice. She sang two arias
with great applause. Besides that, I heard the Concert Master of the
society, Herr _Campagnoli_, play a Concerto by _Kreutzer_, extremely
well. His method, it is true, is of the old school; but his play is
pure and finished. The Room in which these Concerts are given is
exceedingly handsome, and particularly favorable to the effect of the
music.”
I had many difficulties to overcome for the arrangements of my concert.
Engrossed in the business pursuits of this commercial city, people did
not come forward to assist me with the readiness I had been hitherto
accustomed to meet, and I had much to do before every obstacle was
overcome. It annoyed me also that the wealthy merchants to whom I was
recommended appeared as yet to know nothing of my artistic reputation,
and that though politely, they received me coldly. I was therefore
exceedingly desirous to be invited to some musical party, in order
to attract notice to my capabilities. This wish was gratified; I
received an invitation to a large evening party, with the request to
perform something. I selected for the occasion, one of the finest of
_Beethoven’s_ six new Quartetts, with my performance of which I had so
frequently charmed my audience in Brunswick. But already after a few
bars, I remarked that those who accompanied me were as yet unacquainted
with this music, and therefore unable to enter into the spirit of it.
If this already annoyed me, my dissatisfaction was much more increased
when I remarked that the company soon paid no more attention to my
play. For by degrees, a conversation began, that soon became so general
and so loud that it almost overpowered the music. I therefore rose up
in the midst of my playing, before even the first Theme was concluded,
and without uttering a word, hastened to replace my violin in its case.
This excited a great sensation among the company, and the master of
the house advanced towards me with an enquiring look. I went forward
to meet him, and said aloud, so as to be heard by the company: “I have
hitherto been accustomed to find my play listened to with attention.
As that has not been so here, I of course thought the company would
prefer that I discontinued.” The Master of the house knew not what
reply to make, and retired much embarrassed. But when, after having
apologised to the Musicians for breaking off so suddenly, I shewed the
intention to take my leave of the company, the host returned and said
in a friendly tone: “If you could be persuaded to play something else
for the company more adapted to their taste and capacity you will find
a very attentive and grateful auditory.” I, who had already clearly
comprehended, that I was most to blame for what had occurred, from my
misapprehension in the choice of music for _such_ an auditory, was glad
of the opportunity to conciliate matters. I therefore willingly resumed
my violin and played _Rode’s_ Quartett in _Es_, which the Musicians
knew and therefore well accompanied. A breathless silence now reigned,
and the interest shewn in my play increased with every passage. On
the conclusion of the Quartett so many flattering things were said to
me of my play, that I was induced now to parade my hobby-horse the
G-Major-Variations of _Rode_. With this I so enchanted the company that
I became the object of the most flattering attention for the remainder
of the evening.
This incident became the subject of conversation for many days, and
was probably the cause, that the musical-amateurs whose attention had
been thereby directed to me, came even to the rehearsal of my Concert
in considerable number. At this, I succeeded so well in winning them
over to me, by the execution of my D-Minor-Concerto, that before
the evening on which my Concert was to take place they had spread a
favourable account of my performances throughout the City, and thereby
a more numerous audience was attracted than I had dared to hope. The
élite of the musical amateurs of Leipsic and a very sympathetic public
were present. I now succeeded also in awakening such an enthusiasm in
my auditory, that at the conclusion of the concert I was vehemently
solicited to give a second. This took place a week later, and was one
of the most numerously attended that had ever been given by a foreign
artiste in Leipsic. In the meanwhile, I was frequently invited to
Quartett parties, at which, after I had previously practised them with
those who were to accompany me, I obtained more particularly a hearing
for my favorites the six first of _Beethoven’s_ Quartetts. I was the
first, who played them in Leipsic, and I succeeded in obtaining a full
appreciation of their excellence by my style of execution. At these
Quartett parties I also first made the acquaintance of the Editor of
the Musical-Journal, Councellor _Rochlitz_, and from that time till his
death maintained the most friendly relations with him. _Rochlitz_ wrote
a notice of my concert in his paper.
As that Notice first established my reputation in Germany, and had an
influence upon my career in life, it may serve as apology for my verbal
citation of it in this place:
“On the 10. December, 1804, Herr _Spohr_ gave a Concert in Leipsic, and
at the solicitation of many, a second, on the 17. in both of which he
afforded us a treat such as, so far as we can remember, no Violinist
with the exception of _Rode_ ever gave us. _Herr Spohr_ may without
doubt take rank among the most eminent violinists of the present day,
and one would be astonished at his powers, more especially when his
youth is considered, were it possible to pass from a sense of real
delight to cold astonishment. He gave us a grand Concerto of his own
composition (D-Minor), which was called for a second time, and another,
also from his own pen (E-Minor). His Concerti, rank with the finest
existing, and in particular, we know of no Violin Concerto, which can
take precedence of that in D-Minor, whether as regards conception,
soul and charm, or also, in respect of precision and firmness.
His peculiarity inclines mostly to the grand and to a soft dreamy
melancholy. And so it is with his brilliant play. Herr _Spohr_ can
execute everything; but he charms most by the former. As regards, in
the first place, correctness of play in the broadest sense, it is here,
as may be presupposed, as sure fundamental principle; a perfect purety,
surety and precision, the most remarkable execution; every manner of
bow-ing, every variety of violin-tone, the most unembarrassed ease in
the management of all these, even in the most difficult passages; these
constitute him one of the most accomplished virtuosi. But the soul
which he breathes into his play, the flights of fancy, the fire, the
tenderness, the intensity of feeling, the fine taste, and lastly his
insight into the spirit of the most different Compositions, and his art
of rendering each in its own peculiar spirit make him a real Artiste.
This last faculty we have never seen possessed in so remarkable a
degree as by Herr _Spohr_, and more especially in his Quartett-playing.
It is therefore not surprising that he should please everywhere, and
scarcely leaves any other sentiment behind, than the wish to detain and
to hear him always.”
I felt exceedingly happy that moment! But it was not alone the
recognition of my merits as an artiste that infused a new life into my
whole being: it was another, a more tender feeling. I loved and was
beloved.
The day after I saw and heard _Rosa Alberghi_ for the first time at the
Draper’s Hall Concert, I paid her a visit, to invite her to take part
at my concert. Both mother and daughter received me in a very friendly
manner. The former, although a resident in Germany for many years,
had not acquired one word of our language. As she also shook her head
on my addressing her in French, I was obliged to make my wishes known
to the daughter, who, educated in Dresden, spoke German fluently. She
very willingly assented to my request, and forthwith chatted with me a
child-like ingenuousness, as though we had long known each other. On my
taking leave, _Rosa_ asked me to come again soon. I had already gazed
too deeply into her brilliant dark eyes, to let her wait long for me.
And as the mother soon made me cordially welcome, I passed all my hours
of leisure at their house. I accompanied _Rosa_ in her singing practice
on the piano, to the best of my ability; assisted her in the study of
the Music sent to her by the Directors of the Concerts, and embellished
her Arias with new ornaments, at which she always evinced a really
child-like pleasure. In this manner, without our perceiving it, our
relations became constantly more tender. The notes in my Diary on this
subject had however come to a stop, nor were they afterwards resumed.
_Rosa_ now sang in my second Concert, and as her engagement in Leipsic
was drawing to a close, and that she was about to return to Dresden,
she offered also to sing in my concerts there.
I now therefore, left for Dresden, furnished with high recommendations.
A letter from _Rosa_ introduced me to her father, who received me in
the most friendly manner. He, with some members of the Dresden Royal
Orchestra, namely the brothers _Röthe_ assisted me in the arrangements
for my concert, and thereby made an always unpleasant business much
lighter for me.
_Rosa_ returned to Dresden a few days before the concert, and sang in
it with her father. The success which my play and compositions met
with, was even more brilliant than in Leipsic. As there, also, I was
invited on all sides to give a second concert. While I was making
arrangements for this, I was advised to announce myself also at Court,
as from the sensation which my Play had made, there could be no doubt
of a favourable result.
But, when I was informed, that the Court-Concerts took place during
Dinner and that no exception to the rule was made in favour of foreign
artistes, my youthful Artistic pride kindled with indignation at the
idea that my Play would be accompanied by the clatter of plates; so
that I immediately declined the honour, of playing at Court.
My second Concert was extremely well attended, and the applause almost
greater than at the first.
I now thought of my departure for Berlin, but could not make up my mind
to it; for the parting from my beloved _Rosa_ seemed too painful to
think of. When, on a sudden, her father surprised me with a proposal
which still further delayed the dreaded parting. He said, that he had
long wished his daughter should appear in Berlin, and if I had no
objection to give some concerts there together with her, as he was
himself unable to obtain leave of absence, his wife should accompany
her on the journey.