received most cordially by the Court-singer Madame _Scheidler_. She
introduced me to her daughter _Dorette_, of the age of eighteen, of
whose skill upon the harp and pianoforte I had already heard much. In
this charming _blondine_ I recognised the girl whom I had seen on my
first visit to Gotha, and whose pleasing form had since then frequently
recurred to my memory. At the Concert which I then gave in that town,
she had sat in the first row of the auditory, by the side of a female
friend, who upon my appearance, astonished at so tall a figure,
exclaimed rather louder than she had intended: “Just look, _Dorette_,
what a long hop-pole!” Upon hearing this exclamation, my eye fell upon
the girls, and I saw _Dorette_ blush with embarrassment. With a similar
graceful blush she now again stood before me, probably recollecting
that circumstance. To put an end therefore to a situation so painful to
me, I entreated her to play something on the harp. Without the least
affectation she complied with my wish.
When a boy, I had myself once made an attempt to learn the harp, and
took lessons of one Herr _Hasenbalg_ in Brunswick, when I soon got
so far as to be able to accompany my songs. But after my voice had
broken, and that for a considerable time I remained without any voice
at all, the harp was neglected, and at length wholly laid aside. My
predilection for that instrument had nevertheless remained the same;
and I had given my attention to it sufficiently long, to know, how
difficult it is, if one would play more than mere accompaniments upon
it. My astonishment and delight may therefore be imagined, when I
heard so young a girl execute a difficult “Fantasia” of her instructor
_Backofen_, with the greatest confidence, and with the finest shades
of expression. I was so deeply moved, that I could scarce restrain
my tears. Bowing in silence, I took my leave;--but my heart remained
behind! Irresistibly impelled, my visits now became frequent, and my
reception more friendly every time.
I accompanied the daughter on the piano, which she played with the
same excellence as the harp, assisted the mother in the practise of
her songs for the Court-Concerts, and so made myself more and more
necessary to the family. The first piece that I composed in Gotha,
was a grand “Vocal Scena” for a soprano voice, which I dedicated to
_Dorette’s_ mother, and which she sang with great applause at one
of the Court-Concerts. For myself and the daughter, I then wrote a
Concerted Sonata for violin and harp, which I practised with her in the
most careful manner. They were happy hours!
Thus, after my arrival, had a month passed away for me in the most
agreable manner, when the Court set out for the session of Parliament
at Altenburg and took the orchestra with it. _Dorette_ also accompanied
her mother thither. I offered myself to them as a travelling-companion,
but unfortunately made my application too late, for they had already
arranged to travel in company with Messrs. _Preissing_, the brothers
of Madame _Scheidler_. I was therefore obliged to seek other
travelling-companions; but at every place where we stopped to take
refreshment I did not fail to join immediately the _Scheidler_ family,
and always contrived to get possession of the place at table next to
_Dorette_. These meetings after a separation of four or five hours,
gave a peculiar charm to the otherwise long and tedious journey, so
much so indeed, that when at length on the evening of the third day we
entered the gates of Altenburg, it seemed too short to me. I was lodged
in the house of Secretary _Brummer_ who as a great lover of music had
begged that I might become his guest. I met with the most friendly
reception and a well furnished table. But I had previously arranged to
dine always at Madame _Scheidler’s_, who like an active housewife had
immediately established a kitchen of her own, for herself and brothers.
Henceforth, treated almost like a member of the family, I had full
opportunity to become more nearly acquainted with my beloved _Dorette_.
Her father, an excellent musician, and a man of scientific attainments,
had, up to his death, which had taken place two years before, devoted
himself entirely to the education and improvement of this daughter.
With an almost extreme severity he had compelled her not only from her
earliest childhood to pursue the study of Music, but also, instructed
her, in part personally, and partly through the medium of other able
teachers in every branch of education suitable to a young female.
She therefore spoke Italian and French with the greatest fluency and
wrote her mother tongue with ease and correctness. But her brilliant
execution both on the harp and pianoforte was already then despite her
youth, truly remarkable! Yes, even upon the violin on which instrument
her uncle _Preissing_ gave her instruction, she had acquired so much
skill, that she could play _Viotti’s_ Duetts with me. But as I advised
her to discontinue the practise of that instrument so unbecoming for
females, and to devote rather her undivided study to the two others,
she adopted my advice and from that moment gave it up.
Meanwhile the Court-concerts had commenced. They took place in a
large saloon in the Palace, very favourable for music, and together
with the Court were attended by the parliamentary Deputies and by the
dignitaries of the town. The orchestra, as well as the performances
both of myself and the other soloplayers met with great applause.
_Dorette’s_ Soli’s on the harp and piano made also a great sensation.
In this manner the concert-days were soon looked forward to by the
Altenburgers as real festival days, and the auditory encreased so much
in number each time, that at length there was scarcely room for their
accommodation. There were also many private Music-parties, at which I
and the members of the _Scheidler_ family never failed to be invited.
One day, however, I was invited with _Dorette_, but without her mother,
to a Fête given by the Minister _von Thümmel_, to the Court and its
immediate circle. We were requested to reproduce my Sonata for the
harp und violin, which we had already played with great success at the
Court-concerts. With some timidity I ventured to ask whether I might
fetch _Dorette_ in the carriage, and felt delighted beyond measure,
when her mother without hesitation gave her consent. Thus alone for the
first time with the beloved girl, I felt the impulse to make a full
confession of my feelings towards her; but my courage failed me, and
the carriage drew up, before I had been able to utter a syllable. As I
held out my hand to her to alight, I felt by the tremor of hers, how
great had also been her emotion. This gave me new courage, and I had
almost plumped out with my declaration of love upon the very stairs,
had not the door of the Reception-saloon been thrown open at the same
moment.
That evening we played with an inspiration and a sympathy of feeling
that not alone carried us wholly away, but so electrified the company
also, that all rose spontaneously, and gathering round us, overwhelmed
us with praise. The Dutchess whispered some words in _Dorette’s_ ear,
which brought blushes to her cheek.
I interpreted them as favorable to me, and now on the drive home I at
length found courage to say: “Shall we thus play together for life?”
Bursting into tears, she sank into my arms; the compact for life was
sealed! I led her to her mother, who joined our hands and gave us her
blessing.
The next morning I announced my happiness to my parents. But before I
could enjoy it without alloy, I felt compelled to write another letter,
and one which was to me a most disagreable task. I felt the injustice
of my conduct towards _Rosa_, and the necessity to ask her forgiveness.
I had it is true, never made a declaration of my love to her; but it
had been but too apparent in the earlier period of our acquaintance. To
that was added moreover, the circumstance that, my parents had greeted
her in Seesen as my betrothed. What the arguments were that I resorted
to in exculpation of my injustice, I no longer remember at this
distance of time. Probably I may have again adverted to the difference
of religion, which could alone serve me as excuse for my withdrawal.
The letter was at length finished; and with a lightened heart I took it
to the post. I anxiously expected an answer; but none came. At a later
period I learned that _Rosa_ had returned to Italy with her parents
who had acquired some fortune in Germany. Some years afterwards, I was
told when in Dresden, that _Rosa_, led by her devotional turn of mind,
had retired to a convent, and after the year’s novitiate had taken the
veil. I never could think of that charming maiden without sentiments of
the deepest sorrow!
At the dinner-table on the following day all appeared in full dress;
it was to celebrate our betrothal. The news of this had soon spread
through the town, and not only the members of the Ducal orchestra,
but also many of the inhabitants of the place came to felicitate the
engaged couple. At the next concert the same took place on the part of
the Dutchess and the Court.
With the end of the year, the session of Parliament drew also to a
close, and the return of the Court to Gotha was already spoken of,
when I solicited an eight day’s leave of absence to go to Leipsic in
order to give a concert there. Preparatory to that, I had already made
enquiries of my friends of the foregoing year, and received from them
the most favorable assurances. My bride, and her mother accompanied me,
to appear also in the same concert. This therefore offered a diversity
of attraction to the public, and consequently the attendance was
very numerous. I played a new Violin-Concerto in C-Major (published
by _Kühnel_ as the third) which I had begun in Gotha and finished at
Altenburg. Both my playing and composition found as warm a reception
as in the previous year. My bride also met with the most enthusiastic
applause. She played _Backhofen’s_ Fantasia, and with me the new
Sonata. On this occasion, it was again our combined play that was
considered the most brilliant performance of the evening. The mother,
a singer possessed of a powerful, pleasing tone, and of a good school,
executed, accompanied by her daughter, the aria of _Mozart_ with
Pianoforte obligato, as also, my new vocal-Scena, with great success.
Highly satisfied with the result of our undertaking, we returned to
Altenburg, and shortly afterwards with the Court to Gotha.
Madame _Scheidler_ resided there in a very roomy and well furnished
house, of which without feeling in the least inconvenienced, she
could readily give up to me an apartment or two. As she offered to
take my brother _Ferdinand_ who as my pupil lived with me, together
with ourselves as boarders, nothing therefore stood in the way of
my immediate marriage. The wedding was accordingly fixed for the
2. February, 1806. I hastened therefore, to procure the documents,
requisite for the occasion, my certificate of baptism, and the consent
of my parents. To my regret, they were unable to bring this to me in
person, as my father dare not leave his patients, some of whom were
dangerously ill, but they sent my brother _William_[7] to be a witness
to my happiness.
[7] Afterwards architect to the Court of Brunswick, and father of the
well known harpiste _Rosalie Spohr_.
It created no little astonishment when I produced my certificate of
baptism, that instead of growing older in Gotha, I had become several
years younger! But as I had already sufficiently established my
authority as Concert-Director I experienced no subsequent prejudice
from this discovery.
The ardently desired 2. February, dawned at length. At the request
of the Dutchess who wished to be present, the marriage took place
in the Palace-chapel. Upon the conclusion of the ceremony the newly
married pair received the felicitations and wedding-presents of their
illustrious Patroness. At home, we found assembled as wedding-guests,
the two uncles _Preissing_ and several other of the most intimate
friends among the members of the Ducal orchestra, as also Cantor
_Schade_, an old friend of the _Scheidler_ family. After dinner many
others came. Among these the playmates and school-fellows of _Dorette_.
All brought with them their friendly gifts. Neither was she wanting who
had compared me to a hop-pole, and as punishment for the unbecoming
comparison, she was frequently obliged to endure a little raillery. As
the weather was too unfavourable for an excursion, or promenade, music
was kept up till a late hour in the evening.
In the midst of Music also, the happy pair passed the honeymoon. I
began forthwith a diligent study of the harp, in order to ascertain
thoroughly what was best adapted to the character of the instrument.
As I was prone to a richness of modulation in my compositions, it
was therefore requisite to make myself especially well acquainted
with the pedals of the harp, so as to write nothing that would be
impracticable for them. This could not readily occur, on account of the
great accuracy with which my wife had already then mastered the whole
Technics of the instrument. I therefore gave free play to my fancy, and
soon succeeded in obtaining wholly new effects from the instrument.
As the Harp sounded most advantageously in combination with the singing
tones of my Violin, I wrote more especially Concerted compositions
for both instruments alone. At a later period, it is true, I made
trial, also, of two Concertanti with Orchestral accompaniment, and of
a Trio for Harp, Violin and Violoncello; but as I found that every
Accompaniment only disturbed our mutual and deeply felt harmony of
action, I soon abandoned it.
Another attempt to obtain a greater effect, had however, a more
successful result. I conceived the idea of pitching the harp half a
tone lower than the violin. By so doing I gained in two ways. For, as
the violin sounds most brilliantly in the cross or sharp notes, but the
harp best in the B-tones or flat notes, when the fewest pedals possible
are moved; I thereby obtained for both instruments the most favourable
and most effective key-notes: for the violin namely, D and G; for the
harp E and A-flat. A second advantage was, that, from the lower tuning
of the harp, a string would less frequently break, which in public
performances in very warm rooms so frequently happens to the harpist,
and mars the enjoyment of the hearers. From this time therefore, I
wrote all my Compositions for harp and violin in that difference of the
keys.
_Dorette_, forcibly attracted by these new Compositions, devoted at
that time her attention exclusively to the study of the harp, and soon
obtained such a brilliant execution, that I felt an eager desire to
exhibit this before a larger public than that of the Court-concerts
of Gotha. As I beleived also, to have now perfected my own Play in a
manner such as no other could readily surpass, I resolved to set out
on an Artistic tour with my wife in the ensuing autumn. I had already
stipulated for such a leave of absence upon receiving my appointment,
and it had been acceded to in consideration of my then small salary.
Meanwhile as the autumn drew near, a twofold obstacle presented itself
to the execution of my cherished projects. The war between Prussia and
France threatened to break out. The Prussian army prepared for the
struggle, was already assembled in the neighbourhood of Gotha, and the
inhabitants of the Dutchy had much to endure from the billeting, and
overbearing insolence of the Prussians.
Even though I might have been able to take my journey in a direction
that would have carried us from the tumult of war, yet when my home was
in danger of becoming the scene of conflict, I could not well leave it
in such an extremity. Then, one day, with blushing cheek and beaming
eyes, my little wife imparted to me that towards the end of winter she
looked forward to a mother’s joys. Now, therefore, indeed it was no
longer possible to think of undertaking a journey, and all hesitation
on the subject was set at rest. I therefore bethought me of some
engrossing work that would distract my attention as much as possible
from all the anxieties of the times. I had long wished to try my hand
at a Dramatic composition; but I had never yet found a favourable
opportunity. Neither, indeed, did that present itself now, for Gotha
possessed no Theatre. Yet, I thought; if the opera were once written,
some opportunity to hear it might yet present itself. Just at that
time, I received a visit from a companion of my youth _Edward Henke_
my mother’s youngest brother, afterwards Professor of Jurisprudence
at the university of Halle, who had already met with some success in
lyrical compositions. I persuaded him to write the words of an opera
for me. We cogitated together the subject-matter, and the scenes, of a
one act Opera, to which we gave the Name of “Die Prüfung” (The Trial).
_Edward_ began forthwith the composition of the Song-parts and finished
them wholly before his departure. He promised to supply the dialogue
afterwards.
But before I could begin my work, the storm of war broke loose. The
battle of Jena had been fought; and with that, the fate of Prussia
decided. The Prussians who had lain in and around Gotha, and who but
shortly before had been so-overbearing in their demeanour were now seen
flying in the greatest confusion. The disorganisation of their troops
was so complete, that their arms were to be found in thousands strewn
over the fields near Gotha. In a walk I took a few days afterwards, I
found as a further gleaning, a ramrod, which I took home with me as a
reminiscence of that fatal day. Suspended from a thread it gave with
a clear sound the note _B_, once struck, and served me for many years
instead of a tuning-fork when tuning the harp.
Although after the advance of the French army in pursuit, the theatre
of war was soon removed farther and farther from Gotha; yet the
quartering of troops upon the inhabitants was no less continuous.
Fresh reinforcements of French and South-German troops were constantly
moved forward in support; and a greater part of the Prussian prisoners
taken at Jena, was brought through Gotha. These came in bodies of
from 3 to 4000 men of all arms, frequently escorted by 40 or 50
voltigeurs, only, and were shut up in the great Church on the market
place, opposite to our dwelling, with merely a few sentries mounting
guard over them before the closed doors. As the nights were already
very cold, the men in their thin uniforms must indeed have been nearly
frozen. For that reason also they kept up a continual noise and outcry.
The inhabitants of the houses in the neighbourhood, in constant dread
that the prisoners from their greatly superior numbers would liberate
themselves, were obliged to keep continually on the watch, and for many
nights together could not retire to rest.
This, therefore, was by no means the most propitious time for me to
attempt a style of composition that was quite new to me. But as my
study was situated near the garden, at a distance from the noise in
the streets, I soon succeeded in forgetting every thing around me, and
gave myself up heart and soul to my work. In this manner, before half
the winter had passed, I completed the composition of the 8 “Numbers”
of the Opera, together with the Overture. The four Song-parts in
these, permitted of being well rendered by the Female Court-singers
and two Dillettanti whose assistance I had already obtained for
the Court-concerts. I therefore had the opera written out with all
despatch, practised it carefully, and then played it as Concert-Music
at one of the Court-concerts.
Great as at first was my satisfaction with the new work, I nevertheless
soon became sensible of its deficiencies, and weak points. With every
successive rehearsal these were made more clear to me, and even before
its production in public took place, the Opera (with the exception of
the Overture and one aria for a tenor-voice) had become distasteful to
me. Even the great applause it had met with from those who executed it,
and those who heard it, could not reconcile me the more to it; so that
I laid it aside, and with the exception of the two “Numbers” mentioned,
I never played any thing more of it in public. But with this feeling of
dissatisfaction with my work I was truly unhappy; for I now thought to
perceive that I had no talent for Operatic compositions. There were,
however, two things which I had forgotten duly to consider; first, that
I had assumed a much too elevated style, for I had put my Opera upon
a par with those of _Mozart_, and secondly, that I was wholly wanting
in the practice and experience requisite for this kind of composition.
This did not occur to me till some years afterwards, and encouraged me
then to make another attempt at dramatic composition.
For the present, I again devoted myself wholly to Instrumental
composition; wrote the already mentioned Concertanti for Harp and
Violin with full orchestra; a Fantasia (op. 35) and Variations (op.
36) for Harp-Solo; and, for myself, my Fifth Violin Concerto (op.
17. published by _Nägeli_ of Zurich) and the Pot-Pourri (op. 22, at
_André’s_ in Offenbach).
As _Dorette_ anticipated her confinement in the spring, it was
impossible we could remain longer in the limited accommodation of her
mother’s house, and we were now obliged to furnish a house of our own.
This took place at Easter 1807.
Shortly after, on the 27. May, we were gladdened by the birth of a
little daughter. I now had to invite the Duke as Godfather to the
new-born, he having already previously offered himself for that post
of honour. On the day of the Christening, he made his appearance, in
the full splendour of his Ducal rank, accompanied by the dignitaries
of his Court and followed by the idlers of the town, who attracted
by the grandeur of the rarely used state carriage and its occupants,
stared with astonishment to see it draw up before my house, at the door
of which I received him, and conducted him to the apartment decorated
with garlands of flowers. The ceremony began, and the new-born was
christened _Emilie_, after the Duke’s second Name, Emilius.
To my great regret, my parents could not take part in this delightful
family festival. And yet, in the previous summer, when on a visit
at Seesen, I had introduced my dear wife to them, and had the
gratification to see not only that they soon evinced much affection for
her, but the satisfaction also, that my father was obliged to admit I
might not have been so happy with _Rosa_, even had my love for her been
more lasting.
As soon as _Dorette_ had fully regained her strength, she began anew
to practise the recently finished compositions for the Harp, in order
to prepare herself for our projected artistic tour. But while thus
engaged, she became more and more convinced of the defects of the
instrument she had hitherto used, a Strasburg pedal-harp, which she
had received as a present from the Dutchess. It was therefore decided
in a family consultation, to apply a small capital appertaining to
her as inheritance, to the purchase of another, and a better harp.
Herr _Backofen_, had such an instrument, a very superior one, by
_Nadermann_ of Paris, and was disposed to part with it to his pupil for
a moderate price. This, therefore, was purchased. Of _Dorette’s_ small
inheritance there yet remained a few hundred thalers, to expend in the
acquisition of an indispensible convenience for travelling, namely a
travelling-carriage, constructed at the same time for the transport of
the harp. For a considerable time I turned over in my mind the form of
build best adapted to this purpose. There were two things that required
especial consideration; first, that it should not be too expensive,
and secondly that it should be sufficiently light for one pair of
post-horses. At length I hit upon the right plan. I ordered a long, but
not too heavy Basket-carriage to be built, with a chaise compartment
behind for the travellers. In front of this between the basket-sides,
lay the box for the harp, slung by leather straps, and covered with a
leather apron, which fastened by means of a bar of iron hooking into
the chaise-seat in front of the occupants. Under this was a seat-box
to hold the violin-case, and behind it a larger one to contain a trunk
adapted to the space, in which all the other travelling requisites
could be packed. In front, above the harp-box, was the raised seat for
the driver. A trial trip, for which the carriage was completely packed,
shewed that it fully answered the object proposed. Thus, therefore,
every thing was in readiness for our artistic tour.