undertook the care, we set out on our journey, in the middle of
October. As I unfortunately kept no diary upon this and our subsequent
journey from Gotha, I am left wholly to my somewhat faint recollections
of that period, which have been but sparingly refreshed by a few
notices in the Leipsic Musical-Journal. Of a diary kept by my wife at
that period, but which she never let me see, I have neither been able
to find anything since her death. Probably, it was destroyed by her in
after years.
On the very first day, our journey began in a very ominous manner,
by the overturning of our carriage at a place between Erfurt and
Weimar, where there was at that time no paved high-road. Fortunately,
however, neither the travellers nor their instruments were injured,
we therefore considered ourselves very fortunate to have escaped with
the fright only. No such accident re-occurred to us on any of our
numerous journeys. In Weimar, whither we took letters of introduction
from the Dutchess of Gotha, we played at Court with great applause, and
received a munificent present from the Hereditary Grand Dutchess, the
Princess _Maria_. Among the auditory at the Court-Concert were the two
Poet-heros _Goethe_ and _Wieland_. The latter seemed quite charmed with
the play of the artiste-couple, and evinced it in his own animated and
friendly manner. _Goethe_, also, addressed a few words of praise to us
with a dignified coldness of mien.
In Leipsic, as I perceive from a notice in the Musical-Journal, we
gave a concert on the 27. October. The opinion therein expressed of
the compositions I played on that occasion, namely the Overture to the
“Prüfung”, the Violin-Concerto in Es, the first Concertante for Harp
and Violin, the Potpourri in B, and the Fantasia for the Harp, was very
favorable. As regards our play, it says:
“Respecting the play of Herr _Spohr_, and his wife, we have already
spoken in detail, and here alone add, that he has entirely corrected
himself of many of the too arbitrary mannerisms (in Time, and the like)
which he had acquired, and of which we had now and then complained;
and, without a doubt, as regards Tone and Expression, Surety and Skill,
both in _Allegro_ and in _Adagio_ (in the latter more especially,
in our opinion) he now takes rank among the foremost of all living
Violinists: and Madame _Spohr_, by her great skill, neatness and
feeling in her play, is certain to meet with the most distinguished
reception.”
Of Dresden, where we also gave a Concert and also, if I do not mistake
this occasion for a later one--played at Court (though certainly not
during dinner, to which neither of us would have consented) I recollect
nothing more particular. But I well remember many circumstances
of our stay at Prague. My fame had not yet reached there, and at
first I had many difficulties to contend with. These, however, were
forthwith overcome when I and my wife had played at a Soirée given
by the Princess Hohenzollern, and when that lady declared herself
our Patroness. We now immediately became the fashion, and the
_beau-monde_ came in crowds to the two concerts we gave in the City
so famed for its cultivation of Art. We had therefore full reason to
be satisfied with our stay there. This is also confirmed by a notice
in the Musical-Journal beginning as follows: “Among the strangers
who have given concerts, the third was Herr _Spohr_, the celebrated
Director of Concerts to the Duke of Saxe-Gotha. Herr _Spohr_ performed
on the Violin, as did his wife on the Pedal-Harp. It will be long
before another artiste will have such reason to be satisfied with the
reception he met here as Herr _Spohr_, and of a certainty every friend
of Art, will acknowledge that he well deserved that distinction.”
But in the course of his notice, the Editor animadverts on several
points in my Play, though this opinion would seem to have been a
somewhat isolated one, as in his notice of the concert given by the
brothers _Pixis_ which immediately followed mine, he says: “his place
has been assigned to him far below _Spohr_,” and then continues: “as
but a few days before people were so charmed by the Play of the latter,
and the opinion was expressed from that point of view, it may not be
considered altogether fair.”
Among the friends of Art in Prague, I then made the acquaintance of
a man with whom up to the time of his death I constantly remained on
terms of the closest friendship. This was Herr _Kleinwächter_, the
head of the commercial firm of _Ballabene_. At his house, every Sunday
forenoon, a small but select circle of Professionals and lovers of Art
met to play and listen to Quartett-music. Every foreign artiste sought
to be introduced there, and whether violinist or violoncellist took
an active part in them. I took a pleasure in playing there; for my
execution and my endeavours to give each composition in its appropriate
style were fully appreciated. One Sunday morning I was playing a
Solo-quartett of mine (D-Minor, op. 11. published by _Simrock_) when
the master of the house was suddenly called away; but returning after
some time, announced to the company, that during the playing of the
Quartett a son had been born to him! Among the congratulations of those
present the wish was also expressed that this harmonious greeting of
the new citizen of the world, would be of the most happy augery for
his future life, and above all things might endow him with a taste for
Music! With the latter, he was indeed gifted in a high degree. _Louis
Kleinwächter_, (in compliment to me he was christened after me) though
only as an amateur (his profession was the law) became a distinguished
musician, as his compositions many of which have been published,
sufficiently attest. Whether it was that he had been told he was born
during the performance of one of _Spohr’s_ compositions, and that, that
had awakened his predeliction for them, or whether it was his diligent
study of them, there never was a more enthusiastic admirer of my music
than he. Whenever in the Musical Reunions of Prague, a choice was
mooted of the Compositions which were to be played, he always strove
for those of _Spohr_, and never rested until he had carried his point.
For that reason, also, he soon acquired the general cognomen of “the
mad Spohrist.”
It is to be regretted that this young man of whom mention will
frequently be made in these pages, was snatched from his family by an
early death; he died several years before his father.
From Prague, the Artiste-couple proceeded to Munich, via Ratisbonne.
I no longer recollect whether I succeeded in getting up a Concert in
the latter town. I could find no notice of it. And respecting Munich,
in a summary notice of the Musical-Journal on the winter-season of
that year, it was curtly remarked “Herr _Spohr_, from Gotha, gave a
Concert and met here also with a warm approval.” Of our stay there I
have nevertheless a tolerable clear recollection. Before we gave our
concert in the City, we played at Court. When we came forward to play
our Concertante for Harp and Violin, there was no stool for _Dorette_.
King Maximilian who sat beside his Consort in the front row of the
audience, observed it, and immediately brought his own gilded arm-chair
surmounted with the Royal Crown, before an attendant could procure one.
In his own friendly good-tempered manner he insisted upon _Dorette_
seating herself in it, and only when I explained to him that the arms
of the chair would impede her playing, he consented to her taking the
seat brought by the servant.
When the Concert was over, he presented us to the Queen and her Ladies
of the Court, who discoursed with us in the most friendly manner. On
the following day the Royal Gifts were presented to us; to me a diamond
ring, to _Dorette_ a tiara of brilliants; both of great value.
At our Public Concert, we were supported by the members of the Royal
orchestra with the greatest good will. Herr _Winter_, the Director,
led. I was delighted with the precision and spirited execution of my
compositions, and thought it very natural that they should please,
played in such a manner. But it was a special satisfaction to me that
the Composer of the “Opferfest” (the Festival of the Sacrifice) assured
me also in his candid and straight forward way, of his full approval.
I went frequently to _Winter’s_ house, and was greatly amused with his
original character, which united the most singular contradictions. Of a
colossal build, and gifted with the strength of a giant, _Winter_ was
withal as timid as a hare. Readily excited to the most violent rage, he
nevertheless allowed himself to be led like a child. His housekeeper
had soon observed this, and tyrannised over him in a cruel manner. As
an example of this, he took great pleasure in dressing up the little
images for the Christmas tree, on the Eve of that Festival, and would
amuse himself in this way, by the hour. But ill befel him if the
housekeeper caught him at it. She would then immediately drive him away
from them, and call out: “Must you then be eternally at play?! Sit down
directly to the Pianoforte, and get your song ready!”
The junior members of the Royal orchestra, whom he took great pleasure
in having about him, and sometimes invited to dinner, teazed him in
return, unceasingly. They had soon discovered that he had a great fear
of Ghosts, and invented all manner of tales of apparitions and ghostly
narratives to frighten him. In the summer time he frequently went to
a public garden outside the town, but as he was timerous in the dark,
he always returned before night-fall. One day, the mischievous young
folks contrived by various means to delay his return longer than usual,
and it was already quite dark when he set out on his way home. As the
other guests still remained quietly seated, he found the road which lay
between two gloomy hedge-rows fearfully lonely. Seized with a sudden
terror, he unconsciously began to run. Scarcely had he commenced, than
he felt a heavy load upon his back, and he beleived that it could be
nothing also but a Hobgoblin that had sprung down upon him. Hearing
other footsteps behind as though running after him, he thought the
Devil and all his Imps were in full chase, and he now ran still faster.
Reeking with perspiration and panting for breath he at length reached
the city gates; when the goblin sprung down from his back, and said in
a voice that he knew: “Thank you Herr Kapellmeister, for carrying me,
for I was very tired!” This speech was followed by a general titter,
and he whom they had so befooled, burst into an uncontrolable rage.
From Munich, we continued our journey to Stuttgard, where we took
letters of introduction to the Court. I presented these to the
Court-Chamberlain, and on the following day received from him the
assurance that we should be permitted to play at Court. But in the
meantime I had been informed that here also cards were played during
the Concerts at Court, and that little attention was paid to the
Music. At Brunswick I had been already sufficiently disgusted with
such a degradation of the Art, that I took the liberty to declare
to the Court-Chamberlain, that I and my wife could alone appear,
if the King would be graciously pleased to cease card-playing
during our performance. Quite horrified at so bold a request, the
Court-Chamberlain made one step backward, and exclaimed: “What? You
would prescribe conditions to my gracious Master? Never should I dare
make such a proposal to him!” “Then must I renounce the honour of
playing at Court”, was my simple reply. And on this, I took my leave.
How the Court-Chamberlain betook himself to lay so unheard of a
proposition before his Sovereign, and how the latter prevailed upon
himself to yield to it, I never learned. But the result was, that the
Court-Chamberlain sent to inform me: “His Majesty would be graciously
pleased to grant my wish; but on the condition, that the musical pieces
which I and my wife would play, should follow in quick succession, so
that His Majesty would not be too frequently inconvenienced.”
And so it occurred. After the Court had taken their seats at the
card-table, the Concert began with an Overture, which was followed by
an aria. During this, the lacqueys moved to and fro with much noise,
to offer refreshments, and the card-players called out: “I play, I
pass” so loud, that one could hear nothing connectedly of the music
and the singing. The Court-Chamberlain now came to inform me that I
should hold myself ready. Upon this, he announced to the King, that the
strangers would begin their performances. Presently, His Majesty rose
from his chair, and with him all the company. The servants placed two
rows of stools in front of the orchestra, upon which the Court seated
themselves. Our play was listened to in the greatest silence, and with
interest; but no one dared utter a syllable of approval, as the King
had not given the lead. The interest he took in the performances was
shewn only at the close of each by a gracious nod of the head, and
scarcely were they over, than all hastened back to the card-tables, and
the former noise began anew.
During the remainder of the Concert, I had leisure to look about me.
My attention was particularly directed to the King’s card-table, in
which in order to accommodate itself better to his Majesty’s obesity,
a semi-circular place had been cut out, into which the King’s belly
fitted closely. The great size of the latter, and the little extent of
the Kingdom, gave rise as is well known to the smart caricature in
which the King in his Coronation-robes, with the map of his Kingdom
fastened to the button of his knee breeches, is represented as uttering
the words: “I cannot see over all my States!”
As soon as the King had finished his game, and moved back his stool,
the Concert was broken off in the middle of an aria by Madame _Graff_,
so that the last notes of a cadence actually stuck in her throat.
The musicians accustomed to this vandalism, packed their instruments
quietly in their cases; but I was deeply exasperated at such an insult
to the Art.
At that time, Würtemberg groaned under a despotism such as indeed
the rest of Germany had never known. To cite only a few examples of
this, it suffices to say: that rain or snow, every one who entered
the Palace-Court at Stuttgard was compelled to walk hat in hand from
the irongates to the portal of the palace, because his Majesty’s
apartments were on that side. Every civilian was furthermore obliged
by the most imperative order to take off his hat before the sentry,
who was not required to salute him in return. In the theatre, it was
strictly forbidden by notices to that effect, to applaud with the
hands before the King had commenced. But his Majesty on account of the
extreme cold of the winter sat with his hands buried in a large muff,
and only took them out when his Royalty was graciously pleased to feel
the want of a pinch of snuff. When that was done, it little mattered
what was going on upon the stage, he then clapped his hands. Upon this
the Chamberlain who stood behind the King, immediately joined in, and
thereby gave notice to the loyal people, that they might also give vent
to their approbation. In this manner the most interesting scenes and
the best pieces of music of the opera were almost always disturbed, and
interrupted by a horrid noise.
As the citizens of Stuttgard had long learned to accommodate themselves
to the Royal humours, they were not a little astonished at what I had
stipulated for before my appearance at the Court-concert, and had
actually granted to me. This made me the object of public attention,
and the result was, that my concert in the town was attended by an
unusually numerous auditory. The Royal orchestra gave me their support
in the most friendly manner, and the Director _Danzi_ endeavoured to
facilitate the whole arrangements for me in every possible way.
_Danzi_ was a most amiable artiste, and I felt the more inclined
towards him, from finding he had the same admiration for _Mozart_,
that I was so deeply impressed with. _Mozart_, and his works, were
the inexhaustible subjects of our conversation, and I still possess
a most cherished memorial of that time, a four-handed arrangement of
_Mozart’s_ Symphony in G-Minor, composed by _Danzi_, and in his own
handwriting.
In Stuttgard I also first made the acquaintance of the since so greatly
famed _Carl Maria von Weber_, with whom up to the time of his death I
was always on the most friendly terms. _Weber_ was then Secretary to
one of the Princes of Würtemberg and cultivated the Art as an amateur
only. This however, did not hinder him from composing with great
assiduity, and I still well remember hearing at his house, as a sample
of _Weber’s_ works some “Numbers” from the Opera “_Der Beherrscher der
Geister_.” (The Ruler of the Spirits.) But these, from being always
accustomed to take _Mozart_ as the type and rule by which to measure
all dramatic works, appeared to me so unimportant and amateur-like,
that I had not the most distant idea _Weber_ would ever succeed in
attracting notice with any opera.
Of the Concerts which we gave besides, in Heidelberg and Frankfort on
the Mayne, before our return home, I can now speak but imperfectly
from memory--I therefore give a few extracts from the notices of the
Musical-Journal.
First of all speaking of Heidelberg, it says: “_Eisenmenger’s_ violin
would still have been unforgotten, had not the Heidelbergers had
the pleasure in the last Concert to hear _Louis Spohr_ play in his
_Rode_-like style of firm, sustained and skillful bow-stroke. His
wife played the harp, in a way one seldom hears in Germany--with a
tenderness, lightness and grace, with a confidence, strength, and
expression, that are quite captivating.”
To me it seems very strange, that even at this time my play was still
designated as a _Rode_-like style, for at that period at least I
thought to have wholly laid aside his manner. Perhaps it arose merely,
from the circumstance, that, on account of the easier accompaniment, I
had selected a Concerto of _Rode’s_ for execution.
Respecting the Concert in Frankfort on the 28. March, the remarks were
also very eulogistic. The Frankfort Journal spoke of the “wellmerited,
and distinguished applause” that we met with, and reverted to a “in
many respects similar Pair, who five and twenty or thirty years before
made much sensation in Mannheim, and afterwards in London--to _Wilhelm
Kramer_, the great Violinist and his wife, the splendid Harpiste”.
On my return to Gotha I was met at some miles from the town by my
pupils, some of whom had remained there during my absence, and others
but shortly returned, and escorted by them as in triumph to my
tastefully decorated dwelling. We there found _Dorette’s_ parents and
relatives all assembled to welcome us, and also our dear child, who
under her grandmother’s excellent care was in blooming health. As on
our tour we had not only earned a rich harvest of applause, but had
saved a sum of money which for our circumstances was considerable, we
now felt on our return to our domestic hearth right happy and free from
care.
As soon as I had resumed the Direction of the Court-concerts, I felt
impelled to set to work at new compositions. I first wrote a Potpourri
for the violin with orchestral accompaniment (Op. 23, published by
_André_ of Offenbach) which had already suggested itself to me during
the journey, and for the most part in the carriage. I was very desirous
to see on paper what I there thought a very artistic combination of two
Themes in one and the same; but still more desirous to hear it executed
by an orchestra. This Potpourri begins with a lively, and for the
solo, brilliant _Allegro_ in G-Major, connected with and passing into
the Theme from the “_Entführung_”: “_Wer ein Liebchen hat gefunden_” in
G-Minor. After this has been varied five times alternately in the Minor
and Major, it is taken up in sixth Variation by the wind-instruments,
and for a time carried out in free-fugued Entries. On the return into
the principal key, the first horn takes up the melody of the song
in the Major and carries it out completely to the end. This is then
succeeded anew in a very startling manner by the introductory _Allegro_
of the primo, blending with it as it were in the style of a Fantasia,
though it previously appeared as an independant piece of Music.
With the working of this combination at the Rehearsal, I was very
satisfied; but when the Potpourri was executed at the Court-Concert,
I was doomed to see my ingenious combination of the two themes was
noticed by a few musicians only, and was totally lost upon the rest of
the hearers.
The next that I wrote, was the Concertante for two Violins (Op. 48,
published by _Peters_ in Leipsic). I was prompted to this chiefly by
the artistic genius of one of my pupils one Herr _Hildebrandt_ of
Rathenow, with whom I was very fond of playing. This young man had made
so much progress under my guidance in twelve months, that he promised
to become one of the first violinists of Germany. Unfortunately, at a
later period, by what mischance I now no longer remember, a wound which
he received in his left hand became a bar to the full development of
his talent, so that he did not become so known in the Musical world,
as was previously to have been expected. This pupil had acquired to
such a degree his instructor’s method of execution in all its shadings,
that he might have been considered a true copy of him. Our play blended
therefore so intimately, that, without looking at us, no one could tell
by the ear which of us played the upper or which the lower key. In this
manner we had practised the new Concertante, before we executed it at
the Court-concert. We achieved, also, such success with it, that the
Dutchess requested its repetition in the next concert, and afterwards,
insisted, also, as long as _Hildebrandt_ remained in Gotha to have it
put in the programme when strangers were on visit at Court.
As my pupils at that time were of much the same age as myself, and were
young people of good breeding and inspired with a love of their Art; I
liked to have them about me, and took great pleasure in permitting them
to accompany me in my walks and little excursions in the neighbourhood.
I used then to join in all their amusements, played at ball and other
games with them, and taught them to swim. Yes, perhaps I was even
somewhat more _en camerade_ with them than beseemed the dignity of the
Instructor with his pupils. But my authority suffered no diminution on
that account; for I knew not only how to maintain a strict discipline
during the hours of tuition, but also at other times, a becoming
behaviour.
In this manner, I had already made a longer excursion in the spring,
to Liebenstein, and up the Inselsberg, and returned from that journey
so pleased, that I longed once more to make a similar excursion to the
Harz, which I so loved. Quite unexpectedly, a temporary absence of the
Dutchess, through which some Court-concerts were suspended, furnished
the necessary leave of absence. I therefore, immediately, proposed to
my pupils, a pedestrian journey to the Harz, which they welcomed with
the most joyful assent. As our absence would of a necessity extend to
a fortnight, the lessons could not be suspended for so long a time
without great prejudice to the pupils, and I therefore determined to
continue them on the journey. For this purpose I took two violins
with me, with which the orchestra-servant _Schramm_, yet a young man,
and greatly attached to me was loaded, while we carried all the other
necessaries distributed in two knapsacks, each in his turn. Before our
caravan could set out, I had yet to console my wife, who could not make
up her mind to so long a separation, the first since our marriage,
and who shed, indeed, a torrent of tears. Not until I had promised
to write to her every other day, could she be somewhat pacified, and
it was long before she let me from her arms. To me, also, this first
separation was no less extremely painful!