night, I no longer remember; but I still know well, that at every
rest after dinner, I gave two of my pupils regular instruction, and
required of them a punctual alternate practise of the lesson in the
evening, as soon as we reached our quarters for the night. In this way,
on the third or fourth day, (the heat was intense,) we arrived about
a league from Nordhausen, and very tired sat down to rest ourselves
under the shade of an oak by the side of a large pond, when by an
unlucky accident one of our knapsacks rolled down the steep bank and
fell into the water--and so far from the bank, also, that we could not
reach it with our walking sticks. As the water was deep, I was soon
obliged as the only practised swimmer of the party, to make up my mind
to jump in and fetch it out. But before I could get my clothes off,
the knapsack had taken in so much water, that it began to sink. I was
therefore obliged to dive at the place where it had disappeared until
I succeeded in recovering it. When I brought it to the bank, and it
was opened, I found its contents so saturated with water, that we were
obliged to spread them on the grass in the sun to dry them. As it was
to be anticipated this would be an operation of several hours, and
noon was drawing near with its attendant hunger, I resolved to take
our customary dinner-rest in this place, and to send to Nordhausen to
procure the necessary provisions. The purchase of these fell by lot
to one of the pupils, and _Schramm_ accompanied him to carry them.
Meanwhile, I gave my two lessons unter the great oak, and those pupils
who were not engaged therein, bathed themselves at a more shallow
part of the pond. After the lapse of two hours, our foragers returned
heavily laden, and under the shadow of the dear oak, which served us
with equal hospitality as a Dining- or Concert-room, a capital-dinner
was soon spread and despatched in the merriest humour, and with the
best appetite. Then resounded in joyous harmony the tones of four
male-voices, in choice four-part glees of which we carried with us a
good collection, and had also well-practised them. After this, our
properties which were once more dry, were packed up, and our troop set
itself again in motion.
After this merry fashion we visited every remarkable spot of the lower
Harz, and then climbed the “Brocken.” When we got to the top, that
which occurs to nine tenths of all travellers, befel us also; we found
it envelloped in mist, and waited in vain until noon, in the hope that
it would clear off and enable us to enjoy the view from the summit.
We endeavoured to dispel as much of our disappointment as we could by
singing, playing and looking through the pages of the many tomed “Book
of the Brocken”; indeed, one of the party put our Jeremiade on this
misfortune into really decent rhyme, which I immediately converted into
a Canon for three voices. This was diligently practised, sung both
within the “Brockenhause” and outside in the mist, and then written
together with our names in the Brocken-Book, in the hope that at length
the weather would clear up.[8] But in vain! We were obliged to make up
our minds to continue our journey.
[8] This Canon was found among _Spohr’s_ manuscripts, and a fac-simile
is appended to this volume.
We now took the direction of Clausthal, and when we reached the plain,
we had the mortification to see the summit of the Brocken, after we had
left it about one hour, lit up with the brightest sunshine!--Arrived
at Clausthal; our first care was to get rid of the unseemly growth of
beard that had accrued to all during our journey, so as to reassume a
somewhat more civilized appearance. We sent, therefore, for a barber,
and submitted ourselves one after the other to his razor. A somewhat
comical incident arose out of this operation. We had all of us more
or less, a sore place under the chin from holding the violin, and I
who first sat down, directed the barber’s attention to this, and
begged him to go over it very lightly with his razor. As the barber
found a similar sore place under the chin of each that followed, his
countenance assumed more and more the grotesque expression exhibited
in the disposition to whistle and smile at one and the same time,
murmuring every now and then something, inwardly. Upon being asked the
reason, he replied with a grave look: “Gentlemen, I see very clearly
that you all belong to a secret Society, and you all carry the sign.
You are Freemasons, probably, and I am right glad that I know at last
how that is to be discovered!” As upon this we all broke out into a
loud peal of laughter, he was at first very much disconcerted, but,
nevertheless, not to be shaken in his belief.
After we had descended into a mine, and visited the smelting-huts
and stamping-works, we continued our journey to Seesen, by way of
Wildemann. There, we were joyfully welcomed by my parents and brothers
and sister as well as by the musical friends of the little town. We had
music now from morning to night, and even got up a Public concert, in
which all exhibited our skill to the utmost in playing and singing. The
proceeds of the concert, we presented to the School for the Poor, for
the purchase of new schoolbooks.
Highly pleased with our journey we returned through Göttingen and
Mühlhausen to Gotha. I yet think with emotion on the intense pleasure,
with which my dear little wife welcomed me home, and never did I feel
more acutely, the happiness of being loved!
At this period, a young Poet, a Candidate in Theology, who was awaiting
his appointment in Gotha, offered to me an Opera he had written, to set
to music, and I seized this opportunity with pleasure, to try my hand,
and as I hoped with more success, in dramatic composition. The Name
of the Opera was “Alruna, _die Eulenkönigin_” (the Owlet-Queen), it
was founded on a popular tradition, and in matter had much resemblance
to the “_Donauweibchen_”, (the Danube Water-Nymph) which at that time
excited general admiration. I immediately commenced my work with great
zeal, and finished the three Acts of the Opera before the end of the
year. As some of the “Numbers” which I played at the Court-concerts
found great favour, I was encouraged by this to offer my work for
representation at the Court-Theatre in Weimar. I went thither in person
to obtain a favourable reception of it from Herr _von Goethe_, the
Intendant of the Theatre, and Frau _von Heigendorf_, the prima Donna
and the mistress of the Duke. To the former I handed the Libretto, to
the latter the Music of the Opera. As she found some brilliant parts
for herself and her favorite _Stromeyer_, she promised to interest
herself in getting the Opera accepted, and as I knew that this depended
solely upon her, I returned to Gotha with the most sanguine hopes. Yet
it required many reminiscences from me, and month after month passed
away, until at length the study of the Opera was commenced. As this had
now gone so far that a grand orchestral rehearsal could be effected,
Frau _von Heigendorf_ invited me to direct it. I therefore proceeded to
Weimar a second time, and now in company with the author.
As I had written all manner of new things after I had completed the
Opera, it had somewhat faded from my recollection, and I therefore
thought I should be the better able to judge of it without partiality.
Accordingly I was greatly preoccupied with the impression that it
would make upon me.--The Rehearsal took place in a Saloon at the house
of Frau _von Heigendorf_. Among the assembled Auditory, besides the
Intendant Herr _von Goethe_, and the Musical Amateurs of the Town,
_Wieland_ was also present. The Singers had well studied their parts;
and as the orchestra had already had one rehearsal, the Opera was right
well executed under my direction. It gave general satisfaction, and
the Composer was overwhelmed with congratulations. Herr _von Goethe_,
also spoke in praise of it. The Author did not come off so well.
_Goethe_ found all manner of defects in the Libretto, and especially
required that the dialogue which was written in Iambics should first
be put into simple prose, and considerably curtailed before the Opera
was performed. This requisition was particularly painful to the
Author, as he prided himself not a little on his metrical dialogue. He
nevertheless declared to me his readiness to undertake the required
alteration, but on account of other pressing work, he could not set
about it immediately. This was not displeasing to me, for with the
exception of a few of the “Numbers”, my Music at the rehearsal in
Weimar had not satisfied me, greatly as it had pleased there, and I
was again tortured with the thought, that I had no talent for Dramatic
music. For this reason the Opera became more and more indifferent to
me, and I was glad to see that its representation would be delayed. At
length the thought of seeing it represented and thus made public was
so distasteful to me, that I withdrew the parts and score. Hence with
the exception of the Overture which was published as Op. 21 by _André_
in Offenbach, nothing else of it was engraved. But on the other hand,
I was unjust towards this work; for it shews, compared with the first
Opera, an unmistakably great progress in dramatic style.
In the year 1808, took place the celebrated Congress of Sovereigns,
on which occasion, _Napoleon_ entertained his friend the Emperor
_Alexander_, and the Kings and Princes of Germany his Allies. The
lovers of sights and the curious of the whole country round, poured in
to behold the magnificence which was there displayed. In the company of
some of my pupils I also made a pedestrian excursion to Erfurt, less
to see the Great Ones of the earth, than to see and admire the great
ones of the French Stage, _Talma_, and _Mars_. The Emperor had sent to
Paris for his tragic performers, and every evening one of the classic
works of _Corneille_ or _Racine_ was played. I and my companions had
hoped to have been permitted to see one such representation, but
unfortunately, I was informed that they took place for the Sovereigns
and their suite only, and that every body else was excluded from them.
I now hoped, with the assistance of the musicians, to obtain places in
the orchestra; but in this I also failed, for they had been strictly
forbidden to take any person in with them. At length it occurred to me,
that I and my three pupils, by taking the places of the same number
of musicians who played between the acts, might then be enabled to
remain during the performance. As we were willing to pay handsomely,
and the musicians knew that their substitutes would fill their places
in a satisfactory manner, they gave their consent. But, now a new
difficulty presented itself: three of us only could be introduced for
the violins and the bass-viol; and as neither of us played any other
orchestral-instrument but those, one of us of a necessity must remain
excluded. The thought then struck me, to try whether I could learn
sufficient of the horn, by the evening, so as to be able to undertake
the part of the second hornist. I immediately prevailed upon him whose
place I wished to take, to yield his horn to me; and began my studies.
At first I produced the most terrific tones from it; but after about an
hour, I succeeded in bringing out the natural notes of the instrument.
After dinner, while my pupils went to walk, I recommenced my studies in
the house of the “Stadt-Musicus”[9] and although my lips pained me very
much, yet I did not rest until I could play my horn-part, perfectly, in
the certainly, very easy overture and “between acts” which were to be
played in the evening.
[9] Musician to the Corporation.
Thus prepared, I and my pupils joined the other Musicians, and as
each carried his instrument under his arm, we reached our places
without opposition. We found the saloon in which the theatre had been
erected, already brilliantly lit up, and filled with the numerous
suite of the Sovereigns. The seats for Napoleon and his guests were
close behind the orchestra. Shortly after the most able of my pupils
to whom I had assigned the direction of the music, and under whose
leadership I placed myself as a new fledged hornist, had tuned up
the orchestra; the high personages made their appearance, and the
overture began. The orchestra with their faces turned towards the
stage, stood in a long row, and each was strictly forbidden to turn
round and look with curiosity at the Sovereigns. As I had received
notice of this beforehand, I had provided myself secretly with a small
looking-glass, by the help of which as soon as the music was ended, I
was enabled to obtain in succession a good view of those who directed
the destinies of Europe. Nevertheless, I was soon so entirely engrossed
with the magnificent acting of the tragic artistes, that I abandoned
my looking-glass to my pupils, and directed my whole attention to the
stage.--But at every succeeding “entre-acte”, the pain of my lips
increased, and at the close of the performance they had become so much
swollen and so blistered, that in the evening, I could scarcely eat
any supper. Even the next day, on my return to Gotha, they had a very
negro-like appearance, and my young wife was not a little alarmed when
she saw me; but she was yet more nettled, when in a jesting tone I
said: that it was from kissing to such excess the pretty Erfurt-women!
When, however, I had related to her the history of my studies on the
horn, she laughed heartily at my expense.
About that time, though I do not exactly remember whether it was on
that journey to Erfurt, or upon a previous one, the Emperor Napoleon
slept also once in the palace at Gotha, and on that account a
Court-concert had been commanded the previous evening. I and my wife
had the honour to play before the allpowerful man, and he addressed
a few words to us. On the following evening also, we received our
share of the “Gold Napoleons” which he had left as a present to the
Court-orchestra.
The Duke of Gotha was at that time high in his favour, and therefrom
great advantages were expected for the Duchy. But he must have lost
it afterwards by some neglect; for when the Emperor passed through on
a subsequent journey, a scene occurred that filled the inhabitants of
Gotha with bitter rage against the tyrant. The Emperor was expected
about 11 o’clock. A breakfast had therefore been prepared in the
palace at Friedrichsthal, the summer-residence of the Court, and the
whole Court-circle was assembled in state-costume. The posthorses
ready harnessed were waiting in the palace-square, to take the Emperor
immediately after breakfast upon his farther journey.--At length, the
first gun of the salute resounded above on the Friedenstein, from
whence every time the Emperor passed through, 101 guns were fired.
Shortly afterwards, his carriage drove up. The Duke, surrounded by
his Court, already stood with uncovered head at the iron gates,
approached the carriage with humble demeanour, and begged that his
Imperial Majesty would deign to take breakfast. An abrupt _non!_ and
the order to his Mamelucks to put to the horses, was the reply. Without
condescending any further word or look to the Duke, he leaned back in
the carriage and left the Prince standing at the closed door in the
most painful perplexity. The Duke turned pale with inward rage to see
himself so insulted in the presence of his Court and People, and yet,
had not the courage to return immediately to the palace. Thus passed in
a dead silence, five or six fearfully long minutes, until the horses
were put to. At the first forward movement they made, the Emperor’s
head was once more visible, and with a cold nod, he drove off. The
Duke, as though annihilated, returned to the palace, and the citizens
loudly expressed their rage, that the overbearing Corsican should have
so insulted their Prince.
On the 6. November, 1808, my wife presented me with a second daughter,
who was named _Ida_, after my wife’s step-sister Madame _Hildt_, who
held her over the font. Her confinement passed over as lightly and
happily as the former one, and during the first days the health of the
invalid was excellent. This, however, induced her to leave her bed too
soon, whereby she caught cold, and the sad consequences were, that she
was seized with a violent nervous fever. For several days her life was
in imminent danger. I left her neither by day nor night, for she would
receive attention from no one but me. What I suffered at the side of
her sick-bed is indiscribable! Alarmed by her fits of delirium, by the
grave countenance of the physician, who shunned my interrogatories,
and tortured with self-reproaches for not having taken more care of
her, I had not a moment’s rest during _Dorette’s_ illness. At length
the more cheerful expression of the physician’s face betokened that the
danger was passed, and I, who during the last days, first became really
sensible of all I possessed in my wife, and of the intense love I bore
her, now felt unspeakably happy. Her recovery progressed rapidly. Yet
there was great weakness still remaining, from which _Dorette_ was not
wholly releived until the spring, when by the recommendation of the
Doctor I hired a house in the country with garden attached, and by that
means procured her the continual enjoyment of fresh air. Strengthened
by this, she then gradually began her musical studies, which for almost
six months she had been obliged to discontinue. In the Catalogue of
the whole of my works, which I began shortly after my appointment in
Gotha and continued up to the present time, besides those Compositions
already named, dating from 1808, the following are specified: Two
Duetts for violin (op. 9) and one for violin and viola (op. 13),
Variations for the harp and two Quartetts for stringed instruments.
In Quartetts, certainly the most difficult of all compositions, I had
already made a trial the year before. But with them I succeeded no
better than with Song-compositions. Shortly after their completion they
no longer pleased me; and for that reason I should not have published
them had not my Leipsic publisher, Herr _Kühnel_, at whose house I
played them in the autumn of 1807, retained them almost by force, and
shortly afterwards published them (as op. 4). The new Quartett (op. 15)
also brought out by _Kühnel_, pleased me it is true somewhat longer;
but at a later period when I had learned to produce a better style of
Quartett-composition I regretted also that I had published them. The
two first Quartetts I dedicated to the Duke of Gotha, but only at his
personal request; for though I felt a pleasure in dedicating my works
to _Artistes_ and amateurs of music, as a token of my respect and
friendship, yet my artistic pride would never permit me to dedicate
them to Princes for profit’s sake, though even at their express desire.
At the time when the Duke invited me to dedicate my Compositions to
him, he frequently used to send for me to converse with him upon his
tastes in Art. As is well known, in spite of his peculiarities, he was
a man of mind, and cultivated taste, which his published Poems and
his Correspondance with _Jean Paul_ sufficiently prove. But with the
affairs of Government he did not in the least trouble himself, and
left them entirely to the Privy-Counsellor _von Frankenberg_, who,
therefore, was virtually the Regent of the land. Obliged _pro forma_
to be present at the sittings of the Privy-Council, he invariably got
tired of the subjects of discussion, and endeavoured to make them as
short as possible, himself frequently, saying, in derision of his own
want of interest “will not the Gentlemen of the Privy-Council soon be
pleased to command what I am to command?”
At that time, perhaps incited by my Compositions for the voice, he
was seized with the desire to have one of his longer poems, a kind
of Cantata, set to music. He did me the honour to consult me on the
subject. But as the Duke probably could not prevail on himself to
let me see his limited knowledge of music, he applied to his old
music-master, the Concert-Director _Reinhard_, to carry it out. From
him at a later period, in an unguarded and confiding moment, I heard
how the composition of the Cantata was brought about. The Duke, read to
his master seated at the piano, a passage of the text, and explained to
him his ideas respecting the style in which it should be composed. When
the Duke had once heard or read the characteristics of the different
tones, _Reinhard_ was then obliged to strike several of them in sequent
accords, so that he might find the right one for his text. If this
was cheerful, a Major-Key was chosen, if it was mournful, a Minor-Key
was selected. It happened one day that the Duke took the Major too
sprightly, and the Minor was too mournful, upon this he required poor
_Reinhard_ to sound the Key in _half_ Minor. When they had agreed upon
this point, the melody suited to the text was next sought for. The Duke
then whistled every melody that came into his head, and left his master
to choose the most suitable to the character of the words. When in this
manner a few lines of the poem had been disposed of, they passed on
to the next. As _Reinhard_ could not compose, or at least not arrange
the instrumentation, the plan of the Cantata thus sketched out in the
Duke’s leisure-hours was handed over to the “Kammer-Musicus” _Backofen_
to complete with score. The latter, as may readily be imagined,
could make but little use of the materials given to him, and was
therefore obliged to recompose as it were the Cantata anew. Possessing
considerable talent for composition, he accordingly put out of hand
a piece of music such as could well be listened to. The work thus
completed, was now written out, carefully practised under my direction,
and then produced at a Court-Concert. The Duke, though he may well have
been somewhat astonished that his music sounded so well, received the
congratulations and praises of the Court with a satisfied mien, praised
me for having so well entered into his ideas in practising it with the
orchestra, and privately sent his two fellow-workmen their gratuity. In
this manner all parties were satisfied.
In the winter of 1808-9, I arranged some Subscription-Concerts in
the town for the benefit of the Court-Orchestra. But as these could
present nothing better than was heard at the Court-Concerts, and those
were much frequented by the amateurs of music of the town, for whom a
large space behind the orchestra in the Concert-saloon was set apart,
these Subscription concerts met with but little support. The product
therefore was so small after the deduction of the expenses, that it was
not considered worth while repeating the undertaking.
At one of these Concerts, Herr _Hermstedt_, Director of the
“Harmonic-music” to Prince Sondershausen, appeared as Clarinet player,
and attracted much attention by his admirable performance. He had
come to Gotha to request me to write a Clarinet-concerto for him, for
which the Prince upon the condition that _Hermstedt_ should be put
in possession of the manuscript, offered to pay a handsome gratuity.
To this proposal I gladly assented, as from the immense execution,
together with the brilliancy of tone, and purity of intonation
possessed by _Hermstedt_, I felt at full liberty to give the reins
to my fancy. After, that with _Hermstedt’s_ assistance I had made
myself somewhat acquainted with the technics of the instrument, I went
zealously to work, and completed it in a few weeks. Thus originated the
Concerto in E-minor, published a few years afterwards by _Kühnel_ as
op. 26, with which _Hermstedt_ achieved so much success in his artistic
tours, that it may be affirmed he is chiefly indebted to that for his
fame. I took it over to him myself to Sondershausen, at the end of
January, and initiated him in the way to execute it. On this occasion,
I appeared also as Violinist at a concert given by _Hermstedt_, and
played for the first time, my Concerto in G-Minor (op. 28) which I had
just finished a few days before, and, also, a new Pot-pourri (op. 24).