with _Andreas Romberg_ and the Director of Music _Schwenke_. Both
those celebrated Artistes received me in the most friendly manner,
and rendered me every possible assistance in my concerts. _Romberg_
took care to provide a good Orchestra and directed it himself, and
_Schwenke_, the dreaded critic, undertook to announce the Concerts in
the newspapers. As his opinion was considered the highest authority,
the favourable manner in which he introduced the Artiste-Pair to the
notice of the Public, and afterwards pronounced upon our performance,
and upon my compositions, contributed not a little to the great success
we met with in Hamburgh. Both those Artistes lived amid an agreable
family circle and were much pleased when I and my wife looked in upon
them at tea-time. We then chatted on nothing but Music, and many were
the entertaining and instructive discussions that arose. _Romberg_
took great pleasure in reverting to his former residence in Paris,
and related many piquante incidents of the musical celebrities there.
_Schwenke_ amused us highly with his witty but biting criticism,
which scarcely spared any one. I might therefore well be proud that
my Compositions and Play were favourably spoken of by him. The
specialities touched upon by _Schwenke_ in these discussions were
very instructive for me, and I was therefore always delighted when
I met him at these Music-Parties. At this time, Quartetts were much
played in Hamburgh, and _Romberg_ had studied his Quartett admirably,
in which the execution of the Violincellist _Prell_ formed a most
attractive feature. It was therefore a pleasure to join them. _Romberg_
only played particular Quartetts, and though no great Virtuoso on
his instrument, executed them with skill and taste. But he only grew
right warm with the subject, when he could smoke his pipe at his ease
while Quartett-playing[11]. I played his favorites among the Quartetts
of _Mozart_ and _Beethoven_ and in this instance, also, excited much
sensation by my truthful rendering of the distinctive characters of
each. _Schwenke_ expressed himself thereon in the most eloquent terms.
At his desire, also, I was obliged to play two of my own Quartetts. I
did it unwillingly, as they no longer came up to the standard I now
prescribed to myself in that kind of composition. This I expressed
also without reserve; but they pleased nevertheless, and found grace
even from _Schwenke’s_ sharp criticism. _Romberg_ was of a different
opinion. He said to me with ingenuous openheartedness: “Your Quartetts
will not do yet; they are far behind your Orchestral pieces!” Much
as I agreed with him, yet it wounded me to hear another express that
opinion. When therefore, a few years afterwards I wrote some Quartetts
in Vienna, which seemed to me more worthy of my other Compositions,
I dedicated them to _Romberg_, in order to shew him that I could now
write Quartetts, “which would do.”
[11] _Bernhard Romberg_, also, constantly smoked while playing, and
I once heard him in his house at Gotha, executed his most difficult
Concerto in F-Minor, without taking the pipe from his mouth.
At one of the Musical Parties where I and my wife were present, a
comical misunderstanding arose which excited much laughter.
A rich Jew banker, who had heard my Quartett-playing much praised,
was desirous to give his Circle a treat, and so he invited me to his
house. Although, I knew that I should meet an auditory there but little
able to appreciate such high class Music, I could not well refuse,
as the wealthy man had taken forty tickets for each of my concerts.
I therefore accepted the invitation, but on the condition that the
best Artistes of Hamburgh should be invited to accompany me. This was
promised, and upon my entering the brillant company I not only found
_Romberg_ was present, but saw another distinguished violinist. Just
as the Quartett-playing was about to begin a fourth Violinist made
his appearance with his instrument, and we now saw with astonishment
that the master of the house had invited Violinists only. As a good
Accountant, he knew that to play a Quartett, _four_ persons were
necessary, but not that a Violist and Violincellist should be among
them. To extricate him from his perplexity, he was advised to send
quickly for Herr _Prell_ at the Theatre. But as the performances were
already over there, in spite of every endeavour, neither he nor any
other Violincellist could be found, and the company would have been
obliged to separate without any music, had not I and my wife played one
of our sonatas. If the musical knowledge of this Macenas of Art was
but little, his delicacy was still less. For when I took leave of him
that evening, he went to his writing table and taking out 40 Species,
said as he held them out to me: “I hear, you are going to give a third
Concert; send me forty more tickets; I have still, it is true, almost
all the others, but will take new ones, nevertheless.” Indignant at the
meanness of the rich Jew, I declined to take his money, and said: “The
former tickets, certainly, do not admit to the next Concert; but yours
shall. You will not therefore require any new ones.” And so I left him
standing embarrassed and ashamed before his company, and turned my back
upon him. On the day of the Concert, nevertheless, one of the servants
of the Hebrew Cresus came for the forty tickets.
Before I left Hamburgh, another offer was made to me that gave me much
pleasure. The celebrated Theatrical-Manager, Actor, and Play-writer
_Schröder_, who for nearly ten years had lived in retirement, and had
then let his Theatre to other speculators, was suddenly seized with the
desire to resume the management after the expiration of their lease.
The Play-going public of Hamburgh were rejoiced at this, for they
looked forward to see their Stage reassume the distinguished rank to
which it had formerly attained under _Schröder’s_ direction. The new
management was to commence with the year 1811, and open at first with
several new Plays and Operas. _Schröder_ himself had already written a
number of Plays and Comedies, for the occasion, and had procured the
librettos of four Operas, for which the music was now to be composed.
Three of these were already in the hands of _Winter_ of Munich, of
_Andreas Romberg_ and _Clasing_ the teacher of music in Hamburgh;
but the fourth “_Der Zweikampf mit der Geliebten_” of _Schink_ was
offered to me for composition. The negotiator in this matter, was a
former acquaintance of mine, _Schmidt_, the actor, previously on the
Magdeburgh but now on the Hamburgh stage.
Little satisfied as I had hitherto been with my Dramatic labours, the
desire to make another trial was by no means diminished. I therefore
accepted the offer without much preliminary enquiry about the
conditions, and without submitting the libretto destined for me to any
proof. The conditions were nevertheless very fair. A written agreement
was drawn up in which these were stipulated and signed by both parties.
I undertook to deliver my composition in the spring of 1811, and to
go to Hamburgh in the course of the summer, to direct the three first
representations of the opera.
With the prospect of a pleasant task before me, I now gladly returned
to the quiet of Gotha. But I was somewhat anxious lest the Dutchess
might have felt offense at our protracted absence, and I was the more
confirmed in that fear when upon paying our visit of return, to the
Dutchess, we were not received. We saw her therefore for the first time
again at the Court-Concert. As I well knew that the surest way to make
our peace with her, was to appear in this at once, I played one of my
Sonatas with my wife, and afterwards the Dutchess’s favorite Variations
of _Rode_ in G-Major. This had the desired effect; for at the end of
the Concert, the Dutchess advanced towards us, greeted us in the most
friendly manner, and would not permit us to finish our apologies. With
our mind at rest, we could now fully enjoy the happiness of being once
more united to our children.
As soon as we again felt at home, I longed to commence the composition
of the Opera I had brought with me. I now first saw, upon a nearer
examination of the libretto, that I had not drawn a very great prize.
The subject though in itself not uninteresting, had been worked out
in a manner that little suited me. I felt the necessity for some
alterations, and therefore applied first to Herr _Schröder_ for
permission to make them. This was readily conceded, and with the
assistance of a young Poet in Gotha, I altered what did not please me,
but saw later on its representation, that I ought also to have erased
many other things. I was then, however, still too little experienced in
Dramatic-writing.
Scarcely had I begun the Composition of the first acts of the Opera,
than I was called away from it by another task. In the spring,
_Bischoff_, the Leader of the choir at Frankenhausen, came to Gotha,
and offered me the Direction of a Musical Festival, which he purposed
to give in the church of his town, in the course of the summer. He
had already secured the assistance of the most celebrated Singers, as
well as of the most distinguished members of the Court-Orchestras
of the neighbouring Thuringian Capitals, and therefore had no doubt
of the most brilliant success. As the junior Director of these
Court-Orchestras, I felt not a little flattered at having the
Leadership offered to me, and accepted it with pleasure, although I had
never yet directed so large an Orchestra and Chorus company as would
be there assembled. I was now obliged to lay aside for some time the
work I had begun, for _Hermstedt_ urgently besought me to write another
new Clarinet-Concerto for him, to play at the Festival. Although sorry
to be disturbed in my studies, I allowed myself to be persuaded, and
finished it in sufficient time for _Hermstedt_ to practise it well
under my direction. This first Musical Festival at Frankenhausen, which
at that time attracted great attention in the Musical World, and gave
rise both on the Elbe, the Rhine, in North-Germany and Switzerland, to
the institution of similar Musical Festivals, found in Herr _Gerber_,
the author of the Musical-Lexicon, so eloquent a Commentator, that I
think I cannot do better than quote in part here his notice, in the 12.
Annual-Volume Nr. 47 of the Musical Journal:
“On the 20. and 21. of June, a Musical-Festival was celebrated in
Frankenhausen, a Town in the Schwarzburg-Rudolstadt Circle, four
leagues from Sondershausen; at which _Haydn’s_ “_Creation_” was
performed, and a Grand Concert; a Festival as remarkable for the
successful manner in which the numerous difficulties attending the
arrangement of the whole had been overcome, as for the high degree of
excellence exhibited in the presence of thousands, who had gathered to
hear it from a distance of twenty leagues round. When it is considered
that we are here speaking of a country town in Thuringia, in which
the Musical-_personel_ consisted alone of the “Stadt-Musicus” and
his assistants, with the vocalists of the Choir, the possibility of
accomplishing such an undertaking must excite the greatest surprise....
“The Precentor Herr _Bischoff_ of Frankenhausen, a young, active man,
and an enthusiast in his love for Music, who already in 1804, with the
assistance of his neighbours and a few members of the Ducal Orchestra
of Gotha, under the leadership of Concert-Director _Fischer_ of Erfurt,
and _Ernst_ of Gotha, performed “The Creation” in the principal
church of that place with about eighty Singers and Instrumentalists
to the great satisfaction of the hearers; felt thereby encouraged to
reproduce once more that great master-piece, according to the idea of
its great Composer with _two hundred_ Singers and Instrumentalists.
His purpose was long hindered by the passage to and fro of foreign
troops. At length in the present apparent calm in Germany, he undertook
to carry it out. With that view he had some time previously visited
Weimar, Rudolstadt, Gotha and Erfurt; to several towns he sent written
invitations, and as these were everywhere favourably received, early on
the 19. June, 101 Singers and 106 Instrumentalists, for the most part
of Thuringia, had assembled for the rehearsal, and among these, twenty
Artistes from Gotha with their celebrated Director, Concert-Master
_Spohr_.
“The Assistants were partly graduated Musicians, and Members of
Orchestra, partly Dilletanti and Virtuosi of first rank, each with
his own instrument, and most of them already familiar with the
“Creation”....
“Of this assemblage, the following Orchestra was formed: Director,
Concert-Master _Spohr_; Soprano-Solo, Madame _Scheidler_ from Gotha;
Tenor-Solo, “Kammer-Singer” _Methfessel_ from Rudolstadt; Bass-Solo,
“Kammer-Singer” _Strohmeyer_ of Weimar; Organ, Director _Fischer_ and
Professor _Scheibner_, both of Erfurt; Pianiste, Director _Krille_
from Stollberg; Director of the Chorus, Precentor _Bischoff_ of
Frankenhausen; Chorists, Soprani 28, Alti 20, Tenori 20, Bassi 30.”
Here follow the names of all the Musicians, and a description of the
arrangement of the Orchestra. The notice then continues:
“This appropriate and excellent arrangement, by which each had
sufficient room, and the Director constantly in view, contributed
without doubt not a little after one rehearsal only to the successful
execution of so great a work of art, new to many, and exceedingly
difficult, as was in particular produced on the second day:
“1) A grand new Overture for full Orchestra (with bassoons also) by
_Spohr_. 2) A grand Italian Scena for Bass by _Righini_, sung by
_Strohmeyer_. 3) A grand new Clarinet Concerto, written expressly
for this Festival by _Spohr_, and played by Director _Hermstedt_.
After which 4) Concert-Master _Fischer_ played upon the full Organ an
artistic Introduction to the last Chorus from _Haydn’s_ “Seasons”. This
was followed 5) by a Double-Concert for two Violins (also of _Spohr’s_
original-Composition) played by himself and _Matthäi_. 6) A grand
_Rondo_ from a Concerto in D-Major by _Bernard Romberg_, artistically
played by _Dotzauer_, and lastly, Beethoven’s C-Major Symphony....
“Herr _Spohr’s_ leading with a roll of paper, without the least noise,
and without the slightest contortion of countenance, might be called
a _graceful Leading_ if that word were sufficient to express the
precision and influence impressed by his movements upon the whole mass,
strange both to him and to itself. To this happy talent in Herr _Spohr_
I ascribe in great part the excellence and precision--the imposing
power, as well as the soft blending of this numerous Orchestra with the
voices of the Singers in the execution of “The Creation.”
“The full toned yet flexible voice of Madame _Scheidler_, so
well adapted to a large church, the expressive execution of the
Art-experienced Herr _Methfessel_, the magnificent bass-voice of Herr
_Strohmeyer_, indisputably the finest I ever heard, reaching from
Contra D to G _on the second line_, .... these three Solo-Singers,
in unison with so many distinguished Virtuosi leading every Voice,
where each sang or played voluntarily and with pleasure, justify me in
affirming that this execution of “The Creation” was the most powerful,
most expressive and in a word the most successful that I had ever
heard.....
“The Overture with which the Concert began on the following day,
belongs properly considered to the _Master-pieces in modulation_.
Almost with every new bar, one _Inganno_ succeeds the other, so that
it may be looked upon as a connected series of studies in modulation.
Probably, this restlessness, this vacillation, has reference to the
character of the “Alruna” for which drama this was written. Great,
however as the effect of this Overture may certainly be in a Theatre,
yet as Concert-Music it did not appear to make the impression that
might have been expected from its execution by so good and numerous
an orchestra. This result can be explained in no other way than, in
as much as continuously disappointed hopes depress the spirits and
make the mind uneasy, so a music which to the end disappoints the
expectations of the ear, never satisfies. A profusion of crooked and
sometimes rough passages, leading to no object, to no repose, and to
no further enjoyment, in which the Composer merely keeps the mind
of the hearer in suspense become at length wearisome. The music of
our forefathers 200 years ago, consisted of just such a profusion of
crooked passages, without resting place--of numberless modulations
and sustained terminals. But our worthy ancestors were as yet wanting
in the flowers wherewith to embellish and make a little resting place
interesting, that is: they were yet wanting in figures of Melody to
entertain their hearers agreably in one Tone. But how easy would this
have been to the admirable _Spohr_, who has so many of the beautiful
flowers! The so called contrast in great Musical works is by no means
to be despised; and least of all, the more it is grounded upon human
perception and feeling.
“Of the effect of Herr _Strohmeyer’s_ execution of the grand Scena of
_Righini_, it is here unnecessary to say any thing further, since his
splendid delivery has had full justice done to it above. _Righini’s_
charming Song, and admirable instrumentation are sufficiently known.
The Scena kindled the enthusiasm of the whole audience.
“_Spohr’s_ Clarinet-Concerto in E-Minor, played by _Hermstedt_, is
indisputably one of the _most perfect Artistic Works of the kind_. A
grand and brilliant handling of the concerted instruments, combined
with a most original accompaniment for the Orchestra, in which as it
were each instrument even the kettle-drum, is _obligato_, and which
for that reason requires a more than usually practised and attentive
Orchestra, entitles it to be so considered. The third, Polonaise-like
theme, is particularly remarkable, in which one knows not whether to
admire most the brilliancy of the artistic Soli’s or the admirably
elaborated Tutti’s--in the latter of which, the wind instruments seem
actually to engage each other in a Thematic struggle. This artistic
work is moreover conspicuous for the cheerful spirit that pervades it
throughout. The admirable execution of this Concerto did great honour
to the Composer, the Player and the whole Orchestra; and set thousands
of hands among the audience in lively and continuous motion.
“Hereupon, Concert-Master _Fischer_ surprised the Orchestra as well
as the audience not a little, by falling in with the full Organ, in
order to introduce the now ensuing chorus of the Finale, in C-Major.
This novel kind of Music, of which nothing had been heard at the
rehearsal, its artistic connecting of the Voices, its harmonious turns
and masterly modulations made every member of the Orchestra doubly
attentive. For some minutes he may have entertained the audience
in this manner, when, he dwellt upon the dominant, and to keep the
expectation yet more alive for the entry of the Chorus, by means of
a sort of Organ-Point, formed a close at this interval. This was no
sooner observed by Herr _Spohr_, than he lifted his roll of paper, and
scarcely had the last organ-tone ceased, when the whole Orchestra fell
in with the first single chord C of the Chorus; which C, the trumpets
had then to sustain alone to the end of the bar. This was executed with
the greatest punctuality. One of the trumpeters, only, preoccupied
with the Organ play, had forgotten to change his mouth piece and so
blew on in E-Minor. In an instant Herr _Spohr_ made a motion, and
nothing more of the second bar was heard from the Orchestra. Upon this
Herr _Fischer_ instantly fell in again with the Organ, continued his
Prelude, and this time closed in form with the dominant C-Major--just
as if that occurrence had been intentionally introduced.
“As no pause whatever in the music took place, so that, except by the
Orchestra, it would have been difficult for any one to have remarked
this oversight, it might have been wholly concealed, were it not to
be feared, that experienced Musicians might laugh at my here repeated
assurances of nothing but faultless and successful performances by an
Orchestra collected from twenty leagues round, after one rehearsal
only, in the same manner as our present newspaper political reports are
frequently ridiculed.
“After a pause of about a quarter of an hour, Herr _Spohr_ resumed
his Violin, Herr _Matthäi_ drew nearer to him, and now those two
admirable Artistes, by their perfect execution of a double Concerto
of Herr _Spohr_ afforded us the most lively enjoyment of alternating
admiration, astonishment and pleasure. They seemed frequently in open
feud for superiority in artistic execution, then became as it were
reconciled and poured forth together the most harmonious roulades upon
the listeners. The precision, and the rapidity with which they took
up and combined their respective tones, was worthy of admiration. The
quite original _Adagio_ of this masterly work which now followed,
commenced with a Trio for two Violincellos, impressively performed by
Herren _Preissing_ and _Müller_, and for a Contra-Bass, by Herr _Wach_
of Leipsic. When these three had ended their soft melodious play, a
_Quadro_ in long drawn and tied chords, as though from a Harmonica,
but somewhat deeper, was heard. It had a thrilling, and sweet effect.
Everybody looked round to the Bassi and Violi, from which this heavenly
harmony seemed to have in part proceeded, but every arm was still,
and the bows of Herren _Spohr_ and _Matthäi_ moved alone. It was they
alone, also, who had played that _Quadro_--and with a purity, that
upon the taking up of the Con-sonants after releasing the ties, the
ear was frequently moved with a singularly deep felt charm. After a
second similar Violincello-trio, the Quadro of the two Concerto-voices
recommenced, and proceeded to the close. The last Thesis accorded fully
with the science and beauty of the first.
“Upon this, Herr _Dotzauer_ advanced to the front music-desk, and
played, owing probably to the shortness of the remaining time, a
_Rondo_, but a Rondo of masterly elaboration and very difficult,
from a Violincello-Concerto in D-Major by _Bernard Romberg_, with an
execution, roundness and force in the sustained passages, and with a
lightness, purity, expression, and silvery tone in the melodic parts
of the higher octaves, that in his performance of this _Rondo_ alone,
he displayed in the most admirable manner his great mastery of his
instrument.
“_Beethoven’s_ Symphony in C-Major; indisputably his most pleasing and
popular one, formed the conclusion. It could not have been executed
with more grace, fire and precision. The Chorus of wind instruments in
the _Trio_ of the Minuett afforded particular enjoyment. One imagined
to hear the tones of an exceedingly pure harmonica. A general and long
continued applause evinced the thanks and satisfaction of the audience
with the choice of the masterly compositions performed, and with the
manner in which they had been executed by the assembled artists.
“Though we commenced by adverting to the difficulties which had been
surmounted by the gentleman who carried out this undertaking, both in
the arrangements for the mental and bodily recreation of his numerous
guests, we feel it a duty to add yet something in respect to the
latter, a by no means easy thing to effect in so small a town.
“The hundred Chorists were distributed among the different Inns, where
they found both bed and board. The whole of the Virtuosi, Singers and
Dilettanti were on the other hand received into respectable private
houses. But in order to render the stay of the kind lovers of Music
who had met together from such distant places, as agreable to them as
possible, Herr _Bischoff_ had made a sacrifice of the flower garden
immediately behind his house, and converted it into a Dining-room. The
Saloon erected for this purpose was decorated with green branches the
pleasing freshness of whose verdure seemed a friendly welcome to the
company.
“In this Saloon, the tables were laid out, and the repasts served.
It was a pleasure to behold so many worthy Artists and Lovers of Art
assembled here for one and the same purpose, proceeding thence to their
labour of Love, and returning therefrom to meet here anew for cheerful
enjoyment, and to pay unanimous and hearty tribute to the great father
_Haydn_, the excellent _Spohr_ and many other first rate Artists in
brimming glasses. The hilarity of the supper table was generally
heightened by lively and well sung songs. Fine voices joined, and
sang Quartetts and Canons; Herr _Methfessel_ taking his guitar would
entertain the company with pleasing Ballads, and touching Romances of
his own Composition; by way of change, he then sang a Comic Song, or
two, and exhibited his liveliness of fancy, his richness of invention,
wit, and humour of expression, as well as his intimate knowledge of
tone and harmony. Herr _Hachmeister_, the Assessor of mines from
Clausthal taking then the guitar from him in turn, charmed the company
with National Songs in the Thuringian dialect, replete with such wit
and humour as compelled the hearer despite himself, to laugh at the
cares of life.”