and friends of Art then assembled in Frankenhausen, among others,
that of Amtsrath _Lüder_ of Catlenburg, who up to the present time
has remained one of my most intimated friends. _Lüder_ then resided
in the neighbourhood of Bremen and was upon a journey of business to
Berlin. On arriving at the foot of the Hartz mountains, his postillion
informed him of the approaching Musical Festival in Frankenhausen and
pictured to him in so attractive a shape the Musical treat that was
to be expected there, that _Lüder_ immediately made him diverge from
the road, and take the direction of Frankenhausen. Arrived there, his
first care was to enquire for me, to ask permission to be present at
all the rehearsals. This was not only very readily granted, but I also
invited my new acquaintance whose enthusiasm for Art greatly pleased
me, to join our meetings under the tent at dinner and supper. Here in
the hours intervening between the rehearsals and the performances,
amid artistic enjoyments seasoned with lively sallies of wit and
good humour, a social intercourse sprang up so delightful, that all
who shared in it will assuredly have looked back upon it with the
greatest satisfaction. A small circle of similarly minded enthusiasts
for Art had especially gathered round me, and we soon became so
mutually attached, that after the close of the Festival it became
difficult to separate, and an excursion together to the Kyffhäuser
was determined upon. On this mountain-excursion which was favoured
by the most beautiful weather, it was the Singer _Methfessel_ from
Rudolstadt, who more particularly kept the company in the merriest
mood by his inexhaustible humour. I still remember with great pleasure
an improvised Capucin-sermon which he preached from the chancel of a
ruined cloister, in which he interwove in a half serious, half comical
manner the chief incidents of the Musical-festival. From the summit of
the Kyffhäuser, he sang also the praise of the Emperor Barbarossa, and
urged him to a speedy resurrection for the final enfranchisement of
Germany.[12]
[12] According to the ancient legend, the belief in which was once
popular throughout Germany; _Frederick Barbarossa_, seated at a stone
table in the vaulted tower of the Imperial Castle of the Kyffhäuser,
awaits since 600 years the hour of Germany’s regeneration, in order
to reappear once more in the vigour of life, prepared for new works
and achievements for the glory and well being of a united Germany. The
red beard of the Emperor grows round the table of stone in front of
him, and so soon as it has wholly grown round it for the third time,
_Frederick_ will awake. His first act will then produce a symbol of
his further mission. He will hang his shield upon a withered tree,
which will then suddenly shoot out its buds and leaves again, till
it is covered anew with verdant life and beauty! Such is the legend,
the origin of which dates far back into the middle ages, and must
be considered as a long subsisting expression of that yearning of
the popular mind in Germany which under long enduring circumstances
of political oppression looked towards the future with hopes of
enfranchisement and relief, and which associated those hopes and
aspirations with the memory of an honoured name.
(Note of Translator.)
Arrived again at the foot of the mountain, the new friends were
reluctantly obliged to part, and each returned to his home highly
gratified.
I immediately resumed the composition of my Opera, and finished it in
the course of the winter of 1810-1811. Besides this, in my catalogue
appears the following Works at this period: A Violin-concerto
afterwards published by _Peters_, a Sonata for Harp and Violin (Op.
114, by _Schuberth_) and an Italian aria, _alla Polacca_, with Violin
Obligato, which was never engraved. I wrote the latter at the request
of Prince Frederick von Gotha, brother of the Duke, who gifted with a
pleasing tenor voice, frequently sang in the Court-concerts, and much
wished to have an Air with Violin accompaniment of my composition. It
was frequently sung, particularly when visitors were at court.
The Prince was an amiable well meaning man, who interested himself
in Music much more than his brother, and who, with the Dutchess,
kept alive the interest for the Court-concerts. Unfortunately he was
subject to an incurable complaint, epilepsy, with which he was seized
every fourteen days, (in later years, still more frequently) which
kept him down from 12 to 15 hours at a time. He was then deprived of
the use of all his limbs, and the organs of speech and the muscles of
his face were the only parts that remained unaffected. During these
dreadful attacks he would lie in bed as motionless as a corpse; but
was always pleased when any one visited him, and entertained him with
conversation. From the continual recurrence of these attacks he had
become so accustomed to his condition, that he could be quite cheerful
during their duration. His physicians considered that a milder climate
would be most likely to cure him, and for that reason sent him to
Italy. I met him in Rome during my tour in Italy in 1816; and mention
will therefore be frequently made of him at that part of my narrative.
In the spring of 1811, the Precentor _Bischoff_ again paid me a visit,
and invited me to conduct a second grand Musical Festival which
he intended giving in Frankenhausen. He also begged me to play a
Violin-Concerto on the second day of the Concert, and to write a grand
Symphony for the opening. Although I had not yet attempted that kind of
Musical composition, I acceded with pleasure to his request.
In this manner the opportunity presented itself for another interesting
task, and I immediately set about it with spirit. Although hitherto
it had been usual with me to lose after a time all taste for my first
essays in a new style of Composition, this Symphony was an exception
to the rule, for it has pleased me even in after years. As I had
previously practised it very carefully with my Orchestra, which was
composed of the _élite_ of the Frankenhausen Orchestra, although we
could have but one rehearsal of it, it was nevertheless executed
in an admirable manner at the Festival, and met, particularly from
those who took part in it, with an enthusiastic reception. I felt
highly gratified at this, more even than at the applause I gained as
Solo-player. In Leipsic also, where the Symphony was executed in the
Drapers’-House-Concert, it met with great approbation, as is shewn in
a notice of the Musical Journal, which says: “_Spohr’s_ new and yet
unpublished Symphony excited the interest and admiration of all real
lovers of music. Both in invention and elaboration, we consider it
not only to surpass all that we know of the Orchestral-Music of this
Master, but confess also, that for many years we have scarcely heard a
new work of this kind, which possesses so much novelty and originality,
without singularity and affection; so much richness and science,
without artifice and bombast. We may therefore confidently predict,
that when published, it will become a favorite piece with every great
and skilled Orchestra, and with all serious and cultivated Auditories;
but it requires both.”
Besides this Symphony, I had also written for the Musical Festival at
_Hermstedt’s_ earnest solicitation, Variations for the Clarinet, with
Orchestral accompaniment, upon themes from the “_Opferfest_” which
he performed with his usual skill. This Composition, (published by
_Schlesinger_ in Berlin as Op. 80) which carries out those themes with
a more artistic Fantasia-like freedom, than as Variations, were greatly
admired by Musicians and connoisseurs.
On the afternoon of the second day, the Musical Festival was followed
by a family fête in the house of the projector. A few weeks before, a
son had been born to him, who was now christened. He had invited the
whole of the assistants to be godfathers, who now in holiday attire
ranged themselves round the altar at the church. I held the infant
son over the baptismal font, and gave him my name “Louis”. When the
clergyman put the question to me and the other godfathers, whether we
would take care that the child should receive a Christian education, a
solemn “Yes” from full three hundred voices echoed through the church.
A Chorus executed by the singers, with Organ accompaniment, terminated
the holy ceremony.
At this second Festival my gratification was still more enhanced by the
presence of my parents among the auditory, and that they took a lively
part in the social gaieties under the tent. The projector was no less
satisfied with his speculation, and thus this Festival terminated like
that of the previous year, to the satisfaction of all.
Shortly after my return, I received intelligence from Hamburgh that
my Opera, which I had sent in in the spring, had been at length
distributed and that its representation would take place in the first
days of November. I therefore applied for a month’s leave of absence
for myself and wife, and set out with her, in the middle of October,
via Hanover, where I intended giving a concert. As this was the first
Opera of mine that was to be represented, I was in a state of great
anxiety. The shock I felt may therefore be readily imagined, upon
receiving a letter in Hanover from the manager _Schröder_, informing me
that the Opera would not be produced, because the _Prima Donna_ Madame
_Becker_ refused to take the part assigned to her, and that according
to the theatrical laws she was perfectly justified in doing so.
The matter was in this wise: Previous to beginning my work, I had
certainly taken pains to inquire of Herr _Schwenke_ respecting the
range of voice and the capabilities of the Hamburgh singers, and in
accordance therewith, I had constructed the chief parts of the opera.
But as I was without all experience in these things, I had neglected to
ascertain the personal appearance of the singers, so that, for Madame
_Becker_, a small, delicate figure, I had written the part of Donna
Isabella, who seeks for her faithless lover at the Court of Princess
Matilda disguised in man’s clothes, and at last challenges him to
mortal combat armed cap-à-pied as a knight. So long as Madame _Becker_,
knew no more about the Opera than her part, she was highly satisfied
and began to practice with great zeal. But as soon as she had read
the libretto, she declared, that she could not undertake the part, as
she would make herself perfectly ridiculous. Exceedingly annoyed at
my mistake I set off for Hamburgh, to remedy it wherever possible,
and to induce the representation of the opera. I found old _Schröder_
in very low spirits, and exceedingly dissatisfied with his theatrical
untertaking. But he had every reason to be so. Several of the
performers had failed to make their appearance, others came too late,
and some had not answered the expectations entertained of them; his
new Plays and Comedies had not been very successful, and empty houses
had been the result. Of the four Operas which he had Music written
for, two were already laid aside, because they had displeased. The one
composed by _Winter_: “_Die Pantoffeln_” had lived through some few
thinly attended representations; that of _Clasing_: “_Welcher ist der
Rechte?_” had been withdrawn from the _Repertoire_ immediately after
the first night, for in spite of the strenuous efforts of _Clasing’s_
numerous friends it was a complete failure.
With such disappointments, it was not to be wondered that the old
grumbler should be mistrustful of my Opera also, and the more so
since the most favorite singer of his theatre would not lend her aid.
But when he offered me payment of the sum agreed for it, and at the
same time laid it aside without having given it a trial, I was much
hurt and protested against it in the most positive manner. At length
after much entreaty, I obtained _Schröder’s_ consent that I should
make a trial of it with another singer, who hitherto had played only
in secondary characters, and practise her in the rôle refused by
Madame _Becker_. In this singer, a Madame _Lichtenheld_, I found great
willingness and natural capacity, and when I had simplified the most
difficult bravura passages of the part to her powers of execution,
I succeeded well with her. Thus at length the rehearsals could be
commenced, and when _Schröder_ had heard one, and had become convinced
that Madame _Lichtenheld_ would fill the part satisfactorily, the
first representation was announced for the 15. November. My former
musical acquaintances one and all, including _Romberg_ and _Prell_,
offered their services to me in the two representations in which I was
to lead the orchestra. _Hermstedt_, also, who had come to Hamburgh to
give a Concert with my support, joined them, and undertook the First
Clarinet part, for which there were some telling Soli’s and a concerted
accompaniment or a Soprano-air. With the aid of these distinguished
artists the Orchestra was considerably strengthened, and as the Singers
and the Chorus were likewise well practised, I was already greatly
pleased with the precision with which my music was performed in the
rehearsals, and therefore entertained the most lively hopes that the
Opera would please. Nevertheless on the evening of the representation,
it was not without fresh anxiety that I took my place at my desk,
for it had come to my ears that, _Clasing’s_ friends would evince an
inimical feeling towards me in revenge for the failure of his opera.
But when the music had begun, I thought of that alone, and forgot
every thing else around me. The applause with which the Overture was
received, shewed me, nevertheless, that the unfriendly party would
not make any demonstration; and so it proved. Almost every piece was
applauded, and the approbation increased yet more towards the end of
the opera. Upon the fall of the curtain a long sustained storm of
applause was given to the composer.
I ought now to have been very happy, but was by no means so. Already
at the first rehearsal some things in my music had displeased me. At
every fresh rehearsal these were increased by something new, and before
the actual representation, the half of my Opera had become distasteful
to me. I now thought I well knew how I could have made it better, and
was greatly annoyed that I had not discovered it before. Yes, indeed,
had my work appeared to me in that light on my arrival at Hamburgh,
I should have made no opposition to _Schröder’s_ intention to lay it
aside unperformed. But my musical friends were of a different opinion;
they were exceedingly pleased with this work, and wished me every
further success. _Schwenke_ wrote a full and very laudatory criticism
of the Opera, wherein he adroitly combated the well founded opinion
of its opponents, that it contained many reminiscences of the Operas
of _Mozart_, and while admitting that the form of the musical pieces
as well as the whole design recalled _Mozart_, he assigned that, as
a recommendatory feature and proof of its excellence. By this, made
watchful of myself, I became sensible of the necessity to break myself
of it, and think that I already fully effected it in “Faust” my next
Dramatic work.
With my permission, _Schwenke_ had some time before made a Piano-forte
arrangement from the Opera, which was now published by _Böhm_ in
Hamburgh, and soon found an extensive circulation.
Of the Concert which I then gave in Hamburgh with my wife and
_Hermstedt_, I recollect but little more than that the latter created
a great sensation by his highly cultivated skill. But I have a clearer
recollection of another Concert in Altona, at which we and several
of our Hamburgh friends assisted, and in which all manner of little
misfortunes befell us, which afterwards afforded matter for much
merriment.
This Concert was given by a rich Musical-amateur of Altona, who invited
the assistants from Hamburgh to a luxurious dinner. After the company
had been at table for two hours, and addressed themselves diligently
to the champaign, they became so merry and forgetful, that nobody gave
a thought to the Concert that was to follow. The terror therefore
was general, when a Messenger suddenly appeared, and announced that
the numerous Audience which had assembled was become impatient and
demanded the opening of the concert. All now hurried to the Concert
saloon; although in reality no one was any longer in a fit state to
make a public appearance. It was especially remarkable that, those
who were usually the most timid had now become the most courageous.
The Altona dilettanti-Orchestra, who were to serve as nucleus and
support to the Hamburgh Artists, were already in their places, and the
Concert immediately began with an Overture by _Romberg_ who conducted
it himself. He, who was unjustly accused of taking the _tempi_ of his
Compositions too slow, hurried the _Allegro_ of his Overture this time
so much, that the poor Dilettanti could not keep up with him. Little
therefore was wanting for the whole thing to break down from the very
overture. My wife and I were then to follow with a Sonata for harp
and violin, which as usual we were about to play without notes. Just
as we had seated ourselves, and I was about to begin, my wife, who at
all other times was self-possession itself, whispered anxiously to me:
“For Heaven’s sake, _Louis_, I cannot remember which Sonata we are to
play, nor how it begins!” I hummed softly in her ear the commencement
of it, and restored to her the necessary calmness and self-possession.
Our Play now proceeded without mishap to the end, and was received
with great applause. It was now Madame _Becker’s_ turn to sing an
Air, and _Romberg_ had just led her forward to the raised platform of
the Orchestra, when to the great astonishment of the public, she all
at once ran off, and disappeared in the room adjoining. _Dorette_,
allarmed lest she should have been taken suddenly ill, hastened after
her. But, both shortly reappeared, and I now ascertained from my wife,
that Madame _Becker_ had found her breath too short from the effects
of the dinner, and was therefore obliged to have her clothes loosened
before she could sing.
_Hermstedt_, now followed with a difficult composition of mine. He, who
always when appearing in public, went to work with the most nervous
precision in every thing, emboldened now to rashness by the fumes of
the champaign, had screwed on a new and untried plate to the mouthpiece
of his Clarinet, and even spoke vauntingly of it to me as I mounted
the platform of the orchestra. I immediately anticipated no good from
it. The Solo of my composition began with a long sustained note, which
_Hermstedt_ pitched almost inaudibly, and by degrees encreased to
an enormous power, with which he always produced a great sensation.
This time he began also in the same way, and the public listened to
the increasing volume of tone with wrapt expectancy. But just as he
was about to encrease it to the highest power, the plate twisted,
and gave out a mis-tone, resembling the shrill cry of a goose. The
public laughed, and the now suddenly sobered Virtuoso turned deadly
pale with horror. He nevertheless soon recovered himself, and executed
the remainder with his usual brilliancy, so that there was no want of
enthusiastic applause at the end.
But with poor _Schwenke_ it fared worse than all. The waist-buckle
of his pantaloons had given way during the dinner, without his being
aware of it. When therefore he had mounted into the orchestra to
take the Viol-part in a Pot-Pourri with Quartett-accompaniment which
I played at the close of the Concert, shortly after he had begun to
play, he felt his pantaloons begin to slip with every movement he
made in bow-ing. Much too conscientious a Musician, to omit a note
of his part, he patiently waited for the pauses, to pull up his
nethergarment again. His predicament did not long escape the notice
of the public, and occasioned considerable merriment. But towards the
close of the Pot-Pourri, when a 1/16 movement shook him so roughly,
that the downward tendency of his pantaloons made serious progress,
and threatened to exceed the limits of propriety, the public could no
longer restrain itself, and broke out into a general titter. By this
untoward interruption of the execution of my Solo, I was thus dragged
also, into the general calamity of the day.
On my return to Gotha, I found a letter from _Bischoff_, in which he
informed me that he had been commanded by the Governor of Erfurt to
make arrangements for a grand Musical Festival there, in the ensuing
summer, in celebration of the birthday of Napoleon, August 15. He had
already agreed with him as to the terms, and now asked me to untertake
its direction, and to write a new Oratorio for the first day. I had
long desired to try for once, something in the Oratorio-style, also,
and readily consented to the proposal. A young poet in Erfurt had
already offered me the text of an Oratorio, in which I had found
several grand passages for composition. It was called: “The last
Judgement.”
I sent for the libretto, and set to work at once. But I soon felt
that for the Oratorio-style I was yet too deficient in Counter-point
and in Fugeing; I therefore suspended my work, in order to make the
preliminary studies requisite for the subject. From one of my pupils
I borrowed _Marpurg’s_ “Art of Fuge writing” and was soon deeply and
continuously engaged in the study of that work. After I had written
half a dozen Fugues according to its instructions, the last of which
seemed to me very successful; I resumed the composition of my Oratorio,
and completed it without allowing any thing else to intervene.
According to a memorandum I made, it was begun in January 1812, and
finished in June. There would not therefore have been sufficient
time to write it out and practise it before the performance, had I
not sent the two first parts of the work to _Bischoff_, immediately
after their completion. By that means, not only could the Choruses be
carefully practised in it, but I had also sufficient time to study
the Orchestral-parts with my own orchestra, which was again to form
the nucleus of the great Erfurt orchestra. In this manner, although
the work is a very difficult one, I was enabled after one general
rehearsal only, to effect a tolerably successful performance of it.
One of the Solo-singers, alone, who sang the part of Satan, did not
give me satisfaction. This part which was written with a powerful
instrumentation, I gave by the advice of _Bischoff_ to a village
schoolmaster in the neighbourhood of Gotha, who was celebrated
throughout the whole district for his colossal bass-voice. In power
of voice he had indeed quite sufficient to outroar a whole Orchestra,
but in science, and in Music, he could by no means execute the part in
a satisfactory manner. I taught and practised him in the part myself,
and took great pains to assist him a little, but without much success.
For when the day of public trial came, he had totally forgotten every
instruction, and admonition, and gave such loose to his barbarian
voice, that he first of all frightened the auditory, and then set them
in a roar of laughter.