could have in making such a proposal; and I therefore resolved to ask
him the question plump and plain. Before doing this I made enquiries
about him, and ascertained that he was a wealthy man, the proprietor of
large cloth manufactories near Znaim, was passionately fond of music,
and never missed being present at every public concert. This sounded
well, and I resolved to accede to the proposal. As compensation for
the three years cession of my manuscripts, I fixed the amount for a
Quartett at thirty Ducats, for a Quintett five and thirty, and so on
progressively higher for the other kinds. When I now wished to know
what Herr _von Tost_ intended doing with the works during the three
years; he at first would not satisfy me, and said, that as soon as he
had bound himself by writing not to publish my compositions, it could
not in the least concern me: but when he perceived, that I had still
some misgivings, he added: “I have two objects in view. First, I desire
to be invited to the music Parties in which you will execute your
compositions, and for that I must have them in my keeping; secondly,
possessing such treasures of art, I hope upon my business journeys to
make an extensive acquaintance among the lovers of music, which may
then serve me also in my manufacturing interests!”
Although unable to understand thoroughly Herr _von Tost’s_ speculation,
I was obliged mentally to confess, that at any rate he had an exalted
idea of the worth of my compositions. This was very flattering to me,
and suppressed all further hesitation. As Herr _von Tost_ had now also,
nothing to object to in the price demanded, nor to the requisition
for payment upon delivery of the manuscripts, the business was soon
concluded by a written agreement in form.
I had brought with me to Vienna one manuscript, a Solo-Quartett for
Violin, which I had finished on the journey. I was just then also
engaged upon a second. I determined to finish that before leaving for
Gotha, and then deliver both to Herr _von Tost_.
Meanwhile I had been so fortunate as to find convenient apartments
in the immediate neighbourhood of the Theatre “an der Wien” on the
first floor of the house of a cabinet maker. As they had been somewhat
disfigured by their last occupants I had them newly painted and
decorated, and was just on the point of furnishing them. I therefore
delivered my two Quartetts to Herr _von Tost_, and demanded their price
of sixty ducats, remarking at the same time that I required the money
for the furnishing of my new domicile. “I will provide you with that,
complete in every respect” was his reply, “and much cheaper also than
if you were to buy them yourself; for I have business transactions with
all those with whom you will have to deal, and therefore can obtain
them on lower terms than you. It will give me moreover an opportunity
to collect some outstanding debts. Appoint therefore a day when I shall
call for you and your wife in order that we may choose the things
together.”
And so the thing was done. We first drove to the new apartments, where
Herr _von Tost_ with great tact and business knowledge sketched an
estimate of all we should require. We then went from one shop and
warehouse to the other, and my wife and I had continually to guard
against his choosing too much, and frequently the most costly and
beautiful articles. We could not however prevent him from ordering for
the best room, a suite of mahagony furniture with silk coverings and
curtains to match; and for the kitchen, a mass of cooking utensils,
crockery and a table service more befitting a capitalist than an
unpretending artiste. It was in vain that _Dorette_ represented we
should give no parties, and therefore did not require so large a
table service. But he was not to be persuaded, and when I expressed
the fear that the whole arrangements would be too expensive for my
circumstances, he replied: “Make yourself easy, it will not cost you
too much; neither shall I ask for any cash payment. By degrees you will
soon square all accounts with your manuscripts.”
Nothing more was to be said against this and thus we found ourselves
in possession of apartments fitted up in a style so handsome and yet
tasteful, as for certain no other artist-family in the City could shew.
I now got every thing ready for my journey. My wife was invited to
reside with a lady of her acquaintance, the sister of the Advocate
_Zizius_, a great lover of music, in whose house we had frequently
played, so that during my absence I could leave her without any
uneasiness.
I had been informed, that a Leipsic merchant about to return home in
his own carriage with extra-post-horses was desirous of meeting with a
fellow-traveller; I hastened therefore to offer my company, and soon
agreed with him upon the terms. I now no longer recollect his name,
but, that he was a well informed and agreable companion, from whom
I parted in the most friendly manner. We journeyed without stopping
to Prague, but remained there a whole day to rest ourselves. I spent
that day very pleasantly at the house of my friend _Kleinwächter_. On
leaving Prague we were obliged to leave the high road to Dresden, as
the armies of the belligerent powers were drawn up there opposite to
each other, and the bridge over the Elbe had been made impassable,
the French having blown up several arches. We were therefore obliged
to find a way over the Erzgebirge, where we also met with detachments
of troops, by which however, we were neither stopped nor turned back.
We arrived therefore without further adventure at Chemnitz. But here
something befell me that filled me with such terror, that I fainted
away, a circumstance which with my strong frame of body, never occured
to me before or since.
We arrived at Chemnitz at noon, just as a numerous company at the
hotel were about to sit down to dinner. We joined them, and I took a
seat between my fellow-traveller and the hostess. While the latter was
helping the soup, I like the rest of the guests proceeded to cut a
slice from a large brown loaf that lay before me. I applied the knife
to the loaf, but it would make no incision, from having (as afterwards
appeared) come in contact with a small stone baked into the crust. This
induced me to think the knife was blunt, and to increase the force of
the pressure. Upon this it suddenly slipped off and glancing on to the
ball of my left fore finger cut off a considerable piece of the flesh,
which fell upon the plate before me. A stream of blood followed. The
sight of this, or rather the thought, that now there would be an end
to my violin playing, and that I should no longer be able to support
myself and family, filled me with such horror that I fell insensible
from my chair. When after the lapse of about ten minutes I recovered
my senses, I saw the whole company in commotion and occupied with me.
My first look fell upon my finger, which I found wrapped round with a
large piece of English plaister that the kind hostess had brought. It
adhered closely in the hollow of the wound, and to my comfort I could
now see that the whole ball of the finger had not been cut off, as I
had at first imagined. Nevertheless almost the half of it, together
with a large piece of the nail were gone. As I scarcely experienced any
pain, I left the strapping undisturbed, and first applied to a surgeon
on arriving at Leipsic, who also let the plaister remain, and only
advised me to be careful of all ungentle contact with my finger.
Thus somewhat consoled I arrived home in Gotha. I found the Court very
much annoyed about my contemplated removal to Vienna; the Dutchess was
so angry that I had much difficulty to soothe her, and the more so,
as I was now unable to play once more as she had so much wished, at
a parting Court-Concert. My mother-in-law was also greatly grieved.
I hastened therefore as much as possible to get away from all these
unpleasant circumstances. A few weeks before, I had commissioned my
old friend _Bärwolf_ to dispose of the furniture and things which I
did not purpose taking with me. In this he had been successful. I had
therefore the reserved articles packed up, consisting chiefly of beds,
looking glasses, music, clothes, linen etc., and dispatched beforehand
as freight to Ratisbonne for water carriage. Eight days afterwards I
followed with my brother _Ferdinand_, my two children and a young girl,
an orphan, whom my mother-in-law had taken charge of, and brought up,
and now gave to me as nursemaid for the children.
The parting with my relations and dear Gotha, was a very sorrowful
one; but favoured with the most delightful weather, we soon cheered up
again, and I was highly amused with the artless remarks of the children
upon the numerous objects now seen by them for the first time. So we
arrived very tired it is true, but very happy, in Ratisbonne. There
we stopped some days, during which I made every preparation for the
voyage down the Danube to Vienna. I hired at a moderate price a boat
to myself, and had my packages which had already arrived as freight,
put on board. The beds were unpacked, and spread out under the little
wooden house on board the boat, for our repose at night. The trunks
and boxes served as seats. As we purposed continuing our voyage day
and night without stopping anywhere, provisions for four or five days
were laid in. The boat’s company consisted besides me and mine, of the
skipper, his wife who undertook the cooking, the boatman, and three
trades-apprentices to whom I gave a free passage and food, for which
they had agreed to lend a diligent hand at the oars.
We were in the month of May, the moon was full, and the deep blue sky
was outspread over the charming country round. Spring had just decked
all nature in her first dress of tender green, and the fruit trees
were still laden with their beautiful blossom. The bushy banks of the
majestic stream were the resort of numerous nightingales, which in
bright calm nights particularly, poured forth an unceasing melody.
It was indeed a delightful voyage, and I have striven continually,
during my whole long life, to make it again under similar favourable
circumstances; but alas! in vain.
While we were passing the celebrated _Rapids_ and the _Whirlpool_,
which at that time could not be effected wholly free from danger, our
skipper who till then had been very jovial became all at once serious,
and impressively cautioned the rowers to obey his orders with the
greatest punctuality. The moment the downward rushing stream seized
upon our boat, he turned pale, his wife threw herself upon her knees
and howled more than spoke a prayer to the Holy Virgin. Hereupon I
cautioned my brother who like me was a skillful swimmer, should any
accident occur, to stand by me in saving the children. But we descended
safely the shooting rapids and steered clear of the whirlpool, which is
only dangerous for very small boats.
Upon the rock, which stands in the middle of the stream at the end of
the rapids, and which by its throwing back the waves with violence
occasions the whirlpool, dwellt then an old hermit, who subsisted upon
the charitable gifts of the passing travellers. He put off and rowed
over to us in his little skiff, to the great delight of the children,
who had never before seen a hermit, and when alongside of us he
received the customary donation.
On the fourth day of our voyage we arrived towards evening at Vienna,
and from afar could see _Dorette_ in company with her hostess, awaiting
our arrival at the landing place. That was a happy meeting! The luggage
was taken to our new domicile the same evening, whither we moved the
following day.
By the time I had arrived in Vienna, my wound was almost healed. To
my surprise, and to that of the surgeon to whom I related it, under
the English sticking plaister which still enveloped my finger, a new
flesh had grown in the place of that which had been cut away, and
had by degrees assumed the previous form and size of the ball of the
finger. The piece cut out of the nail had also grown again, though but
imperfectly joined to the rest of the nail, so that there yet remained
a gap, which is even still visible, and shews plainly the extent of the
excision. With the help of a leather finger stall I could use my finger
again, and though I could not yet play a Solo, yet I could perform my
duties in the orchestra.
I now led a very active and a very happy life in the enjoyment of
the society of my family. The early dawn found me at the piano, or
at the writing table, and every other moment of the day which my
orchestral duties or the tuition of my pupils permitted was devoted
to composition. Yes, my head was at that time so continually at
work, that on my way to my pupils and when taking a walk I was
constantly composing, and by that means acquired a readiness in
working out mentally, not only long periods, but whole pieces of
music so completely, that without any further labour they could be
at once written off. As soon as this was done, they were as though
effaced from my mind, and then I had room again for new combinations.
_Dorette_ frequently chid me in our walks for this perpetual thinking,
and was delighted when the prattle of the children diverted me
from it. When this had once been done, I gladly gave myself up to
external impressions; but I was not to be permitted to relapse into
my thoughtful mood again, and _Dorette_ with great skill knew how to
prevent it.
In the first summer of our residence in Vienna, we already made
ourselves well acquainted with the beautiful environs of the City,
and almost every fine evening, when I was not engaged at the Theatre,
we spent in the open air. Then, accompanied by the nursemaid carrying
our simple evening-repast in a small basket, we used to seek out some
spot from whence we could have a fine view of the country, and see the
sun go down. On Sunday, also, we used to hire a fly at the “Linie”,
and make farther excursions to Leopoldsberg, or to the Brühl or to
Laxenburg and Baden.
But the favorite walk of the children was always to Schönbrunn to see
the menagery, or to the “Dörfl” in the Prater, where they ever beheld
with new transport the puppet and dog shows, and other diverting
wonders. I and my wife, half children too in disposition, shared
intensely in all the pleasure of our little pets. It was a lovely,
joyous time! so free from care!
After my return from Gotha, my first work was the composition of
“Faust.” Before my journey thither, I had had another subject in view,
which _Theodor Körner_ was to have worked out for me as an Opera. I
had made the young poet’s acquaintance soon after my first arrival in
Vienna; he was then already as much admired for his amiable manners as
for the success of his theatrical pieces. I met him at almost every
party where I played, and as _Körner_ was very fond of music we soon
took to each other. When it was decided that I should remain in Vienna,
I asked _Körner_ to write an Opera for me and proposed for subject
the legend of the “Rübezahl”. _Körner_, who had been present at both
performances of the “Last Judgement”, and who had a good opinion of my
talent for composition acquiesced without hesitation, and went to work
with zest upon the materials proposed. But, suddenly it was reported
that _Körner_ was about to join _Lützow’s_ light horse, and fight for
the freedom of Germany. I hastened to him and endeavoured like many
other of my friends to dissuade him from that intention; but without
success. We soon saw him depart. It became afterwards known, that it
was not alone his enthusiasm for the war of German independance, but an
unfortunate and unrequited love for the handsome actress _Adamberger_
that drove him from Vienna, and to an early death.
I thus saw my hope of an Opera-libretto from the pen of the youthful
and gifted poet, destroyed, and was now obliged to look elsewhere for
another. It was therefore very opportune that Herr _Bernhard_ had
offered me his version of “Faust” for composition, and we were soon
agreed upon the terms. Some alterations that I had wished to have made,
were completed by the author during my journey to Gotha, so that I
could begin upon it immediately after my return. From the list of my
Compositions, I find that I wrote that Opera in less than four months,
from the end of May to the middle of September. I still remember with
what enthusiasm and perseverance I worked upon it. As soon as I had
completed some of the parts I hastened with them to _Meyerbeer_, who
then resided in Vienna, and begged him to play them to me from the
score, a thing in which he greatly excelled. I then undertook the Vocal
parts and executed them in their different characters and voices with
great enthusiasm. When my voice was not sufficiently flexible for the
purpose, I helped myself by whistling, in which I was well practised.
_Meyerbeer_ took great interest in this work, which appears to have
kept its ground up to the present time, as he during his direction
of the Opera at Berlin put “Faust” again upon the stage, and had it
studied with the greatest care.
_Pixis_ the younger, also, who then resided with his parents in Vienna,
as well as _Hummel_ and _Seyfried_, shewed a great predeliction for
this Opera, so that I offered it for representation at the Theatre
“an der Wien” with the fairest hopes of a brilliant success. Count
_Palffy_, with whom I was then still on good terms, accepted it
immediately, and promised to distribute the characters as soon as
possible and to bring it out. While engaged on the work, it is true,
I had the personnel of my Theatre in my eye; and wrote the Faust for
_Forti_, the Mephistopheles for _Weinmüller_, Hugo for _Wild_, Franz
for _Gottdank_, Cunigunda for Madame _Campi_, and Rosa for Demoiselle
_Teiner_; but nevertheless, (apart from the circumstance that I at
that time especially did not yet understand how to keep myself within
the bounds of the natural compass of the voice) all manner of things
had escaped my pen that did not suit the above named singers, as, for
instance: the long ornamental passages in the air of Hugo, for _Wild_,
who at that time had but a limited power of execution. This at a later
period was urged by the Count, when I had a disagreement with him, as
an excuse for withdrawing his consent, and actually the opera was never
produced while I was in Vienna. Some years afterwards, it was brought
out with great success, and in more recent times was put upon the stage
again with increased approbation. I, who had always felt an interest in
my compositions so long only as I was engaged on them, and so to say,
full of them; bore with great equanimity of mind the banishment of my
score to the shelves of the library of the Theatre, and immediately set
to work on new subjects. Even the pianoforte-arrangement of the opera
that _Pixis_ had taken great pleasure in preparing, I did not publish
till many years afterwards at _Peter’s_ in Leipsic.
After having finished Faust, I thought it my duty to proceed to the
fulfillment of my agreement with Herr _von Tost_. I therefore enquired
of him, what kind of composition he would now prefer. My Art-Mæcenas,
reflected a while, and then said: a Nonet, concerted for the four
stringed instruments, Violin, Viol, Violincello, and Double-Bass;
and the five principal wind-Instruments, Flute, Oboë, Clarinet, Horn
and Bassoon, written in such a manner that the character of each of
those instruments should be properly brought out, might be both an
interesting and grateful theme; and as he did not in the least doubt
that I should successfully accomplish it, he would suggest that to
me as the next subject to choose. I felt attracted by the difficulty
of the task, consented to it with pleasure, and commenced the work
at once. This was the origin of the well known Nonet, published by
_Steiner_ in Vienna as op. 31, and which up to the present time is the
only work of its kind. I completed it in a short time and delivered the
score to Herr _von Tost_. He had it written out, and then invited the
first artists in Vienna to his house, in order to study it under my
direction. It was then performed at one of the first musical parties in
the beginning of the winter, and met with such unanimous applause, that
its repetition was frequently called for during the season. Herr _von
Tost_ would then appear each time with a music-portfolio under his arm,
lay the different instrumental parts upon the music-stands himself, and
when the performance was ended, lock them up again. He felt as happy
at the success of the work as if he himself had been the composer. I
played, also, very frequently at musical parties, the two Quartetts of
which he possessed the manuscripts, and thus his desire to be invited
to numerous musical parties was fully accomplished. Indeed, wherever I
played, people soon became so accustomed to see Herr _von Tost_, also,
with his portefolio of music, that he used to be invited even when I
did not play any of his manuscripts.
Before the end of the year 1813, I wrote another _Rondo_ for harp and
violin for my wife and self, and a Quartett for stringed instruments
for Herr _von Tost_. It is the one in G-Major, Op. 33 which from an
oversight the publisher has marked as Nr. 2. It was nevertheless,
written six months before the one in E-Major.
This Quartett was the occasion of my becoming entangled in a literary
feud, which was the first and also the last that I ever engaged in
about my compositions. It had met with a particularly favourable
reception among the Artists and lovers of art in Vienna, and I
considered it, also, and with reason, as the best I had written up to
that time. It was therefore the more mortifying to me that the reviewer
in a Viennese Art-journal of the day could find nothing good whatever
in it. I was more particularly hurt by the malicious manner in which
he spoke of the theoretical handling of the first theme, of which I
was proud; and which had excited the admiration of connoisseurs. Even
now, after so long a period I recollect the words, which were nearly as
follow: “This eternal rechewing of the theme in every voice and key,
is to me just as if one had given an order to a stupid servant, that
he cannot understand, and which one is obliged to repeat to him over
and over again in every possible shape of expression. The composer
appears to have considered his auditors in the same light as the stupid
servant.”
I soon ascertained that the anonymous reviewer was Herr _von Mosel_,
the composer of a lyric tragedy called “Salem”, of which I certainly
had said very openly: “I never heard any thing so wearisome in all my
life.” This opinion had unluckily reached the ears of the writer, and
had excited his gall to this degree. Herr _von Tost_ who was more proud
of my compositions, particularly those he had in his portefolio than
the composer himself, would not rest until I had written a replication
to the criticism. What I said in reply, particularly in defence of the
treatment of my theme, I now no longer remember, but I recollect, I
was prodigal in side-thrusts at “Salem”. This was pouring oil on the
fire, and so a disputation ensued, which would have been continued
much longer, had not the censorship put a stop to it by forbidding the
Editor of the journal to insert any thing more on the subject. As such
quarrels were exceedingly unpleasant to me, I was very glad to be able
to return to my harmless occupation of composing.
In the autumn of 1813, _Dorette_ presented me with a son. Our joy at
this increase to our family was unfortunately of short duration; for
the boy soon became sickly and died, before he was three months old.
His poor mother sought and found relief in her harp; she practised with
me the new _Rondo_ for my benefit-concert that was to take place in
December. According to the musical journal, this concert took place in
the small “Redouten-Saal”, and my brother _Ferdinand_ made his début in
a Violin Duet with me.