respect to its proprietor. I had openly broken with Count _Palffy_.
It was brought about by the following circumstance: One evening, when
I entered the orchestra I saw Herr _Buchwieser_, the father of the
prima donna, and third orchestra director, had taken _Seyfried’s_
seat. I observed to him that I alone was charged with the direction of
the orchestra, when _Seyfried_ was prevented coming, and I therefore
requested him to leave it. This he refused to do, with the remark,
that the Count himself had ordered him to direct the opera, and at
the express wish of his daughter, who preferred singing under his
direction. As all my expostulations were unavailing, and I considered
it beneath my dignity to play the first violin under so obscure a
director, I quitted the orchestra, and returned home. The next morning
I sent in a written remonstrance to the Count respecting this invasion
of right that had been secured to me in my engagement, and requested,
that I might be exposed to no further repetition of it.
The Count, incited by the _Prima Donna_, who was very incensed because
I would not lead under the direction of her father, answered me with
rudeness instead of with the apologies I had reason to expect, and
which I replied to in yet stronger terms. From that moment, the Count
and his creatures studied to annoy me in every possible manner that
my position exposed me to. Added to this, since _Palffy_ had been so
fortunate as to become lessee of the two Court Theatres, he put his
own theatre greatly in the back-ground. He took away from it the best
singers, and the best part of the chorus, to incorporate them with the
personnel of the Kärnthnerthor-Theatre; so that “an der Wien”, from
that time, _Spectacle-pieces_, and low class popular operas alone, were
given. As I was not bound to assist at these, I had scarcely any thing
more to do at the theatre. I could therefore clearly see, that I should
be discharged after the termination of my engagement.
As now, after Napoleon was vanquished and banished to Elba, a general
European peace seemed in perspective, and that I greatly desired to
set out as soon as possible on my long projected artistic tour through
all Europe; I made a proposition to the Count to cancel our agreement
on the expiration of the second year, and demanded as compensation
the half of my salary for the third year, paid down in _one_ sum. He
readily consented to it, and so we parted in peace. I now hastened to
make every preparation in order to be enabled to commence my journey
in the spring. I contemplated first, to travel through Germany and
Switzerland to Italy, whither I had long ardently desired to go. As
I purposed taking my children with me, foreseeing that their mother
would not be able to separate from them for so long a time without
pining to death; I was first of all obliged to provide myself with a
larger travelling carriage to hold us all, with the instruments. The
difficulty was to build one for this purpose, sufficiently light of
draught for three posthorses. I conferred upon this therefore with Herr
_Langhaus_, the clever machinist at the theatre “an der Wien”, and
afterwards director of public buildings in Berlin, who made a drawing
of the design suggested in our conference, according to which the
carriage should be built. It had a solid roof, upon which were packed
the leather covered harp-case, and a trunk for linen. The violin-case
was stowed in a boot under the coachman’s seat, so that the whole space
in the interior of the vehicle remained for the travellers.
In my relations with Herr _von Tost_, also, a serious alteration had
taken place. After the settlement of our earlier account, which was
effected by the delivery of the Cantata “Das befreite Deutschland”
I had delivered again, four manuscripts, the octett, two quartetts
and a second quintett, without receiving the agreed price. At first
I had argued no ill of this delay in settlement. But when it became
suddenly reported in the city, that the wealthy Herr _von Tost_ had
sustained severe losses, and was on the point of bankruptcy; that he
no longer called upon me, and even failed to appear at a musical-party
where I played one of his manuscripts, but sent the portfolio instead
of coming; the matter looked dubious. I therefore took back to him
the portfolio myself, in order if possible, to come to a clear
understanding with him at the same time. I found the otherwise so
jovial man very much depressed in spirits. He confessed to me his
position without reserve. It was, he said, extremely painful to him, to
be unable to fulfil his engagements with me; but as his plans for the
future were unsettled if not quite destroyed, he would forthwith return
all my manuscripts to me before the expiration of the stipulated time,
so that I might sell them as soon as possible to a publisher. For the
loss I might thereby sustain, he was willing to indemnify me with a
bill for one hundred ducats, which as soon as his affairs had assumed a
more favourable aspect, he would honourably meet. Upon this he fetched
the whole of the manuscripts and handed them to me. I, who considered
that Herr _von Tost_ had amply compensated me for the short time he had
them in his possession, by the costly furniture he had bought for me,
and reckoned at so low an estimate, was quite satisfied with the return
of my manuscripts and refused all further indemnification. However, as
I perceived that Herr _von Tost_ felt hurt by this arrangement, I took
the bill, well knowing that from my contemplated departure from Vienna
its early liquidation was not to be thought of.
I now sold the whole of the returned manuscripts to two Vienna
publishers, and from their having acquired a great celebrity by their
frequent performance, I received a considerable sum for them.
At the commencement of the year 1815, I wrote another Quartett, in
C-major (No. 2 of the op. 29) and a new violin Concerto (the seventh,
op. 38) as also Variations, which remained unpublished, for use upon
the coming journey; the two last of these compositions I played at
my farewell-Concert on the 19. February 1815. Respecting this last
concert I gave in Vienna, the Musical journal spoke very favourably.
Of the newest violin concerto (E-minor, C-major, E-major) it says:
“Very difficult for the solo player as well as for those who accompany.
A splendid, perfect composition; a fine flowing cantabile; striking
modulations, replete with bold canonic imitations, an ever new,
charming and happily calculated instrumentation. The melting _adagio_
is especially captivating.” In conclusion it says: “As to the merits
of this masterly artist, both here and throughout Germany there is but
_one_ opinion. We yet remember with lively satisfaction the triumph,
which he achieved two years ago over his rival, the great _Rode_. He is
now about to leave us upon a grand artistic tour. He first proceeds to
Prague, where his new opera “Faust” is now being studied.... May he,
who by his talent and his open, manly character has left an honourable
memorial of his worth in our hearts, meet always, and every where with
success!”
I at that time really had the intention of going first to Prague, to be
present at the production of my opera, which was being studied under
_Carl Maria von Weber_. But I afterwards abandoned that plan. I had in
fact received a letter from my former Intendant Baron _von Reibnitz_
at Breslau, wherein in the name of a family of his acquaintance that
of Prince _von Caroluth_, he asked me if I would feel disposed to pass
the summer months with them at their seat, _Caroluth_, in Silesia? The
Princess was very desirous, that her two daughters, one of whom played
the harp, the other the pianoforte, should receive instruction in
music from my wife. They would endeavour to make the stay of myself and
family at their charming castle as agreable as possible. He, the Baron
had been invited also, and would be extremely pleased if I would accept
the invitation, so that he might again pass some time with me.
As the spring and summer were any way but little favourable seasons
of the year to give concerts, and that _Dorette_ and the children
anticipated much pleasure from the stay at Carolath, I readily
assented. I therefore hastened the preparations for our journey, in
order to avail ourselves of the opportunity to give a few concerts at
Breslau and in its neighbourhood, before the fine season had set in.
The next thing was to effect the sale of our furniture and household
chattels, which was very speedily done, for immediately upon the
announcement of the sale, a host of purchasers presented themselves. As
our furniture was very elegant, and withal nearly new, the purchasers
bid warmly against each other, and we therefore realised a sum far
beyond our expectation. This as well as my Vienna savings, which were
still in paper currency, I now took to a banker’s and changed for
gold. Scarcely had I done this when all Vienna was alarmed by the
intelligence that Napoleon had escaped from Elba, landed in France, and
been hailed with the greatest joy. The rate of exchange fell suddenly
so low, that if I had delayed the conversion of my paper into specie
but _one_ day more, I should have suffered a loss of more than fifty
ducats.
When first contemplating my grand tour through Europe, the idea
struck me, also, of commencing an album, in which I purposed making a
collection of the compositions of all the artists whose acquaintance I
might make. I began immediately with the Viennese, and received from
all the resident composers of my acquaintance, short, autographic works
written for the most part expressly for my album. The most valuable
contribution to me, is that of _Beethoven_. It is a Canon for three
voices to the words from _Schiller’s_ “Jungfrau von Orleans”: “Kurz
ist der Schmerz, und ewig währt die Freude.” It is worthy of remark, in
the first place, that _Beethoven_ whose handwriting, notes as well as
text, were usually almost illegible, must have written this page with
particular patience; for it is unblotted from beginning to end, which
is the more remarkable, since he even drew the lines without the aid of
a ruler; secondly, that after the falling in of the third voice a bar
is wanting, which I was obliged to complete. The pages concluded with
the wish:
May you dear _Spohr_ where ever you find real art, and real artists,
think with pleasure of me, Your friend.
_Ludwig van Beethoven._
Vienna March 3. 1815.
Upon all my subsequent travels I received contributions to this
album, and possess therefore a highly interesting collection of
short compositions from German, Italian, French, English and Dutch
artists.[15]
[15] A selection from the pages of this album will be found in the
appendix.
* * * * *
On the eve of taking leave of Vienna, I yet think I must recall some
further incidents of my stay there, which hitherto I have had no
opportunity of relating. First, in respect of my orchestral duties.
These were sometimes very onerous for me; the same piece being
frequently represented twenty or thirty nights in succession. This
happened not only with two of _Mozart’s_ operas “Don Juan” and the
“Zauberflöte”, which during my engagement were brought out with a new
distribution of characters and with a very brilliant _mise en scene_;
but, also, with a ballet, which during the Congress was repeated an
innumerable number of times, and in which I had to play violin soli’s.
What its name was, I no longer recollect, but that the celebrated
dancers _Duport_, and mesdames _Bigottini_ and _Petit Aimée_, whom
Count _Palffy_ had sent for from Paris, danced in it. It is true, I
did not play those soli’s unwillingly, upon their own account, for
the audience always listened with the greatest attention, and were
profuse in their applause of me; but it annoyed me that I was obliged
to measure my _tempi_, by the steps of the dancers and that I could
not lengthen at pleasure my closes and cadences, as the dancers were
unable to sustain themselves so long in their groupings. This gave
rise therefore to many bickerings with the ballet master, until at
length I learned compliance. I endeavoured to sweeten the monotony of
my duties in some degree by always enriching and ornamenting my soli
performances. This I did especially with the troubadour in “John of
Paris” for whom a _pas de trois_ was introduced in that ballet. As in
the opera of that name, there were three strophes, the first of which
had to be executed by the horn, the second by the violincello, and
the third by the violin, I at first ornamented my strophe in a very
vocal style. But as I remarked, that the _Prima Donna_, demoiselle
_Buchwieser_ at the next representation had borne them well in mind,
sang them, and obtained great applause for them, this so annoyed me, as
I could not bear the singer, that I thenceforth ornamented them in a
style she could not imitate with her voice.
Besides the two above mentioned operas of _Mozart_, I experienced a
third ordeal in a new popular-opera, with music by _Hummel_, which
by a singular chance such as will assuredly never occur again, went
through a long succession of nightly representations. It was called
“Princess Eselshaut” and as far as the author’s text, was so wretched
a piece of patchwork, that in spite of the pretty music of which five
or six of the Numbers were received with great applause, it was at the
conclusion unanimously hissed. This according to Vienna custom at once
consigned it to the tomb. _Hummel_ who conducted, had, already, quite
resignedly expressed himself to me, who in honour of him led as first
violin. “Another pure labour in vain!” But on the following evening
when another piece was to have been announced, it could not be given,
owing to the illness of several of the performers in the opera and
play, and the manager was therefore obliged to repeat the condemned
opera though at the risk of exciting an uproar in the theatre. On that
evening nevertheless, just on account of the anticipated tumult, the
theatre was crammed to excess, and the piece was hissed at the end of
each act, and again at the conclusion. But the musical pieces met with
more applause than on the first night, and at the fall of the curtain
when the hissing had ceased, the composer was even called for, and
greeted with vehement applause. As the indisposition of the invalids
still continued, a third trial of it was obliged to be made, which went
off nearly like the former one. Yet was the opposition against the
piece much less, and the music obtained more friends than ever. Thus
it could be continued with confidence, and on the succeeding nights it
again found new friends in sufficient number. At length it became the
fashion to go and hiss the piece, and praise the music. _Hummel_ took
speedy advantage of this, and published a piano-forte arrangement of
the most favorite Numbers, which had a rapid sale. So it was no “labour
in vain” after all, as he had feared on the first evening!
_Pixis_, was not so fortunate with his opera, the “Zauberspruch”. That
was swamped by the badness of the libretto, nor could the music keep it
above water, although it had, also, many successful “numbers.” It was
the occasion for the display of a bit of real Viennese wit. A friend of
the composer, not having been able to see the first representation of
it, enquired of another who had been present “Well what do you think of
the opera of _Pixis_?”--“Nix is!” was the reply.
I may here relate another of my Vienna recollections, since it is one
of those which make a deep impression and therefore do not so easily
fade from the memory. It was an unusually great inundation, such as
occurs once only in every century, occasioned by the overflowing of the
little river “die Wien” on the banks of which my house was situated.
On that occasion it was so great from the simultaneous overflowing of
the Danube, which would not allow the waters of the “Wien” an outlet. I
had not observed the commencement of the inundation, being engaged at a
rehearsal at the theatre. After it was over, I found the street leading
to my house already flooded, and I saw that I must use all haste to be
enabled even to wade through it.
Nevertheless I first fetched my violin-case out of the orchestra, as
I foresaw that, also, would be laid under water. By this time the
flood had risen so high that in some places the water reached above my
knees. I found my family in the greatest consternation and the other
inmates of the house still more so. My landlord, the cabinet-maker,
with his family, were already hurrying up past my floor to the top of
the house, and endeavouring to secure a dry stowage for their effects,
in the loft. He had need to hasten; for the water rose so fast, that
in a few hours it almost reached to the first floor. The terrified
inhabitants of the suburb had now a scene before them such as they
had never before beheld. The rushing waters swept by, bearing along
with them articles of every description commingled in the strangest
confusion. Implements of husbandry, carts laden with hay or wood, the
wreck of stalls and stabling, dead cattle, and even a cradle containing
a screaming infant, which, however, was happily rescued by a boat.
The owners of the houses, furnished with long poles, were exerting
themselves to keep off the objects as they floated by, so that they
might not damage the walls of the houses, others on the other hand
provided with boat hooks, endeavoured to lay hold of the furniture
and other household chattels in order to save them, and pull them up
into the windows for security. Some hours afterwards, when such like
articles had ceased to float past, boats made their appearance laden
with provisions, which were readily bought up by the inhabitants of
the flooded streets. Other boats towards evening brought the employés
and men of business from the city to their dwellings, and anxiously
expecting families. As the rain also poured down in torrents, the
inundation still continued at the same height, and even at night fall
there was no perceptible decrease of the waters. So long as it remained
light, the scene afforded great diversity of interest, but when night
came it was fearful to behold. The roar of the waters, and the howling
of the storm forbade all thought of repose; nor was it advisable to
retire to rest, as no one knew what might yet occur. I therefore
laid my children near me on my sofa with their clothes on, and as
_Dorette_ had soon fallen asleep beside them, I sat down to my work,
a new song-composition, in order to resist sleep more effectually. In
this I succeeded. But my zeal at composition led me several times to
the piano, which the family of my landlord who passed half the night
in the floor above me upon their knees in prayer, took in very great
dudgeon; for on the following morning the nurse-maid informed me, that
the wife had bitterly exclaimed: “That Lutheran heretic will bring yet
greater misfortune upon us with his unchristian singing and playing.”
But the night passed without further misfortune, and by day-break the
water had greatly decreased. Nevertheless, it was evening before it had
sufficiently subsided to admit of again traversing the streets on foot.
But the “Theatre an der Wien” remained closed for eight days, for it
required that time before all traces of the inundation could be removed.
* * * * *
After a sorrowful parting from dear Vienna, where we had passed so many
happy days, I set out with my family upon our great journey on the 18.
March, 1815. My brother _Ferdinand_ whose engagement at the “Theatre an
der Wien” was to last for another year, remained alone behind. After
its expiration, he obtained an appointment in the Royal Orchestra of
Berlin.
Our first resting place was at Brünn, where we gave a concert. How it
succeeded, I no longer remember, but I well recollect, that I was very
dissatisfied with the orchestral-accompaniment. In respect to that, of
course my excellent orchestra in Vienna had accustomed me to a very
different style of performance.
From Brünn we went to Breslau, where in April we also gave two
concerts; but they were not well attended. The unsettled state of
the public mind arising from the recommencement of hostilities and
from the great sacrifices entailed upon each individual by the
contributions required of them, was in truth then so general, that a
more unfavourable time to give concerts could not well have presented
itself. But in so musical a city as Breslau, even in that period of
warlike commotion, there was no dearth of zealous musical amateurs, to
whom music was a necessary of life. I was therefore frequently invited
to private circles, in which I had an opportunity to perform my Vienna
compositions of Herr _von Tost’s_ portfolio. They met with a brilliant
reception, particularly the two Quintetts, which I was frequently
obliged to repeat. At the earnest wish of my friend _Schnabel_,
director of the Cathedral-orchestra, I wrote an Offertorium for a
Solo-soprano voice and chorus, with violin obligato and orchestra,
which, as is shewn by the catalogue of my compositions was performed
in the Cathedral on 16. April, and where I took the violin-part. As I
left behind me there the original score, and have never seen it since
that time, I am unable to say whether the composition has any merit.
Probably it is still to be found in the library of the cathedral.
* * * * *
On a fine evening in the spring, I arrived with my family at Carolath.
As we had to pass over a small river near the castle, in a ferry-boat,
our arrival was perceived before hand. We therefore found upon driving
into the Castle-court, the whole of the Prince’s family assembled at
the foot of the steps, and were welcomed by them in the most friendly
manner. The prince himself led us to the apartments assigned to us.
After we had changed our dress we were summoned to the supper-table.
The Prince, a somewhat ceremonious but friendly and well meaning man
from fifty eight to sixty years of age received us at the entrance of
the dining-room, and introduced us to the other guests. They consisted
of the Princess his second wife, her sister, a lady passionately fond
of poetry and music, his two daughters by his first marriage, amiable
maidens of fifteen and seventeen years of age, and their tutor, Herr
_Kartscher_, a young man of polished manners. The conversation at table
was with the exception of the somewhat antiquated formality of the
Prince, both free from restraint and lively, and convinced me that I
was in a high bred circle having a sympathy for all that was beautiful.
_Dorette_ was also very pleased with the conversation of her neighbours
the Prince and his sister-in-law, and the children in whom the young
ladies had interested themselves in the most friendly manner, were
also extremely happy. Our whole family looked forward therefore to a
pleasant residence at the castle.