the subjects and hours of study, which with few exceptions remained
unchanged during the whole time of our stay. In the forenoon, while
_Dorette_ gave instruction to the Princesses, the eldest on the harp,
the youngest on the piano, I also gave the first music lessons to
my children. Afterwards they were permitted to participate in the
lessons given to the Princesses by their tutor, and he was so good as
to adapt his instruction as much as possible to the capacities of the
children. Meanwhile, my wife and I occupied ourselves with our own
musical-studies, or I composed. As the members of the Prince’s family
were very fond of singing, this was inducement sufficient to me to
write two small books of songs, the text of which was furnished by the
sister of the Princess from her large collection of poetical pieces.
Among these were also some poems of Herr _Kartscher_. Both volumes were
published by _Peters_ of Leipsic as op. 37, and 41. When the studies
of the forenoon were terminated, a careful toilette was made by all,
to appear at the dinner-table, as it was always the custom with the
Prince’s family to dine _en parure_, or full dress. The remainder of
the day was devoted to social intercourse and amusements. When the
weather was fine, coffee was served in the castle garden, and towards
evening an excursion-drive was made into the neighbouring environs.
A farm belonging to the Prince was a frequent object of our visit,
and either there or in the woods around it we frequently partook of a
rustic supper. At other times when the weather was overcast, or that
visitors came from neighbouring parts, we had music in the evening.
As soon, however, as Herr _von Reibnitz_ arrived as guest at the
Castle, an attempt at Quartett music was made. The old valet of the
Prince who in his younger days had played the violincello, was then
summoned to produce his instrument, the schoolmaster of the village his
viol, and Herr _von Reibnitz_ took the second violin. Unfortunately
I had no other Quartetts with me, than my own, which were certainly
never written for _such_ performers. The first attempt therefore was
very discouraging. But as the others evinced much zeal, I was not
wanting in patience and endurance; and by dint of several rehearsals
I succeeded so far as to enable me to let the company hear two of my
quartetts. They were not so well accustomed to enjoyments in art as
not to receive their performance with great approbation. A polonaise
also, which I then wrote (op. 40, published by _Peters_) pleased
greatly, and soon became a frequently requested and favorite piece
with the company, perhaps, merely, because they had seen it composed.
After I and my family had passed the first two months of our residence
in Carolath in this sufficiently pleasant though somewhat uniform
manner, the Prince announced one day at dinner with some solemnity,
that he would be obliged to leave his dear guests for one day, as it
was his custom every year on the 24. June to proceed to Glogau, to
be present at the Freemason’s festival of St. John. This induced me
upon rising from table to make myself known to him as a brother Mason,
which so agreably surprised the Prince that he immediately invited
me to accompany him on the journey. I have forgotten to relate that I
had already become a freemason in Gotha, had there received after the
expiration of a year the second degree of the order, and a year later
on a journey to Berlin, the third, of master-mason. But as in Austria,
freemasonry was prohibited, and that for two years and a half I had
frequented no lodge, I longed to assist once more at a meeting of the
brothers. The Prince’s invitation to accompany him to Glogau came
therefore very opportunely. Grand preparations were forthwith made.
The great travelling carriage emblazoned with the Prince’s armorial
bearings was drawn out of the coach-house, and cleansed from dust; a
Jäger, and another servant had squeezed himself into the state livery,
and the Prince himself made his appearance for the first time in
state-uniform, with his star upon his breast. We set out early on the
morning of the 24. Arrived at the lodge, the Prince was received and
welcomed by a deputation, and his guest, also, after having testified
his prerogative, was greeted as a brother in the most friendly manner.
After the meeting of the work-lodge, a splendid dinner-lodge followed,
in which I joined the musical brethren, directed their singing, and
myself, sang with my powerful bass voice some mason’s songs and the
“Heiligen Hallen” from the “Zauberflöte.” Among the musical brothers I
found several acquaintances of my earlier travels through Silesia, who
eagerly sought to honour me with their attentions.
The chairman, also, welcomed the “renowned craftsman” to the circle
of brothers, and thanked the Prince for having introduced him. The
Prince seemed greatly pleased to find the honours paid to his guest,
redound to his own, for on his return to Carolath he redoubled his
already great attentions towards me and my family, so that we were even
frequently embarrassed by them.
After a further highly agreable stay of from six to eight weeks, we
resumed our journey through Dresden and Leipzic to Gotha. Returned
thither after an absence of nearly three years from her home, _Dorette_
felt so happy, that I could not think of leaving it for some time. I
therefore settled down quietly for a few months, and only made a few
short excursions in the neighbourhood. The first was to my parents at
Gandersheim, where my father had in the meanwhile been transferred as
District-Physician, and from thence to Hanover, where I gave a concert.
The second was to Frankenhausen, where _Bischoff_ got up another
musical festival.
Here begins one of my diaries which I continued without any break off
up to my return from Italy. The title is “Passing Remarks, during a
Musical-tour” and the work begins:
_Frankenhausen_, Oct. 19. 1815.
...... “In Hanover we made the interesting acquaintance of the
_Violinist_, and the highly uninteresting one of the _Man,
Kiesewetter_. As violinist he is distinguished for a powerful very
pure, and even feeling style of play, without however as it seems to
me, a true feeling for the beauties of art; as a man, he is the most
inflated wind-bag, that I ever met! He conducted in our concert on the
11. October, but without certainty and foresight.
“After a pause of three years, the musicians of Thuringia have again
assembled here, for the purpose of celebrating after the speedily
terminated war, the now complete emancipation of Germany, upon the
anniversary of the Leipsic “Battle of the Nations”, in a manner worthy
of the musical science. This day, the first of the musical festival,
the performance of my Cantata “Das befreite Deutschland” and the “Te
Deum” of Gottfried _Weber_, took place. As it would not beseem me as
composer to express an opinion of my own work, we will here alone
speak of its performance. The solo-parts were throughout not well
distributed, for which reason the arias and _ensemble_ parts produced
the least effects. But the chorus and the orchestra were excellent,
and therefore the overture and collective choruses produced a great
sensation. The double chorus of the flying French and that of the
pursuing Russians followed by the Prayer of thanks of the German
peoples, and the concluding chorus with the fuge, pleased the most.
I again experienced that in a spacious locality, and with a numerous
orchestra and chorus, the most simple subjects when written in a worthy
and noble style produce the greatest effects; that on the other hand,
a richness of figures in the instrumentation, and a rapidly changing
sequence of harmony are, there, by no means in their proper place.
The _Te Deum_ of _Gottfried Weber_ which had been greatly extolled in
favourable reviews of it in the public journals, did not quite fulfil
my expectations. It betrays too much that, it was not the production
of a moment of inspiration, but rather of cold speculation. The very
commencement is a straining after effect, and as introduction to a _Te
Deum_, certainly very unsuited. To what purpose the long roll of the
kettle-drums that sounds like a passing peal of thunder? And then,
above all, the ensuing flourish of four trumpets and sackbuts, like
that with which cavalry draws up on parade?”
October, 20.
“On the second day, a miscellaneous Concert took place in the following
order: A Symphony of _Mozart_ (C-Major) executed with spirit and
precision, its effect was ravishing! To-day I became convinced that in
a spacious _locale_, and with a powerfully appointed orchestra, the
four themes of the concluding fuge, at the part where they combine to
form the finale, can be right well understood by a practised ear. If,
hitherto, this part appeared to me more scientific than effective, I
was this day convinced of my error. 2^{dly} a violin-Concerto (E-Minor)
my own. To-day, I again became convinced, that, the masses are far
more taken with the skilful and brilliant execution of the virtuoso,
than by the merit of the composition. All were delighted with my play,
and but few adverted as well to the composition. 3^{dly} an Italian
air with chorus, by _Paer_, sung by Herr _Strohmeyer_. This aria from
an Oratorio called “_La Religione_” is written in so unecclesiastical
a style, that with a change of the text it might be converted into a
right good _Opera buffa_. During the time that the impersonation of
Religion (who certainly might with much more propriety, sing soprano,
instead of bass) executes the most common place operatic melodies,
shakes and throat-tearing bounds, the chorus screams now and then
_unisono_, and _fortissime_, _Santa! Santa!_ between; just as a
robber-band would call out to travellers the “Stand! your money or your
life!” As this aria gave Herr _Strohmeyer_ an opportunity to display
his fine and powerful voice as well as his skill in its management, it
was received with great applause. 4^{thly} an _Adagio_ and Potpourri
of mine for the clarinet, played by Herr _Hermstedt_, likewise very
favorably received. Yet I found, and several other musicians were
of the same opinion, that, though _Hermstedt_ constantly made more
progress in the technics of his instrument, he did not devellope his
taste in the same degree. His execution has somewhat of a mannerism
that borders on caricature. 5^{thly} a patriotic song on the melody
of “God save the king” with orchestral and organ accompaniment by
_Methfessel_. The public to whom the words had been distributed, joined
in.”
Poor _Bischoff_ did not find his account in this third Frankenhausen
musical festival. The reason of the deficit in the receipts was
doubtless the quartering of Russian troops in the neighbourhood, which
kept both the town and country residents from attending the festival.
As _Bischoff_ was not in a position to cover this deficit from his own
means, the musicians who had assisted, agreed, upon my proposition, to
defray their own expenses of the journey both ways, and to collect the
necessary sum by a concert to be given on their return home. To that
effect I also gave one at Gotha on the 28. October, in which _Andreas
Romberg_ who since two years had been director of concerts there,
supported me in the most friendly manner.
_Gotha_, October, 29.
My intercourse with _Andreas Romberg_, the educated and reflective
artiste, afforded me again many hours of rich enjoyment. But I again
found that he performs his compositions in an indiscribably cold
and dry manner, as though he himself did not feel the beauties they
contain! He played several of his Quartetts, which I had long admired,
because I had frequently heard them played by others, and have myself
played them; but the soul which they so plainly bespeak, and which
every violinist by whom I have heard them played till now has rightly
seized, seems to have remained unknown to him, for in his execution of
them, no trace of it was to be discovered! It struck me as remarkable,
also, that his predeliction leaned more especially to those which
seemed to me the weakest. But I was yet more astonished that he often
takes his tempi, according to my feeling, false, and thereby frequently
spoils their effect; for I almost invariably found the Allegro’s too
slow, and the Adagio’s too fast.
_Meiningen_, October, 31.
We gave a concert here to-day, at which the Dutchess and the whole
Court were present. Herr _Wassermann_, one of the cleverest of my
former pupils, played my Concertante with me.
_Wurzburg_, Nov., 10.
I made here the acquaintance of two known artistes, that of Herr
_Fröhlich_, and of _Witt_. The former, Professor at the University,
lectures on æsthetics and is in many respects a highly talented artist,
as well as a zealous contributor to the Musical journal. As a critic
he appears tolerably conscientious, but I remarked, that he also, like
many other reviewers, writes opinions upon works without having the
score before him. He that knows how difficult it is even with the aid
of the score, to acquire a knowledge of a work from merely reading
it, must be greatly astonished that these gentlemen will commit such
an oversight, and merely place the separate voices side by side, and
alternately cast their eyes on each. In a work of many voices, the
perusal of the score is not alone sufficient, to enable a correct
judgement to be pronounced; it is necessary also to have heard it, and
well performed too!.....
_Witt_ is Concert-master of the formerly grand-ducal Court-orchestra,
which as well as the _personnel_ of the singers of the Castle-church,
after the acquisition of the grand-duchy by Bavaria are still continued
in pay as formerly, and have remained up till now at their full
complement. It is kept in good play-practice, and accompanied me
to my full satisfaction in the concert we gave on the 7. November.
I experienced much pleasure also from the performance of one of
_Haydn’s_ masses in the Castle-church, which was excellently executed
under _Witt’s_ direction. Herr _Witt_ let me hear on the piano, his
oratorio, “Die vier Menschenalter” (“The four ages of man”). As he
played badly, and if possible sung still worse, it would be premature
in me, from what I heard and read after him of the score, to give an
opinion of the effect the work would produce when performed. Yet it
seemed to me somewhat common-place, and here and there, almost trivial.
Nevertheless, the fuges and some other “Numbers” written in the severe
style showed great skill in counterpoint.
_Nürnberg_, Nov., 16.
Music appears very little cultivated in the ancient Imperial city, for
the orchestra here is remarkably bad. At our concert yesterday, there
was it is true both a numerous audience and no want of applause of our
performance, but every thing accompanied by the orchestra was totally
spoiled by it.
To render my diary complete, I must here add that, in Nürnberg, young
_Molique_, then about fourteen years of age introduced himself to me,
and requested me to give him instruction in music during my stay in
Nürnberg; this I readily assented to, for the lad already then gave
evidence of very uncommon talent for his years. As _Molique_, since
that time, by an assiduous study of my violin-compositions formed
himself more and more upon my model in style of play, and therefore
called himself _Spohr’s_ pupil. I have mentioned this circumstance in a
supplementary manner.
_Munich_, Dec., 12. 1815.
Our stay here afforded us much artistic enjoyment. Already on the
day after our arrival we were present at an interesting concert, the
first of the twelve winter-concerts given every year by the royal
orchestra upon their own account. These concerts are very numerously
attended, and merit it in a high degree. The orchestra consists
of the simple harmony, twelve first, twelve second-violins, eight
viols, ten violincelli and six double-basses. The violins and basses
are excellent, and the wind instruments, also, up to the horns. At
every concert, a _whole_ Symphony is performed; (which is the more
praiseworthy, from its becoming unfortunately daily more rare, and that
the public for that reason are losing more and more the taste for that
noble kind of instrumental-music); then an overture, two vocal, and two
concert pieces. As the Court-orchestra of Munich still maintains its
ancient repute as one of the first in the world, my expectation was
greatly on the stretch; yet was it far exceeded by the execution of
_Beethoven’s_ Symphony in C-Minor, with which this first concert was
opened. It is scarcely possible, that it could have been performed with
more spirit, more power, and at the same time with greater delicacy,
as also, throughout, with a closer observance of all the shades of
forte and piano! It produced therefore a greater effect, also, than I
had beleived it capable of, although I had already frequently heard
it, and even under the direction of the composer himself in Vienna.
Nevertheless, I found no reason to retract my former opinion respecting
it. Though with many individual beauties, yet it does not constitute
a classical whole. For instance, the introductory theme of the very
first passage is wanting in that dignity which according to my feeling
the commencement of a Symphony should of a necessity possess. Setting
this aside, the short and easily comprehended theme, certainly permits
of being carried out very thematically, and is combined also by the
composer with the other principal ideas of the first subject in an
ingenious and effective manner. The _Adagio_ in _as_ is in part very
fine, yet the same passages and modulations repeat themselves much
too frequently, and although always with richer ornamentation, become
in the end wearisome. The _Scherzo_, is highly original, and of real
romantic colouring, but the _Trio_ with the noisy running bass is to my
taste much too rough. The concluding passage with its unmeaning noise,
is the least satisfactory; nevertheless the return to the _Scherzo_ at
this part is so happy an idea, that the composer may be envied for it.
Its effect is most captivating! But what a pity that this impression is
so soon obliterated by the returning noise!
In this first concert we heard also Herr _Rovelli_, a young and but
recently engaged violinist, in a Concerto in C-Minor by _Lafond_ which
is excellent, and was executed to the satisfaction of all. This young
artist, a pupil of _Kreutzer_, combines with the chief excellencies of
the Parisian school that which is usually wanting with pupils, viz,
feeling and peculiar taste. The chief points of excellence in that
school consist in a careful study and development of the Technics of
the instrument, in which, however, the real cultivation of art is
very frequently neglected. This, nevertheless, is not the case with
Herr _Rovelli_; for he reads well from the sheet, and knows how to
accompany, as I afterwards had an opportunity of proving when playing
my quartetts.
Madame _Bamberger_ from Würzburg, of whose fine second-tenor voice and
good school, I had there already heard spoken of in such praise, sang
in the concert, but appeared nervous, which was probably the reason why
she took breath so frequently, and rendered the tones so imperfectly.
In the second subscription-concert, we heard Herr _Flad_, who performed
an hautboy-concerto in a very brilliant manner. He has a very fine
tone, and a very tasteful execution. Herr _Legrand_, on the other hand,
who played _Romberg’s_ violincello-concerto in E-Minor, seems to me to
be already going down hill, for his play is wanting both in power of
endurance, and in sure, and pure intonation. An overture from the Romeo
and Juliet by _Steibelt_, does not reach beyond common-place.
In the third subscription-concert, my Symphony in E-Major was
exceedingly well performed under the spirited yet circumspect direction
of Herr Concertmaster _Maralt_, and made more effect here than in
Frankenhausen, where I had heard it for the first time four years ago.
Herr _Franzl_ director of music, played his old violin-concerto in
C-Major with Turkish-music. Its composition is in the namby-pamby taste
of _Pleyel’s_ time, and will never suit the taste of the present day.
His play is just as antiquated, and retains of its former excellence
nothing but its vigour, but which now carries him frequently away into
an indistinctness and want of purity in intonation. Although this
was the case to-day, also, yet he was applauded like mad. This might
have impressed a stranger with an unfavourable opinion of the taste
of the people of Munich, had it not been evident, how well a small
party of his personal friends knew to carry away the public by an
uproarious clapping of hands, and a vigorous shouting of bravo. Though
it certainly may be conceded to an artist who excelled in former times,
that he should still meet with applause in later years, yet this may
readily mislead him to overstep the period when he should cease to
appear in public.
In the fourth subscription-concert, I played with Herr _Rovelli_,
my Concertante, in satisfaction of the expectation that every
foreign artist who desires to be supported in his own concerts
by the royal orchestra, is in duty bound to play in one of the
subscription-concerts. I never heard my Concertante to better
advantage. Herr _Rovelli_ had practised his part with the greatest
attention and played in a masterly manner. The accompaniment was
equally good. The _Adagio_ with the three violincelli-obligati had a
particularly fine effect.
_Vogler’s_ celebrated overture to “Castor and Pollux” did not come up
with my expectations. It begins in a spirited and powerful manner it
is true, but becomes lame towards the end, and the commencement itself
derives its effect only from the noise of the brass instruments.
On the third of December, we played before the Queen in her private
apartments, where besides herself and the King, a few only of the élite
of the Court were present. Both Sovereigns appeared to take great
interest in our play, for they loaded us with civilities. Besides
ourselves, Madame _Dulcken_, a distinguished artiste played also, with
her daughter and pupil, a _Rondeau_ by _Steibelt_ for two piano-forti.
On the sixth, our public concert took place in the Redouten-saloon,
which the Queen also honoured with her presence, a mark of distinction,
that for many years had been shewn to no foreign artists. I derived a
great satisfaction from hearing my compositions again performed with so
much brilliancy.
In the Museum, I found the Musical-journal, and therein a notice of the
last musical-festival at Frankenhausen, which also contains an opinion
upon my Cantata: “The emancipation of Germany.” The writer adduced so
many shallow and false objections to that work, that I was greatly
inclined to reply to it, had I not come to the resolution since my
paper-war with _Mosel_, never again to write an anti-criticism.
_Würzburg_, Dec., 26.
On our journey thither from Munich, we have given in ten days, in four
different towns, four flying concerts, that we had previously made
arrangements for, which were numerously attended, and returned a rich
harvest; viz, on the 16. in Nuremberg, on the 18. in Erlangen, on the
22. in Bamberg, and yesterday, the first day after Christmasday, here.
It was nevertheless an arduous exertion, particularly for _Dorette_;
the continual packing up and unpacking, rehearsing and concert-giving!
We will now give ourselves a little rest.--The day before yesterday, I
let Herr Professor _Fröhlich_ hear my two Vienna Quartetts, dedicated
to _Romberg_, chiefly with the view that he might notice them in the
musical-journal. They went off well, and therefore did not fail to
make a favourable impression upon the hearers.
_Frankfurt on the Mayne_, January, 14. 1816.
Our stay here was but very poor in art-enjoyments. During the whole
time, not a single concert besides our own, not one musical party!
While eight years ago, on our first coming here we scarcely could find
time to satisfy all the invitations to musical-soireés, now, not one of
the Frankfurt musical amateurs (if indeed there are any left) takes it
into his head to make a single demand upon our talents.
Even the theatre offered nothing very attractive, and only one, (for
us new) opera, viz, “Carlo Fioras” by _Fränzl_, was performed.--Madame
_Graff_ in this opera, and as the countess, in the “Marriage of Figaro”
proved herself a singer of an excellent school, gifted with feeling and
taste. The remaining _personnel_ of vocalists is of no importance, but
the orchestra excellent, and worthy of its ancient repute.
On the twelfth, we gave a concert at the Red-House. Madame _Graff_ sang
brilliantly the grand scena from “Faust.” The orchestra accompanied
with predeliction, and the greatest precision.