March, said among other things, in announcing the publication by
_Peters_ [Op. 65] of this work: “To waste words in praising this double
quartet, which all unite in admiring, would be carrying coals to
Newcastle.”
At this time I was engaged besides on various other compositions: two
pot-pourris on themes from “Jessonda” (Op. 64 and 66, at _Peter’s_ in
Leipzic), one for violin, the other for violin and violincello, both
of which I played in the course of the winter in our subscription
concerts. I further composed a hymn to St. Cecilia, written by Miss
_von Calenberg_ for the festival of the 22nd November, which consisted
of chorus with a brilliant soprano solo, the latter very well executed
upon the occasion by my eldest daughter _Emilia_.[28]
[28] The manuscript remained unpublished for many years, and was only
recently published bei _Luckhardt_ in Cassel as Op. 97.
For the celebration of this day, which our choral society did this year
for the first time, a company of about 120 persons assembled, mostly
friends of the members of the society, in the Austrian saloon, which
had been handsomely decorated for the occasion, and ornamented with
a life-size picture of St. Cecilia. The festival began with the hymn
to St. Cecilia, after which a member delivered a discourse upon the
musical art, and with the most flattering expression of the thanks and
acknowledgements of the society, presented me with a valuable gift,
consisting of two large bronze candelabra executed by the subsequently
so celebrated sculptor _Henschel_, and ornamented with scenes from my
three operas performed here. This was followed by a “Lord’s Prayer”
by _Feska_, the _Salve regina_ by _Hauptmann_, and during the supper,
some songs for male voices were sung. In the following year _Hauptmann_
composed another hymn written by Miss _von Calenberg_ in celebration of
the name-day of our holy patroness, and as this, together with my
composition, met with the same general approbation, both these pieces
of music were executed in turn upon all the subsequent celebratimes
of the festival. The voluntary contributions which were collected
upon these occasions were applied only to charitable purposes, and
the celebration of the day although sometimes interrupted by some
disturbances, continued to be observed up to a late period, sometimes
on a more limited and at others on a more extensive scale.
In the following year (1824) I received an invitation from Councillor
_Küstner_, who was then director of the Leipzic theatre, to bring
out my opera of “Jessonda” upon that stage. [A letter of the 14th
February furnishes an account of its successful performance there on
the 9th of that month: “Upon entering the orchestra I was received with
general acclamation, the overture was called for again with a loud and
continued _da capo_. Every ‘number’ was received with lively applause,
and four of them called for again, of which one was a chorus, the first
of the 2nd act. The greatest, and really stormy enthusiasm, was created
by the duet between Amazili and Nadori. After the conclusion of the
first act a speaker stood up in a box on the first tier, and addressed
me in a speech in which he characterised me as a _true master_ of
_German art_, and called upon the audience to give me a “three times
three”! This actually took place with a flourish of trumpets and
kettle-drums in a tutti such as I thought would bring down the walls of
the theatre. At the conclusion of the opera the same scene occurred,
and the house rang with cries of “_da capo_ Jessonda!” The day after
the performance Councillor _Küstner_ sent me double the amount of the
honorarium agreed upon, and when upon my departure from the inn I was
about to pay my bill, I found that it had been already settled....
_Peters_, the publisher of the selections from it for pianoforte,
declared to me also, that after _such a success_ of the opera, the
honorarium I had fixed was too small, and that I must now permit him to
fix one for it.”] On the 14th June of the same year, the opera was also
produced at Frankfort, for the first time, and after that on the stage
of all the principal theatres of Germany.
Some time afterwards I received the command from the Elector to write
a new opera to celebrate the marriage of his daughter the Princess
_Marie_ with the Duke of Saxe-Meiningen, which was to take place in
the spring of 1825. The subject I had before proposed in Vienna to
_Theodore Körner_ to arrange for me, _Musäus’s_ tale of the “Rübezahl,”
now came into my mind, and I therefore applied to Mr. _Edward Gehe_
in Dresden, who had written the libretto of “Jessonda” so much to my
satisfaction. But as I could not send to him a clear outline of the
scenes for the opera, not being myself as yet well decided respecting
the working-up of the materials, his fancy could not assist him in the
matter, and he sent me a libretto that did not all come up with my
ideas, and to which I did not at all feel myself inclined to compose. I
now called to mind my former kettle-drummer in the Frankfort orchestra,
the already-mentioned _George Döring_, who was at the same time a
literary man, and who since then had made himself known by several
successful novels. I therefore addressed myself to him, and explained
my views respecting the working-up of the “Rübezahl,” particularly
pointing out to him, that as I intended this to be a grand opera,
it would not be necessary to write it in rhyming verse. In _Gehe’s_
“Rübezahl” there were many things both shallow and inappropriate,
and which appeared to me as caused by the shackles imposed upon the
author by the rhyme, and this _Döring_, by my express wish, was to
avoid altogether. Although this has been greatly objected to, I am
nevertheless of opinion that the want of the rhyme in my opera “Der
Berggeist,” although it does not fulfill all that could be desired,
is the least to be blamed for it. Although _Döring’s_ libretto was
neither altogether to my mind, yet there was no time to be lost, and
less so, since this was not the only work the elector had requested
me to prepare for the celebration of the marriage. I had besides to
compose a grand march with introduction of the melody of the old
German ballad: “Und als der Grossvater die Grossmutter nahm,” together
with a torch-light-dance for fifty-three trumpeters, and two pair of
kettle-drummers (for these were the numbers to be found in the music
bands of the army of the Elector of Hesse); and as for the sake of the
modulation I was obliged to take various tones of the trumpets, and
the trumpeters of the bands not being very musical, I was obliged to
practise them also beforehand in this torch-light-dance.
At the end of the year, nevertheless, I was ready with all these
compositions, and could now proceed to the study of the “Berg-Geist.”
Our first tenor _Gerstäcker_, who had been ill for some time past, had
meanwhile become worse, and his malady had taken so sad a turn, that
all likelihood of his being able to sing was out of the question, and
we were now without a first tenor. The Elector therefore gave orders
to invite some foreign singer to perform for a series of nights in his
place, and we were so successful as to engage for several weeks the
services of the tenorist _Cornet_ of Hamburg, who was then in great
repute, together with his betrothed, Miss _Kiel_ of Sondershausen, who
undertook the first soprano part in the new opera. Scarcely, however,
had I begun the study of the work by our own theatrical company, than
I received from _Spontini_ an invitation that very much surprised me,
viz. to proceed to Berlin, to direct the first representation there of
the opera of “Jessonda,” fixed for the 4th of February, and to preside
myself at the two last grand rehearsals. _Spontini_, who must often
have seen himself reproached in the Berlin newspapers, for giving
nothing but his own operas, and witholding other meritorious works
from that stage, might have come to the idea of meeting that reproach
in the most signal manner by inviting the composer of “Jessonda.” But
in reality he did not seem to trouble himself much in furthering the
representation of the opera; for as soon as, having obtained leave of
absence, I arrived at Berlin, and waited upon _Spontini_, he received
me in a very friendly manner, it is true, but informed me that the
preparatory-rehearsals even had not yet been begun, and that he had
sent me the invitation without the previous knowledge of the intendant
of the royal theatre, Count _Brühl_. I now first sought to soften
the sensitiveness of the latter on the score of such a neglect, and
in order not to be obliged to return home without having effected
anything, I then consulted with him on all that was necessary to
expedite the representation of the opera.
In the preparatory rehearsals which now took place, I had the
satisfaction of finding that the principal parts were in good hands:
_Bader_ and _Blume_ as Nadori and Tristan, and Mdmes. _Schulze_ and
_Seidler_ as Jessonda and Amazili, were excellent singers; the part
of Dandau also was well filled by Mr. _Krause_, and that of Lopez,
which had at first been given to a comic singer, by which the serious
character of the opera would have been damaged, was taken by the
baritone _Devrient_, after I had agreed to make some alterations in
the recitatives. The opera could thus have been soon placed on the
repertory, when _Bader_ suddenly fell ill, and after his convalesence
Mrs. _Seidler_, being seized with a hoarseness occasioned some
obstruction. As the term of my leave of absence was nearly at an end,
I made application for an extension of it. But the Elector had felt
himself aggrieved by the obstacles thrown in my way by _Spontini_ and
the Berlin intendance, and he allowed me but a few days more, after the
expiration of which I was to return, whether the opera was brought out
or not. Fortunately, Mdme. _Seidler_ got better; I could now therefore
direct in person the first representation of “Jessonda” in Berlin, and
be witness to its very favourable reception. Immediately after, I left,
and travelled three whole nights without resting, in order to regain
the time lost.
The two singers from Hamburg had arrived in the meantime, and had
already performed with great applause; I could therefore begin the
stage rehearsals of the “Berg-Geist” at once. But between whiles I
received furthermore the elector’s order to arrange choruses for the
prologue to the opera, in which were to be introduced some popular
Thuringian melodies. To effect this I applied to my pupil _Grund_,
concertmaster at Meiningen, who procured for me the desired melodies,
which I then made use of in the work as well as they would admit of it.
On the 23rd March 1825, the marriage took place in the palace of
Bellevue. On the procession of the new-married pair and their
suite from the dining-hall to the white saloon, the orchestra
played my march, which had a good effect, and at the part where the
“Grossvater-Lied” was introduced was very pretty. The Elector, and
the Duke (who was decidedly more musical than his father-in-law) both
congratulated me much upon the grand march, which, at their request,
was played a second time. The reception of the married couple at the
festive representation on the following evening in the theatre, was a
very brilliant and noisy one; for I ordered the fifty-three trumpeters
and the two pair of kettle-drummers whom I had placed up in the gallery
to join in with the acclamations and vivats of the audience! The
festive-prologue written by counsellor _Niemeyer_ followed; then my new
opera “Der Berg-Geist,” which in truth was received by the thronged
and brilliantly lighted house with as much boisterous applause as
“Jessonda,” but which neither pleased me so much, nor was so popular
on other stages as the latter. The Elector, who was very satisfied
with all I had written for the occasion, sent for me the next-day,
thanked me, and presented me with a very handsome snuff-box, upon the
lid of which, though somewhat unsuitable for a musician, was a very
artistic chasing representing a combat of cavalry, set and framed
under glass. But--and that was the best part of it--it was filled with
Friedrich’s-d’or, and therefore a handsome and princely gift.
A few months afterwards Councillor _Küstner_ sent for my new opera
to Leipzic, and in September the first representation of it on that
stage took place. [A letter of the 18th September speaks of it in
the following manner: “The day before yesterday “Der Berg-Geist”
was launched here with the greatest success.... The _mise en scene_
was more brilliant than was ever known before in Leipzic, and some
of the scenes were more beautiful than any I had ever yet seen. The
scene-painter _Gropius_ is in a fair way to become the first in the
world; neither in Italy, Paris nor London have I ever seen anything so
charming as the closing-scene of the second act.... The reception the
opera met with, was the most flattering I had ever yet experienced....
The performance may be said to have been a very successful one. With
the exception of one error in the overture, and one obstinate rock
which would not come up out of the earth, nothing went wrong. On
the stage, almost all did better than in Cassel, particularly the
Berg-Geist (_Köckert_) and Oscar (_Vetter_).... The orchestra, although
far inferior to ours, was unusually good.”]
In the summer of 1825 an aimable young man, _Frederick Curschman_
of Berlin, came to Cassel to perfect himself under my guidance as
a musician. Although he had begun the study of jurisprudence at
Göttingen, he thought nevertheless of giving up the law, and had
already tried his hand with success at various kinds of literature,
particularly in songs, which he sung with a pleasing baritone voice,
and thereby introduced himself into our musical circle. As his musical
education was still imperfect, I advised him to apply first to
_Hauptmann_, who at my request had undertaken to instruct my violin
pupils in the theory of music, and shown great skill in that capacity.
_Curschmann_ also immediately joined our society of St. Cecilia, and
became a very valuable member of it, as he not only sang the bass soli
very well at sight, but frequently took the pianoforte accompaniment,
and did the duty of a librarian with great zeal. Together with some of
our best dilettanti he formed also an opera circle, in which for the
first time were produced several of his compositions which afterwards
became such favorites, and parts of his little opera “Die Todten, oder
Abdul und Erinnieh,” which was brought out at a later period upon the
stage here. He thus in many ways enlivened the culture of art in our
town, and soon became the favorite of the musical world.
In the same year Councillor _Rochlitz_, the editor of the Leipzic
Musical Journal, offered me the text of an Oratorio: “Die letzten
Dinge,” to compose for; which I received with great pleasure, as my
previous attempt in that style of art, “Das jüngste Gericht,” the
oratorio performed at Erfurt, by no means pleased me any longer, and
therefore I had not once been disposed to perform a single “number”
of it at the meetings of our society. I now began with new studies
of counter-point, and of the ecclesiastic style, and set zealously
to work on the composition, in which I followed the prescriptions of
the author which he had forwarded to me with the text, in respect to
its treatment, and which I not only strictly adhered to, but found of
assistance to me. The first part of the oratorio was thus soon ready,
and as early as the end of November I could give it with the members of
our choral society, at a concert in behalf of the sufferers from the
fire that had occurred shortly before at Seesen; although it is true,
with pianoforte accompaniment only. On that occasion, I observed with
great pleasure, that it made a deep impression upon the assistants, as
well as upon all the auditory, and this observation was of the more
importance to me, as it convinced me that I had found the proper style
for this kind of work. I had in particular striven to be very simple,
religious, and true in expression, and carefully to avoid all artistic
trickery, all bombast and every thing of difficult execution. With
increased zest I now proceded to compose the second part, so that the
whole work was finished by the following Good Friday (1826) and then
first performed complete in the Lutheran church. [A letter of the 26th
March speaks of it in the following manner: “Yesterday was a great day
of festival for the lovers of music here; for never yet had so solemn
a musical performance as my oratorio taken place in Cassel. It was in
the evening, and the church was lighted up. My son-in-law _Wolff_,
who had been long in Rome, proposed to illuminate the church as at
Rome on Good Friday, with lights disposed overhead in the form of a
cross, and carried out his idea. A cross fourteen feet long, covered
with silver-foil, and hung with six hundred glass lamps, was suspended
overhead in the middle of the church, and diffused so bright a light
that one could everywhere clearly read the text-books. The musicians
and singers, nearly two hundred in number, were placed in the gallery
of the church, arranged in rows one above the other, and for the most
part unseen by the auditory, which, amounting to nearly two thousand
persons, observed a solemn stillness. My two daughters, Messrs. _Wild_,
_Albert_ and _Föppel_, together with an amateur, sang the soli, and
the performance was faultless. The effect was, I must myself say,
extraordinary. Never did I before experience such satisfaction from
the performance of one of my greater works! I had always had to lament
either an imperfect execution, an unsuccessful effect, or something
else. This time it was quite different. The work, also, is simple and
easy, and yet not less comprehensive in contents, than the others.”]
The visibly deep impression that the oratorio made upon the public
may also have been yet further assisted by the solemn grandeur of
the illuminated cross--which harmonized greatly with the religious
sentiment inspired by the day. The elector only was not pleased with
the selection of the Lutheran church and its “catholic illumination,”
as he called the cross, and he ordered that the orchestra should give
their future Good Friday concerts in the court and garrison church,
lit up with chandeliers to be furnished from the electoral household
lighting department.
Shortly afterwards I received an invitation from my London friend
_Ferdinand Ries_, who had returned to Germany, and was then living
in the neighbourhood of Godesberg on the Rhine, to direct personally
my new oratorio at the Rhenish musical festival at Düsseldorf, the
arrangements for which had been confided to him. Although the Rhenish
musical festival was held at Whitsuntide, and therefore at a time when
our theatrical vacation had not yet begun, and I therefore required
to obtain an express permission to do so, I nevertheless succeeded in
obtaining it immediately, for the Elector felt himself flattered when
his director of music was invited to important musical performances,
and thereby acquired honour and fame.
While therefore I prepared to set out with my whole family, except
_Ida_ who, in the meanwhile, had married Professor _Wolff_, four of the
most ardent lovers of music here, Mr. _Curschmann_, the referendary
_Charles Pfeiffer_, Mrs. _von der Malsburg_ and her friend Miss _von
Heister_, made up their minds to join us, and like us to travel by
post, in order to be able to put up at dinner-time, and at night at the
same places. Favoured by the finest weather, we set out on our journey
on the 9th May 1826, and as the carriages always kept close together,
we exchanged places in them sometimes, always took our meals together,
and our pleasant and spirited conversation was not at all interrupted,
so that I never recollect having made a more agreeable journey.
On the third day we were met three miles from Düsseldorf by the
festival committee and the family of the State-Councillor _von
Sybel_, at whose house I and the members of my family were to stop;
and scarcely had we arrived at Düsseldorf, than we were welcomed by
the choral-society with a serenade. At the first general rehearsal,
which was held on the following morning, I had the satisfaction of
finding that my oratorio had been carefully and correctly studied by
the different societies, and was sung with an enthusiastic feeling for
the work. I could not feel so content with the orchestra, which had
been gathered together from different places, and in which dilettanti
assisted, and among others, my friend _Thomae_ from Cleves, among the
wind instruments. It was therefore a difficult matter to bring all
the instruments to the same pitch, and it could only be effected by
great patience and frequent repetitions. In the afternoon of the same
day, the rehearsal of the performances for the second day was held,
which _Ries_ conducted. At it were given a new symphony by _Ries_
(manuscript _D_ major), a Sanctus and a Credo from a mass by _Frederick
Schneider_, the jubilee overture of _Carl Maria von Weber_, and lastly,
a selection of the finest “numbers” from _Handel’s_ “Messiah.” As
Miss _Reinigen_ of Crefeld, the solo singer, was taken suddenly ill,
my daughter _Emilia_ was obliged to take the soprano part also in the
vocal performances. But so diligently did she study it, that already
at the very first rehearsal she went through the business right well,
and by her aid all derangement of the festival was obviated. But so
much the greater was _Ries’s_ difficulty with the wind instruments in
his symphony. He nevertheless displayed in the matter great patience,
and dealt very leniently with the awkwardness of the dilettanti. On
the following day were held two more rehearsals of the performances
for the first and second day of Whitsuntide (the 14th and 15th May),
which then, after such careful rehearsals passed off without a fault.
My oratorio was received with such enthusiasm by those who played
and by the auditory, that on the evening of the very first day, the
prolongation of the festival was mooted in order to repeat once more
“Die letzten Dinge” for the benefit of the Greeks. This was publicly
announced on the second day of the performances, and the majority of
the strangers present stopped in order to be present at its repetition.
Thus my work had the honour conferred upon it of a second performance,
of which I might well be proud, as since then so far as I know of, such
a thing has never happened to any work given at the Rhenish musical
festivals. In the musical journals, also, there appeared several very
favourable notices of my oratorio, and I therefore hastened to publish
selections from it for the pianoforte. But the edition I issued was
soon sold off, and a second was therefore published afterwards by
_Simrock_ of Bonn, who also brought out the song parts with it, by
which the performances of the work in almost all the towns of Germany,
Holland and Switzerland was very much facilitated. I could therefore
be very content with the reception of this oratorio, and frequently
as it was performed and spoken of, no voice was ever heard raised in
condemnation of it.