Chronological Index of Contents. (continued 3)

Soon, however, the Prince was recalled from his exile to Magdeburg, and dismissed by him with friendly thanks, I could now return to Brunswick. Dussek on taking leave of me, told me that the Prince had intended to have made me a present, but that his purse was at so low an ebb, he must postpone it to a later and more favorable time. But that time never came; for the Prince found an early death in the following year in an action near Saalfeld. In the beginning of October, after an honourable discharge from the Duke’s service had been duly made out for me, I left my native town. On my taking leave, the Duke said to me with truly paternal benevolence, as he extended his hand to me: “should you dear Spohr find your new place unpleasant to you, you can re-enter my service at any time.”

I parted with my benefactor, deeply moved; and alas! never saw him more,—for as is well known he fell mortally wounded at the unfortunate battle of Jena, and died a fugitive in a foreign land. I mourned for him, as for a father.

Arrived in Gotha, I was introduced to the members of the Ducal Orchestra by the Intendant Baron von Leibnitz, as Concert-Director, and made acquainted with my sphere of duties. This consisted, both in winter and summer, in the arrangement of a concert at Court every week, and in practising and rehearsing the orchestra in the music chosen for the occasion. As the orchestra had no other duties beyond these concerts, I was enabled to have three or four rehearsals of each, and to practise all that was to be performed at these with the greatest precision. By my zeal, and the good-will of the members, I soon succeeded in attaining an exceeding accuracy of ensemble which was recognised by the Dutchess and some of the Musical-connoisseurs in the Court-circle, and elicited much praise.

The orchestra consisted in part of musicians of the Ducal Chamber, and in part of Court-hautboyists. It was the duty of the latter to play also during the repasts, and at Court-balls. Among the musicians of the Chamber, there was a whole bevy of solo-players. The chief were: on the violin, Madame Schlick and Messrs. Preissing and Bärwolf; on the violoncello, Messrs. Schlick, Preissing jun. and Rohde; on the clarionet, bassoon and harp, Herr Backhofen; on the hautboy, Herr Hofmann; and Herr Walch on the horn.

For the vocal parts at the Court-Concerts two Court-singers Mesdames Scheidler and Reinhard were engaged. The husband of the latter accompained the vocalists on the piano-forte. Being the oldest member of the orchestra, he had warmly competed for the vacant post of Conductor; and as the Duke’s musical instructor, some regard was due to him; he also, therefore, had the title of Concert-Master conferred upon him on my appointment, and his rescript was even of anterior date to mine. For this reason he at first made some weak attempts, to assume the direction of the vocal performances. But I knew so well how to overawe him by my decisive bearing as first Violin, that he soon succumbed as willingly to my lead at the pianoforte, as at the viol, on which he performed in the instrumental music. I was also soon enabled to overcome the opposition of the Schlick family who relied on the favour of Prince Augustus, the Duke’s uncle, and then undisturbedly maintained my directorial-position.

In the introductory visits I made to the members of the orchestra I was received most cordially by the Court-singer Madame Scheidler. She introduced me to her daughter Dorette, of the age of eighteen, of whose skill upon the harp and pianoforte I had already heard much. In this charming blondine I recognised the girl whom I had seen on my first visit to Gotha, and whose pleasing form had since then frequently recurred to my memory. At the Concert which I then gave in that town, she had sat in the first row of the auditory, by the side of a female friend, who upon my appearance, astonished at so tall a figure, exclaimed rather louder than she had intended: “Just look, Dorette, what a long hop-pole!” Upon hearing this exclamation, my eye fell upon the girls, and I saw Dorette blush with embarrassment. With a similar graceful blush she now again stood before me, probably recollecting that circumstance. To put an end therefore to a situation so painful to me, I entreated her to play something on the harp. Without the least affectation she complied with my wish.

When a boy, I had myself once made an attempt to learn the harp, and took lessons of one Herr Hasenbalg in Brunswick, when I soon got so far as to be able to accompany my songs. But after my voice had broken, and that for a considerable time I remained without any voice at all, the harp was neglected, and at length wholly laid aside. My predilection for that instrument had nevertheless remained the same; and I had given my attention to it sufficiently long, to know, how difficult it is, if one would play more than mere accompaniments upon it. My astonishment and delight may therefore be imagined, when I heard so young a girl execute a difficult “Fantasia” of her instructor Backofen, with the greatest confidence, and with the finest shades of expression. I was so deeply moved, that I could scarce restrain my tears. Bowing in silence, I took my leave;—but my heart remained behind! Irresistibly impelled, my visits now became frequent, and my reception more friendly every time.

I accompanied the daughter on the piano, which she played with the same excellence as the harp, assisted the mother in the practise of her songs for the Court-Concerts, and so made myself more and more necessary to the family. The first piece that I composed in Gotha, was a grand “Vocal Scena” for a soprano voice, which I dedicated to Dorette’s mother, and which she sang with great applause at one of the Court-Concerts. For myself and the daughter, I then wrote a Concerted Sonata for violin and harp, which I practised with her in the most careful manner. They were happy hours!

Thus, after my arrival, had a month passed away for me in the most agreable manner, when the Court set out for the session of Parliament at Altenburg and took the orchestra with it. Dorette also accompanied her mother thither. I offered myself to them as a travelling-companion, but unfortunately made my application too late, for they had already arranged to travel in company with Messrs. Preissing, the brothers of Madame Scheidler. I was therefore obliged to seek other travelling-companions; but at every place where we stopped to take refreshment I did not fail to join immediately the Scheidler family, and always contrived to get possession of the place at table next to Dorette. These meetings after a separation of four or five hours, gave a peculiar charm to the otherwise long and tedious journey, so much so indeed, that when at length on the evening of the third day we entered the gates of Altenburg, it seemed too short to me. I was lodged in the house of Secretary Brummer who as a great lover of music had begged that I might become his guest. I met with the most friendly reception and a well furnished table. But I had previously arranged to dine always at Madame Scheidler’s, who like an active housewife had immediately established a kitchen of her own, for herself and brothers. Henceforth, treated almost like a member of the family, I had full opportunity to become more nearly acquainted with my beloved Dorette. Her father, an excellent musician, and a man of scientific attainments, had, up to his death, which had taken place two years before, devoted himself entirely to the education and improvement of this daughter. With an almost extreme severity he had compelled her not only from her earliest childhood to pursue the study of Music, but also, instructed her, in part personally, and partly through the medium of other able teachers in every branch of education suitable to a young female. She therefore spoke Italian and French with the greatest fluency and wrote her mother tongue with ease and correctness. But her brilliant execution both on the harp and pianoforte was already then despite her youth, truly remarkable! Yes, even upon the violin on which instrument her uncle Preissing gave her instruction, she had acquired so much skill, that she could play Viotti’s Duetts with me. But as I advised her to discontinue the practise of that instrument so unbecoming for females, and to devote rather her undivided study to the two others, she adopted my advice and from that moment gave it up.

Meanwhile the Court-concerts had commenced. They took place in a large saloon in the Palace, very favourable for music, and together with the Court were attended by the parliamentary Deputies and by the dignitaries of the town. The orchestra, as well as the performances both of myself and the other soloplayers met with great applause. Dorette’s Soli’s on the harp and piano made also a great sensation. In this manner the concert-days were soon looked forward to by the Altenburgers as real festival days, and the auditory encreased so much in number each time, that at length there was scarcely room for their accommodation. There were also many private Music-parties, at which I and the members of the Scheidler family never failed to be invited. One day, however, I was invited with Dorette, but without her mother, to a Fête given by the Minister von Thümmel, to the Court and its immediate circle. We were requested to reproduce my Sonata for the harp und violin, which we had already played with great success at the Court-concerts. With some timidity I ventured to ask whether I might fetch Dorette in the carriage, and felt delighted beyond measure, when her mother without hesitation gave her consent. Thus alone for the first time with the beloved girl, I felt the impulse to make a full confession of my feelings towards her; but my courage failed me, and the carriage drew up, before I had been able to utter a syllable. As I held out my hand to her to alight, I felt by the tremor of hers, how great had also been her emotion. This gave me new courage, and I had almost plumped out with my declaration of love upon the very stairs, had not the door of the Reception-saloon been thrown open at the same moment.

That evening we played with an inspiration and a sympathy of feeling that not alone carried us wholly away, but so electrified the company also, that all rose spontaneously, and gathering round us, overwhelmed us with praise. The Dutchess whispered some words in Dorette’s ear, which brought blushes to her cheek.

I interpreted them as favorable to me, and now on the drive home I at length found courage to say: “Shall we thus play together for life?” Bursting into tears, she sank into my arms; the compact for life was sealed! I led her to her mother, who joined our hands and gave us her blessing.

The next morning I announced my happiness to my parents. But before I could enjoy it without alloy, I felt compelled to write another letter, and one which was to me a most disagreable task. I felt the injustice of my conduct towards Rosa, and the necessity to ask her forgiveness. I had it is true, never made a declaration of my love to her; but it had been but too apparent in the earlier period of our acquaintance. To that was added moreover, the circumstance that, my parents had greeted her in Seesen as my betrothed. What the arguments were that I resorted to in exculpation of my injustice, I no longer remember at this distance of time. Probably I may have again adverted to the difference of religion, which could alone serve me as excuse for my withdrawal. The letter was at length finished; and with a lightened heart I took it to the post. I anxiously expected an answer; but none came. At a later period I learned that Rosa had returned to Italy with her parents who had acquired some fortune in Germany. Some years afterwards, I was told when in Dresden, that Rosa, led by her devotional turn of mind, had retired to a convent, and after the year’s novitiate had taken the veil. I never could think of that charming maiden without sentiments of the deepest sorrow!

At the dinner-table on the following day all appeared in full dress; it was to celebrate our betrothal. The news of this had soon spread through the town, and not only the members of the Ducal orchestra, but also many of the inhabitants of the place came to felicitate the engaged couple. At the next concert the same took place on the part of the Dutchess and the Court.

With the end of the year, the session of Parliament drew also to a close, and the return of the Court to Gotha was already spoken of, when I solicited an eight day’s leave of absence to go to Leipsic in order to give a concert there. Preparatory to that, I had already made enquiries of my friends of the foregoing year, and received from them the most favorable assurances. My bride, and her mother accompanied me, to appear also in the same concert. This therefore offered a diversity of attraction to the public, and consequently the attendance was very numerous. I played a new Violin-Concerto in C-Major (published by Kühnel as the third) which I had begun in Gotha and finished at Altenburg. Both my playing and composition found as warm a reception as in the previous year. My bride also met with the most enthusiastic applause. She played Backhofen’s Fantasia, and with me the new Sonata. On this occasion, it was again our combined play that was considered the most brilliant performance of the evening. The mother, a singer possessed of a powerful, pleasing tone, and of a good school, executed, accompanied by her daughter, the aria of Mozart with Pianoforte obligato, as also, my new vocal-Scena, with great success.

Highly satisfied with the result of our undertaking, we returned to Altenburg, and shortly afterwards with the Court to Gotha.

Madame Scheidler resided there in a very roomy and well furnished house, of which without feeling in the least inconvenienced, she could readily give up to me an apartment or two. As she offered to take my brother Ferdinand who as my pupil lived with me, together with ourselves as boarders, nothing therefore stood in the way of my immediate marriage. The wedding was accordingly fixed for the 2. February, 1806. I hastened therefore, to procure the documents, requisite for the occasion, my certificate of baptism, and the consent of my parents. To my regret, they were unable to bring this to me in person, as my father dare not leave his patients, some of whom were dangerously ill, but they sent my brother William[7] to be a witness to my happiness.

It created no little astonishment when I produced my certificate of baptism, that instead of growing older in Gotha, I had become several years younger! But as I had already sufficiently established my authority as Concert-Director I experienced no subsequent prejudice from this discovery.

The ardently desired 2. February, dawned at length. At the request of the Dutchess who wished to be present, the marriage took place in the Palace-chapel. Upon the conclusion of the ceremony the newly married pair received the felicitations and wedding-presents of their illustrious Patroness. At home, we found assembled as wedding-guests, the two uncles Preissing and several other of the most intimate friends among the members of the Ducal orchestra, as also Cantor Schade, an old friend of the Scheidler family. After dinner many others came. Among these the playmates and school-fellows of Dorette. All brought with them their friendly gifts. Neither was she wanting who had compared me to a hop-pole, and as punishment for the unbecoming comparison, she was frequently obliged to endure a little raillery. As the weather was too unfavourable for an excursion, or promenade, music was kept up till a late hour in the evening.

In the midst of Music also, the happy pair passed the honeymoon. I began forthwith a diligent study of the harp, in order to ascertain thoroughly what was best adapted to the character of the instrument. As I was prone to a richness of modulation in my compositions, it was therefore requisite to make myself especially well acquainted with the pedals of the harp, so as to write nothing that would be impracticable for them. This could not readily occur, on account of the great accuracy with which my wife had already then mastered the whole Technics of the instrument. I therefore gave free play to my fancy, and soon succeeded in obtaining wholly new effects from the instrument.

As the Harp sounded most advantageously in combination with the singing tones of my Violin, I wrote more especially Concerted compositions for both instruments alone. At a later period, it is true, I made trial, also, of two Concertanti with Orchestral accompaniment, and of a Trio for Harp, Violin and Violoncello; but as I found that every Accompaniment only disturbed our mutual and deeply felt harmony of action, I soon abandoned it.

Another attempt to obtain a greater effect, had however, a more successful result. I conceived the idea of pitching the harp half a tone lower than the violin. By so doing I gained in two ways. For, as the violin sounds most brilliantly in the cross or sharp notes, but the harp best in the B-tones or flat notes, when the fewest pedals possible are moved; I thereby obtained for both instruments the most favourable and most effective key-notes: for the violin namely, D and G; for the harp E and A-flat. A second advantage was, that, from the lower tuning of the harp, a string would less frequently break, which in public performances in very warm rooms so frequently happens to the harpist, and mars the enjoyment of the hearers. From this time therefore, I wrote all my Compositions for harp and violin in that difference of the keys.

Dorette, forcibly attracted by these new Compositions, devoted at that time her attention exclusively to the study of the harp, and soon obtained such a brilliant execution, that I felt an eager desire to exhibit this before a larger public than that of the Court-concerts of Gotha. As I beleived also, to have now perfected my own Play in a manner such as no other could readily surpass, I resolved to set out on an Artistic tour with my wife in the ensuing autumn. I had already stipulated for such a leave of absence upon receiving my appointment, and it had been acceded to in consideration of my then small salary.

Meanwhile as the autumn drew near, a twofold obstacle presented itself to the execution of my cherished projects. The war between Prussia and France threatened to break out. The Prussian army prepared for the struggle, was already assembled in the neighbourhood of Gotha, and the inhabitants of the Dutchy had much to endure from the billeting, and overbearing insolence of the Prussians.

Even though I might have been able to take my journey in a direction that would have carried us from the tumult of war, yet when my home was in danger of becoming the scene of conflict, I could not well leave it in such an extremity. Then, one day, with blushing cheek and beaming eyes, my little wife imparted to me that towards the end of winter she looked forward to a mother’s joys. Now, therefore, indeed it was no longer possible to think of undertaking a journey, and all hesitation on the subject was set at rest. I therefore bethought me of some engrossing work that would distract my attention as much as possible from all the anxieties of the times. I had long wished to try my hand at a Dramatic composition; but I had never yet found a favourable opportunity. Neither, indeed, did that present itself now, for Gotha possessed no Theatre. Yet, I thought; if the opera were once written, some opportunity to hear it might yet present itself. Just at that time, I received a visit from a companion of my youth Edward Henke my mother’s youngest brother, afterwards Professor of Jurisprudence at the university of Halle, who had already met with some success in lyrical compositions. I persuaded him to write the words of an opera for me. We cogitated together the subject-matter, and the scenes, of a one act Opera, to which we gave the Name of “Die Prüfung” (The Trial). Edward began forthwith the composition of the Song-parts and finished them wholly before his departure. He promised to supply the dialogue afterwards.

But before I could begin my work, the storm of war broke loose. The battle of Jena had been fought; and with that, the fate of Prussia decided. The Prussians who had lain in and around Gotha, and who but shortly before had been so-overbearing in their demeanour were now seen flying in the greatest confusion. The disorganisation of their troops was so complete, that their arms were to be found in thousands strewn over the fields near Gotha. In a walk I took a few days afterwards, I found as a further gleaning, a ramrod, which I took home with me as a reminiscence of that fatal day. Suspended from a thread it gave with a clear sound the note B, once struck, and served me for many years instead of a tuning-fork when tuning the harp.

Although after the advance of the French army in pursuit, the theatre of war was soon removed farther and farther from Gotha; yet the quartering of troops upon the inhabitants was no less continuous. Fresh reinforcements of French and South-German troops were constantly moved forward in support; and a greater part of the Prussian prisoners taken at Jena, was brought through Gotha. These came in bodies of from 3 to 4000 men of all arms, frequently escorted by 40 or 50 voltigeurs, only, and were shut up in the great Church on the market place, opposite to our dwelling, with merely a few sentries mounting guard over them before the closed doors. As the nights were already very cold, the men in their thin uniforms must indeed have been nearly frozen. For that reason also they kept up a continual noise and outcry. The inhabitants of the houses in the neighbourhood, in constant dread that the prisoners from their greatly superior numbers would liberate themselves, were obliged to keep continually on the watch, and for many nights together could not retire to rest.

This, therefore, was by no means the most propitious time for me to attempt a style of composition that was quite new to me. But as my study was situated near the garden, at a distance from the noise in the streets, I soon succeeded in forgetting every thing around me, and gave myself up heart and soul to my work. In this manner, before half the winter had passed, I completed the composition of the 8 “Numbers” of the Opera, together with the Overture. The four Song-parts in these, permitted of being well rendered by the Female Court-singers and two Dillettanti whose assistance I had already obtained for the Court-concerts. I therefore had the opera written out with all despatch, practised it carefully, and then played it as Concert-Music at one of the Court-concerts.

Great as at first was my satisfaction with the new work, I nevertheless soon became sensible of its deficiencies, and weak points. With every successive rehearsal these were made more clear to me, and even before its production in public took place, the Opera (with the exception of the Overture and one aria for a tenor-voice) had become distasteful to me. Even the great applause it had met with from those who executed it, and those who heard it, could not reconcile me the more to it; so that I laid it aside, and with the exception of the two “Numbers” mentioned, I never played any thing more of it in public. But with this feeling of dissatisfaction with my work I was truly unhappy; for I now thought to perceive that I had no talent for Operatic compositions. There were, however, two things which I had forgotten duly to consider; first, that I had assumed a much too elevated style, for I had put my Opera upon a par with those of Mozart, and secondly, that I was wholly wanting in the practice and experience requisite for this kind of composition. This did not occur to me till some years afterwards, and encouraged me then to make another attempt at dramatic composition.

For the present, I again devoted myself wholly to Instrumental composition; wrote the already mentioned Concertanti for Harp and Violin with full orchestra; a Fantasia (op. 35) and Variations (op. 36) for Harp-Solo; and, for myself, my Fifth Violin Concerto (op. 17. published by Nägeli of Zurich) and the Pot-Pourri (op. 22, at André’s in Offenbach).

As Dorette anticipated her confinement in the spring, it was impossible we could remain longer in the limited accommodation of her mother’s house, and we were now obliged to furnish a house of our own. This took place at Easter 1807.

Shortly after, on the 27. May, we were gladdened by the birth of a little daughter. I now had to invite the Duke as Godfather to the new-born, he having already previously offered himself for that post of honour. On the day of the Christening, he made his appearance, in the full splendour of his Ducal rank, accompanied by the dignitaries of his Court and followed by the idlers of the town, who attracted by the grandeur of the rarely used state carriage and its occupants, stared with astonishment to see it draw up before my house, at the door of which I received him, and conducted him to the apartment decorated with garlands of flowers. The ceremony began, and the new-born was christened Emilie, after the Duke’s second Name, Emilius.

To my great regret, my parents could not take part in this delightful family festival. And yet, in the previous summer, when on a visit at Seesen, I had introduced my dear wife to them, and had the gratification to see not only that they soon evinced much affection for her, but the satisfaction also, that my father was obliged to admit I might not have been so happy with Rosa, even had my love for her been more lasting.

As soon as Dorette had fully regained her strength, she began anew to practise the recently finished compositions for the Harp, in order to prepare herself for our projected artistic tour. But while thus engaged, she became more and more convinced of the defects of the instrument she had hitherto used, a Strasburg pedal-harp, which she had received as a present from the Dutchess. It was therefore decided in a family consultation, to apply a small capital appertaining to her as inheritance, to the purchase of another, and a better harp. Herr Backofen, had such an instrument, a very superior one, by Nadermann of Paris, and was disposed to part with it to his pupil for a moderate price. This, therefore, was purchased. Of Dorette’s small inheritance there yet remained a few hundred thalers, to expend in the acquisition of an indispensible convenience for travelling, namely a travelling-carriage, constructed at the same time for the transport of the harp. For a considerable time I turned over in my mind the form of build best adapted to this purpose. There were two things that required especial consideration; first, that it should not be too expensive, and secondly that it should be sufficiently light for one pair of post-horses. At length I hit upon the right plan. I ordered a long, but not too heavy Basket-carriage to be built, with a chaise compartment behind for the travellers. In front of this between the basket-sides, lay the box for the harp, slung by leather straps, and covered with a leather apron, which fastened by means of a bar of iron hooking into the chaise-seat in front of the occupants. Under this was a seat-box to hold the violin-case, and behind it a larger one to contain a trunk adapted to the space, in which all the other travelling requisites could be packed. In front, above the harp-box, was the raised seat for the driver. A trial trip, for which the carriage was completely packed, shewed that it fully answered the object proposed. Thus, therefore, every thing was in readiness for our artistic tour.

After a painful leave-taking of our child, of whom my mother-in-law undertook the care, we set out on our journey, in the middle of October. As I unfortunately kept no diary upon this and our subsequent journey from Gotha, I am left wholly to my somewhat faint recollections of that period, which have been but sparingly refreshed by a few notices in the Leipsic Musical-Journal. Of a diary kept by my wife at that period, but which she never let me see, I have neither been able to find anything since her death. Probably, it was destroyed by her in after years.

On the very first day, our journey began in a very ominous manner, by the overturning of our carriage at a place between Erfurt and Weimar, where there was at that time no paved high-road. Fortunately, however, neither the travellers nor their instruments were injured, we therefore considered ourselves very fortunate to have escaped with the fright only. No such accident re-occurred to us on any of our numerous journeys. In Weimar, whither we took letters of introduction from the Dutchess of Gotha, we played at Court with great applause, and received a munificent present from the Hereditary Grand Dutchess, the Princess Maria. Among the auditory at the Court-Concert were the two Poet-heros Goethe and Wieland. The latter seemed quite charmed with the play of the artiste-couple, and evinced it in his own animated and friendly manner. Goethe, also, addressed a few words of praise to us with a dignified coldness of mien.

In Leipsic, as I perceive from a notice in the Musical-Journal, we gave a concert on the 27. October. The opinion therein expressed of the compositions I played on that occasion, namely the Overture to the “Prüfung”, the Violin-Concerto in Es, the first Concertante for Harp and Violin, the Potpourri in B, and the Fantasia for the Harp, was very favorable. As regards our play, it says:

“Respecting the play of Herr Spohr, and his wife, we have already spoken in detail, and here alone add, that he has entirely corrected himself of many of the too arbitrary mannerisms (in Time, and the like) which he had acquired, and of which we had now and then complained; and, without a doubt, as regards Tone and Expression, Surety and Skill, both in Allegro and in Adagio (in the latter more especially, in our opinion) he now takes rank among the foremost of all living Violinists: and Madame Spohr, by her great skill, neatness and feeling in her play, is certain to meet with the most distinguished reception.”

Of Dresden, where we also gave a Concert and also, if I do not mistake this occasion for a later one—played at Court (though certainly not during dinner, to which neither of us would have consented) I recollect nothing more particular. But I well remember many circumstances of our stay at Prague. My fame had not yet reached there, and at first I had many difficulties to contend with. These, however, were forthwith overcome when I and my wife had played at a Soirée given by the Princess Hohenzollern, and when that lady declared herself our Patroness. We now immediately became the fashion, and the beau-monde came in crowds to the two concerts we gave in the City so famed for its cultivation of Art. We had therefore full reason to be satisfied with our stay there. This is also confirmed by a notice in the Musical-Journal beginning as follows: “Among the strangers who have given concerts, the third was Herr Spohr, the celebrated Director of Concerts to the Duke of Saxe-Gotha. Herr Spohr performed on the Violin, as did his wife on the Pedal-Harp. It will be long before another artiste will have such reason to be satisfied with the reception he met here as Herr Spohr, and of a certainty every friend of Art, will acknowledge that he well deserved that distinction.”

But in the course of his notice, the Editor animadverts on several points in my Play, though this opinion would seem to have been a somewhat isolated one, as in his notice of the concert given by the brothers Pixis which immediately followed mine, he says: “his place has been assigned to him far below Spohr,” and then continues: “as but a few days before people were so charmed by the Play of the latter, and the opinion was expressed from that point of view, it may not be considered altogether fair.”

Among the friends of Art in Prague, I then made the acquaintance of a man with whom up to the time of his death I constantly remained on terms of the closest friendship. This was Herr Kleinwächter, the head of the commercial firm of Ballabene. At his house, every Sunday forenoon, a small but select circle of Professionals and lovers of Art met to play and listen to Quartett-music. Every foreign artiste sought to be introduced there, and whether violinist or violoncellist took an active part in them. I took a pleasure in playing there; for my execution and my endeavours to give each composition in its appropriate style were fully appreciated. One Sunday morning I was playing a Solo-quartett of mine (D-Minor, op. 11. published by Simrock) when the master of the house was suddenly called away; but returning after some time, announced to the company, that during the playing of the Quartett a son had been born to him! Among the congratulations of those present the wish was also expressed that this harmonious greeting of the new citizen of the world, would be of the most happy augery for his future life, and above all things might endow him with a taste for Music! With the latter, he was indeed gifted in a high degree. Louis Kleinwächter, (in compliment to me he was christened after me) though only as an amateur (his profession was the law) became a distinguished musician, as his compositions many of which have been published, sufficiently attest. Whether it was that he had been told he was born during the performance of one of Spohr’s compositions, and that, that had awakened his predeliction for them, or whether it was his diligent study of them, there never was a more enthusiastic admirer of my music than he. Whenever in the Musical Reunions of Prague, a choice was mooted of the Compositions which were to be played, he always strove for those of Spohr, and never rested until he had carried his point. For that reason, also, he soon acquired the general cognomen of “the mad Spohrist.”

It is to be regretted that this young man of whom mention will frequently be made in these pages, was snatched from his family by an early death; he died several years before his father.

From Prague, the Artiste-couple proceeded to Munich, via Ratisbonne. I no longer recollect whether I succeeded in getting up a Concert in the latter town. I could find no notice of it. And respecting Munich, in a summary notice of the Musical-Journal on the winter-season of that year, it was curtly remarked “Herr Spohr, from Gotha, gave a Concert and met here also with a warm approval.” Of our stay there I have nevertheless a tolerable clear recollection. Before we gave our concert in the City, we played at Court. When we came forward to play our Concertante for Harp and Violin, there was no stool for Dorette. King Maximilian who sat beside his Consort in the front row of the audience, observed it, and immediately brought his own gilded arm-chair surmounted with the Royal Crown, before an attendant could procure one. In his own friendly good-tempered manner he insisted upon Dorette seating herself in it, and only when I explained to him that the arms of the chair would impede her playing, he consented to her taking the seat brought by the servant.

When the Concert was over, he presented us to the Queen and her Ladies of the Court, who discoursed with us in the most friendly manner. On the following day the Royal Gifts were presented to us; to me a diamond ring, to Dorette a tiara of brilliants; both of great value.

At our Public Concert, we were supported by the members of the Royal orchestra with the greatest good will. Herr Winter, the Director, led. I was delighted with the precision and spirited execution of my compositions, and thought it very natural that they should please, played in such a manner. But it was a special satisfaction to me that the Composer of the “Opferfest” (the Festival of the Sacrifice) assured me also in his candid and straight forward way, of his full approval. I went frequently to Winter’s house, and was greatly amused with his original character, which united the most singular contradictions. Of a colossal build, and gifted with the strength of a giant, Winter was withal as timid as a hare. Readily excited to the most violent rage, he nevertheless allowed himself to be led like a child. His housekeeper had soon observed this, and tyrannised over him in a cruel manner. As an example of this, he took great pleasure in dressing up the little images for the Christmas tree, on the Eve of that Festival, and would amuse himself in this way, by the hour. But ill befel him if the housekeeper caught him at it. She would then immediately drive him away from them, and call out: “Must you then be eternally at play?! Sit down directly to the Pianoforte, and get your song ready!”

The junior members of the Royal orchestra, whom he took great pleasure in having about him, and sometimes invited to dinner, teazed him in return, unceasingly. They had soon discovered that he had a great fear of Ghosts, and invented all manner of tales of apparitions and ghostly narratives to frighten him. In the summer time he frequently went to a public garden outside the town, but as he was timerous in the dark, he always returned before night-fall. One day, the mischievous young folks contrived by various means to delay his return longer than usual, and it was already quite dark when he set out on his way home. As the other guests still remained quietly seated, he found the road which lay between two gloomy hedge-rows fearfully lonely. Seized with a sudden terror, he unconsciously began to run. Scarcely had he commenced, than he felt a heavy load upon his back, and he beleived that it could be nothing also but a Hobgoblin that had sprung down upon him. Hearing other footsteps behind as though running after him, he thought the Devil and all his Imps were in full chase, and he now ran still faster. Reeking with perspiration and panting for breath he at length reached the city gates; when the goblin sprung down from his back, and said in a voice that he knew: “Thank you Herr Kapellmeister, for carrying me, for I was very tired!” This speech was followed by a general titter, and he whom they had so befooled, burst into an uncontrolable rage.

From Munich, we continued our journey to Stuttgard, where we took letters of introduction to the Court. I presented these to the Court-Chamberlain, and on the following day received from him the assurance that we should be permitted to play at Court. But in the meantime I had been informed that here also cards were played during the Concerts at Court, and that little attention was paid to the Music. At Brunswick I had been already sufficiently disgusted with such a degradation of the Art, that I took the liberty to declare to the Court-Chamberlain, that I and my wife could alone appear, if the King would be graciously pleased to cease card-playing during our performance. Quite horrified at so bold a request, the Court-Chamberlain made one step backward, and exclaimed: “What? You would prescribe conditions to my gracious Master? Never should I dare make such a proposal to him!” “Then must I renounce the honour of playing at Court”, was my simple reply. And on this, I took my leave.

How the Court-Chamberlain betook himself to lay so unheard of a proposition before his Sovereign, and how the latter prevailed upon himself to yield to it, I never learned. But the result was, that the Court-Chamberlain sent to inform me: “His Majesty would be graciously pleased to grant my wish; but on the condition, that the musical pieces which I and my wife would play, should follow in quick succession, so that His Majesty would not be too frequently inconvenienced.”

And so it occurred. After the Court had taken their seats at the card-table, the Concert began with an Overture, which was followed by an aria. During this, the lacqueys moved to and fro with much noise, to offer refreshments, and the card-players called out: “I play, I pass” so loud, that one could hear nothing connectedly of the music and the singing. The Court-Chamberlain now came to inform me that I should hold myself ready. Upon this, he announced to the King, that the strangers would begin their performances. Presently, His Majesty rose from his chair, and with him all the company. The servants placed two rows of stools in front of the orchestra, upon which the Court seated themselves. Our play was listened to in the greatest silence, and with interest; but no one dared utter a syllable of approval, as the King had not given the lead. The interest he took in the performances was shewn only at the close of each by a gracious nod of the head, and scarcely were they over, than all hastened back to the card-tables, and the former noise began anew.

During the remainder of the Concert, I had leisure to look about me. My attention was particularly directed to the King’s card-table, in which in order to accommodate itself better to his Majesty’s obesity, a semi-circular place had been cut out, into which the King’s belly fitted closely. The great size of the latter, and the little extent of the Kingdom, gave rise as is well known to the smart caricature in which the King in his Coronation-robes, with the map of his Kingdom fastened to the button of his knee breeches, is represented as uttering the words: “I cannot see over all my States!”

As soon as the King had finished his game, and moved back his stool, the Concert was broken off in the middle of an aria by Madame Graff, so that the last notes of a cadence actually stuck in her throat. The musicians accustomed to this vandalism, packed their instruments quietly in their cases; but I was deeply exasperated at such an insult to the Art.

At that time, Würtemberg groaned under a despotism such as indeed the rest of Germany had never known. To cite only a few examples of this, it suffices to say: that rain or snow, every one who entered the Palace-Court at Stuttgard was compelled to walk hat in hand from the irongates to the portal of the palace, because his Majesty’s apartments were on that side. Every civilian was furthermore obliged by the most imperative order to take off his hat before the sentry, who was not required to salute him in return. In the theatre, it was strictly forbidden by notices to that effect, to applaud with the hands before the King had commenced. But his Majesty on account of the extreme cold of the winter sat with his hands buried in a large muff, and only took them out when his Royalty was graciously pleased to feel the want of a pinch of snuff. When that was done, it little mattered what was going on upon the stage, he then clapped his hands. Upon this the Chamberlain who stood behind the King, immediately joined in, and thereby gave notice to the loyal people, that they might also give vent to their approbation. In this manner the most interesting scenes and the best pieces of music of the opera were almost always disturbed, and interrupted by a horrid noise.

As the citizens of Stuttgard had long learned to accommodate themselves to the Royal humours, they were not a little astonished at what I had stipulated for before my appearance at the Court-concert, and had actually granted to me. This made me the object of public attention, and the result was, that my concert in the town was attended by an unusually numerous auditory. The Royal orchestra gave me their support in the most friendly manner, and the Director Danzi endeavoured to facilitate the whole arrangements for me in every possible way.

Danzi was a most amiable artiste, and I felt the more inclined towards him, from finding he had the same admiration for Mozart, that I was so deeply impressed with. Mozart, and his works, were the inexhaustible subjects of our conversation, and I still possess a most cherished memorial of that time, a four-handed arrangement of Mozart’s Symphony in G-Minor, composed by Danzi, and in his own handwriting.

In Stuttgard I also first made the acquaintance of the since so greatly famed Carl Maria von Weber, with whom up to the time of his death I was always on the most friendly terms. Weber was then Secretary to one of the Princes of Würtemberg and cultivated the Art as an amateur only. This however, did not hinder him from composing with great assiduity, and I still well remember hearing at his house, as a sample of Weber’s works some “Numbers” from the Opera “Der Beherrscher der Geister.” (The Ruler of the Spirits.) But these, from being always accustomed to take Mozart as the type and rule by which to measure all dramatic works, appeared to me so unimportant and amateur-like, that I had not the most distant idea Weber would ever succeed in attracting notice with any opera.

Of the Concerts which we gave besides, in Heidelberg and Frankfort on the Mayne, before our return home, I can now speak but imperfectly from memory—I therefore give a few extracts from the notices of the Musical-Journal.

First of all speaking of Heidelberg, it says: “Eisenmenger’s violin would still have been unforgotten, had not the Heidelbergers had the pleasure in the last Concert to hear Louis Spohr play in his Rode-like style of firm, sustained and skillful bow-stroke. His wife played the harp, in a way one seldom hears in Germany—with a tenderness, lightness and grace, with a confidence, strength, and expression, that are quite captivating.”

To me it seems very strange, that even at this time my play was still designated as a Rode-like style, for at that period at least I thought to have wholly laid aside his manner. Perhaps it arose merely, from the circumstance, that, on account of the easier accompaniment, I had selected a Concerto of Rode’s for execution.

Respecting the Concert in Frankfort on the 28. March, the remarks were also very eulogistic. The Frankfort Journal spoke of the “wellmerited, and distinguished applause” that we met with, and reverted to a “in many respects similar Pair, who five and twenty or thirty years before made much sensation in Mannheim, and afterwards in London—to Wilhelm Kramer, the great Violinist and his wife, the splendid Harpiste”.

On my return to Gotha I was met at some miles from the town by my pupils, some of whom had remained there during my absence, and others but shortly returned, and escorted by them as in triumph to my tastefully decorated dwelling. We there found Dorette’s parents and relatives all assembled to welcome us, and also our dear child, who under her grandmother’s excellent care was in blooming health. As on our tour we had not only earned a rich harvest of applause, but had saved a sum of money which for our circumstances was considerable, we now felt on our return to our domestic hearth right happy and free from care.

As soon as I had resumed the Direction of the Court-concerts, I felt impelled to set to work at new compositions. I first wrote a Potpourri for the violin with orchestral accompaniment (Op. 23, published by André of Offenbach) which had already suggested itself to me during the journey, and for the most part in the carriage. I was very desirous to see on paper what I there thought a very artistic combination of two Themes in one and the same; but still more desirous to hear it executed by an orchestra. This Potpourri begins with a lively, and for the solo, brilliant Allegro in G-Major, connected with and passing into the Theme from the “Entführung”: “Wer ein Liebchen hat gefunden” in G-Minor. After this has been varied five times alternately in the Minor and Major, it is taken up in sixth Variation by the wind-instruments, and for a time carried out in free-fugued Entries. On the return into the principal key, the first horn takes up the melody of the song in the Major and carries it out completely to the end. This is then succeeded anew in a very startling manner by the introductory Allegro of the primo, blending with it as it were in the style of a Fantasia, though it previously appeared as an independant piece of Music.

With the working of this combination at the Rehearsal, I was very satisfied; but when the Potpourri was executed at the Court-Concert, I was doomed to see my ingenious combination of the two themes was noticed by a few musicians only, and was totally lost upon the rest of the hearers.

The next that I wrote, was the Concertante for two Violins (Op. 48, published by Peters in Leipsic). I was prompted to this chiefly by the artistic genius of one of my pupils one Herr Hildebrandt of Rathenow, with whom I was very fond of playing. This young man had made so much progress under my guidance in twelve months, that he promised to become one of the first violinists of Germany. Unfortunately, at a later period, by what mischance I now no longer remember, a wound which he received in his left hand became a bar to the full development of his talent, so that he did not become so known in the Musical world, as was previously to have been expected. This pupil had acquired to such a degree his instructor’s method of execution in all its shadings, that he might have been considered a true copy of him. Our play blended therefore so intimately, that, without looking at us, no one could tell by the ear which of us played the upper or which the lower key. In this manner we had practised the new Concertante, before we executed it at the Court-concert. We achieved, also, such success with it, that the Dutchess requested its repetition in the next concert, and afterwards, insisted, also, as long as Hildebrandt remained in Gotha to have it put in the programme when strangers were on visit at Court.

As my pupils at that time were of much the same age as myself, and were young people of good breeding and inspired with a love of their Art; I liked to have them about me, and took great pleasure in permitting them to accompany me in my walks and little excursions in the neighbourhood. I used then to join in all their amusements, played at ball and other games with them, and taught them to swim. Yes, perhaps I was even somewhat more en camerade with them than beseemed the dignity of the Instructor with his pupils. But my authority suffered no diminution on that account; for I knew not only how to maintain a strict discipline during the hours of tuition, but also at other times, a becoming behaviour.

In this manner, I had already made a longer excursion in the spring, to Liebenstein, and up the Inselsberg, and returned from that journey so pleased, that I longed once more to make a similar excursion to the Harz, which I so loved. Quite unexpectedly, a temporary absence of the Dutchess, through which some Court-concerts were suspended, furnished the necessary leave of absence. I therefore, immediately, proposed to my pupils, a pedestrian journey to the Harz, which they welcomed with the most joyful assent. As our absence would of a necessity extend to a fortnight, the lessons could not be suspended for so long a time without great prejudice to the pupils, and I therefore determined to continue them on the journey. For this purpose I took two violins with me, with which the orchestra-servant Schramm, yet a young man, and greatly attached to me was loaded, while we carried all the other necessaries distributed in two knapsacks, each in his turn. Before our caravan could set out, I had yet to console my wife, who could not make up her mind to so long a separation, the first since our marriage, and who shed, indeed, a torrent of tears. Not until I had promised to write to her every other day, could she be somewhat pacified, and it was long before she let me from her arms. To me, also, this first separation was no less extremely painful!

How far we went the first day and where we stopped the following night, I no longer remember; but I still know well, that at every rest after dinner, I gave two of my pupils regular instruction, and required of them a punctual alternate practise of the lesson in the evening, as soon as we reached our quarters for the night. In this way, on the third or fourth day, (the heat was intense,) we arrived about a league from Nordhausen, and very tired sat down to rest ourselves under the shade of an oak by the side of a large pond, when by an unlucky accident one of our knapsacks rolled down the steep bank and fell into the water—and so far from the bank, also, that we could not reach it with our walking sticks. As the water was deep, I was soon obliged as the only practised swimmer of the party, to make up my mind to jump in and fetch it out. But before I could get my clothes off, the knapsack had taken in so much water, that it began to sink. I was therefore obliged to dive at the place where it had disappeared until I succeeded in recovering it. When I brought it to the bank, and it was opened, I found its contents so saturated with water, that we were obliged to spread them on the grass in the sun to dry them. As it was to be anticipated this would be an operation of several hours, and noon was drawing near with its attendant hunger, I resolved to take our customary dinner-rest in this place, and to send to Nordhausen to procure the necessary provisions. The purchase of these fell by lot to one of the pupils, and Schramm accompanied him to carry them. Meanwhile, I gave my two lessons unter the great oak, and those pupils who were not engaged therein, bathed themselves at a more shallow part of the pond. After the lapse of two hours, our foragers returned heavily laden, and under the shadow of the dear oak, which served us with equal hospitality as a Dining- or Concert-room, a capital-dinner was soon spread and despatched in the merriest humour, and with the best appetite. Then resounded in joyous harmony the tones of four male-voices, in choice four-part glees of which we carried with us a good collection, and had also well-practised them. After this, our properties which were once more dry, were packed up, and our troop set itself again in motion.

After this merry fashion we visited every remarkable spot of the lower Harz, and then climbed the “Brocken.” When we got to the top, that which occurs to nine tenths of all travellers, befel us also; we found it envelloped in mist, and waited in vain until noon, in the hope that it would clear off and enable us to enjoy the view from the summit. We endeavoured to dispel as much of our disappointment as we could by singing, playing and looking through the pages of the many tomed “Book of the Brocken”; indeed, one of the party put our Jeremiade on this misfortune into really decent rhyme, which I immediately converted into a Canon for three voices. This was diligently practised, sung both within the “Brockenhause” and outside in the mist, and then written together with our names in the Brocken-Book, in the hope that at length the weather would clear up.[8] But in vain! We were obliged to make up our minds to continue our journey.

We now took the direction of Clausthal, and when we reached the plain, we had the mortification to see the summit of the Brocken, after we had left it about one hour, lit up with the brightest sunshine!—Arrived at Clausthal; our first care was to get rid of the unseemly growth of beard that had accrued to all during our journey, so as to reassume a somewhat more civilized appearance. We sent, therefore, for a barber, and submitted ourselves one after the other to his razor. A somewhat comical incident arose out of this operation. We had all of us more or less, a sore place under the chin from holding the violin, and I who first sat down, directed the barber’s attention to this, and begged him to go over it very lightly with his razor. As the barber found a similar sore place under the chin of each that followed, his countenance assumed more and more the grotesque expression exhibited in the disposition to whistle and smile at one and the same time, murmuring every now and then something, inwardly. Upon being asked the reason, he replied with a grave look: “Gentlemen, I see very clearly that you all belong to a secret Society, and you all carry the sign. You are Freemasons, probably, and I am right glad that I know at last how that is to be discovered!” As upon this we all broke out into a loud peal of laughter, he was at first very much disconcerted, but, nevertheless, not to be shaken in his belief.

After we had descended into a mine, and visited the smelting-huts and stamping-works, we continued our journey to Seesen, by way of Wildemann. There, we were joyfully welcomed by my parents and brothers and sister as well as by the musical friends of the little town. We had music now from morning to night, and even got up a Public concert, in which all exhibited our skill to the utmost in playing and singing. The proceeds of the concert, we presented to the School for the Poor, for the purchase of new schoolbooks.

Highly pleased with our journey we returned through Göttingen and Mühlhausen to Gotha. I yet think with emotion on the intense pleasure, with which my dear little wife welcomed me home, and never did I feel more acutely, the happiness of being loved!

At this period, a young Poet, a Candidate in Theology, who was awaiting his appointment in Gotha, offered to me an Opera he had written, to set to music, and I seized this opportunity with pleasure, to try my hand, and as I hoped with more success, in dramatic composition. The Name of the Opera was “Alruna, die Eulenkönigin” (the Owlet-Queen), it was founded on a popular tradition, and in matter had much resemblance to the “Donauweibchen”, (the Danube Water-Nymph) which at that time excited general admiration. I immediately commenced my work with great zeal, and finished the three Acts of the Opera before the end of the year. As some of the “Numbers” which I played at the Court-concerts found great favour, I was encouraged by this to offer my work for representation at the Court-Theatre in Weimar. I went thither in person to obtain a favourable reception of it from Herr von Goethe, the Intendant of the Theatre, and Frau von Heigendorf, the prima Donna and the mistress of the Duke. To the former I handed the Libretto, to the latter the Music of the Opera. As she found some brilliant parts for herself and her favorite Stromeyer, she promised to interest herself in getting the Opera accepted, and as I knew that this depended solely upon her, I returned to Gotha with the most sanguine hopes. Yet it required many reminiscences from me, and month after month passed away, until at length the study of the Opera was commenced. As this had now gone so far that a grand orchestral rehearsal could be effected, Frau von Heigendorf invited me to direct it. I therefore proceeded to Weimar a second time, and now in company with the author.

As I had written all manner of new things after I had completed the Opera, it had somewhat faded from my recollection, and I therefore thought I should be the better able to judge of it without partiality. Accordingly I was greatly preoccupied with the impression that it would make upon me.—The Rehearsal took place in a Saloon at the house of Frau von Heigendorf. Among the assembled Auditory, besides the Intendant Herr von Goethe, and the Musical Amateurs of the Town, Wieland was also present. The Singers had well studied their parts; and as the orchestra had already had one rehearsal, the Opera was right well executed under my direction. It gave general satisfaction, and the Composer was overwhelmed with congratulations. Herr von Goethe, also spoke in praise of it. The Author did not come off so well. Goethe found all manner of defects in the Libretto, and especially required that the dialogue which was written in Iambics should first be put into simple prose, and considerably curtailed before the Opera was performed. This requisition was particularly painful to the Author, as he prided himself not a little on his metrical dialogue. He nevertheless declared to me his readiness to undertake the required alteration, but on account of other pressing work, he could not set about it immediately. This was not displeasing to me, for with the exception of a few of the “Numbers”, my Music at the rehearsal in Weimar had not satisfied me, greatly as it had pleased there, and I was again tortured with the thought, that I had no talent for Dramatic music. For this reason the Opera became more and more indifferent to me, and I was glad to see that its representation would be delayed. At length the thought of seeing it represented and thus made public was so distasteful to me, that I withdrew the parts and score. Hence with the exception of the Overture which was published as Op. 21 by André in Offenbach, nothing else of it was engraved. But on the other hand, I was unjust towards this work; for it shews, compared with the first Opera, an unmistakably great progress in dramatic style.

In the year 1808, took place the celebrated Congress of Sovereigns, on which occasion, Napoleon entertained his friend the Emperor Alexander, and the Kings and Princes of Germany his Allies. The lovers of sights and the curious of the whole country round, poured in to behold the magnificence which was there displayed. In the company of some of my pupils I also made a pedestrian excursion to Erfurt, less to see the Great Ones of the earth, than to see and admire the great ones of the French Stage, Talma, and Mars. The Emperor had sent to Paris for his tragic performers, and every evening one of the classic works of Corneille or Racine was played. I and my companions had hoped to have been permitted to see one such representation, but unfortunately, I was informed that they took place for the Sovereigns and their suite only, and that every body else was excluded from them. I now hoped, with the assistance of the musicians, to obtain places in the orchestra; but in this I also failed, for they had been strictly forbidden to take any person in with them. At length it occurred to me, that I and my three pupils, by taking the places of the same number of musicians who played between the acts, might then be enabled to remain during the performance. As we were willing to pay handsomely, and the musicians knew that their substitutes would fill their places in a satisfactory manner, they gave their consent. But, now a new difficulty presented itself: three of us only could be introduced for the violins and the bass-viol; and as neither of us played any other orchestral-instrument but those, one of us of a necessity must remain excluded. The thought then struck me, to try whether I could learn sufficient of the horn, by the evening, so as to be able to undertake the part of the second hornist. I immediately prevailed upon him whose place I wished to take, to yield his horn to me; and began my studies. At first I produced the most terrific tones from it; but after about an hour, I succeeded in bringing out the natural notes of the instrument. After dinner, while my pupils went to walk, I recommenced my studies in the house of the “Stadt-Musicus”[9] and although my lips pained me very much, yet I did not rest until I could play my horn-part, perfectly, in the certainly, very easy overture and “between acts” which were to be played in the evening.

Thus prepared, I and my pupils joined the other Musicians, and as each carried his instrument under his arm, we reached our places without opposition. We found the saloon in which the theatre had been erected, already brilliantly lit up, and filled with the numerous suite of the Sovereigns. The seats for Napoleon and his guests were close behind the orchestra. Shortly after the most able of my pupils to whom I had assigned the direction of the music, and under whose leadership I placed myself as a new fledged hornist, had tuned up the orchestra; the high personages made their appearance, and the overture began. The orchestra with their faces turned towards the stage, stood in a long row, and each was strictly forbidden to turn round and look with curiosity at the Sovereigns. As I had received notice of this beforehand, I had provided myself secretly with a small looking-glass, by the help of which as soon as the music was ended, I was enabled to obtain in succession a good view of those who directed the destinies of Europe. Nevertheless, I was soon so entirely engrossed with the magnificent acting of the tragic artistes, that I abandoned my looking-glass to my pupils, and directed my whole attention to the stage.—But at every succeeding “entre-acte”, the pain of my lips increased, and at the close of the performance they had become so much swollen and so blistered, that in the evening, I could scarcely eat any supper. Even the next day, on my return to Gotha, they had a very negro-like appearance, and my young wife was not a little alarmed when she saw me; but she was yet more nettled, when in a jesting tone I said: that it was from kissing to such excess the pretty Erfurt-women! When, however, I had related to her the history of my studies on the horn, she laughed heartily at my expense.

About that time, though I do not exactly remember whether it was on that journey to Erfurt, or upon a previous one, the Emperor Napoleon slept also once in the palace at Gotha, and on that account a Court-concert had been commanded the previous evening. I and my wife had the honour to play before the allpowerful man, and he addressed a few words to us. On the following evening also, we received our share of the “Gold Napoleons” which he had left as a present to the Court-orchestra.

The Duke of Gotha was at that time high in his favour, and therefrom great advantages were expected for the Duchy. But he must have lost it afterwards by some neglect; for when the Emperor passed through on a subsequent journey, a scene occurred that filled the inhabitants of Gotha with bitter rage against the tyrant. The Emperor was expected about 11 o’clock. A breakfast had therefore been prepared in the palace at Friedrichsthal, the summer-residence of the Court, and the whole Court-circle was assembled in state-costume. The posthorses ready harnessed were waiting in the palace-square, to take the Emperor immediately after breakfast upon his farther journey.—At length, the first gun of the salute resounded above on the Friedenstein, from whence every time the Emperor passed through, 101 guns were fired. Shortly afterwards, his carriage drove up. The Duke, surrounded by his Court, already stood with uncovered head at the iron gates, approached the carriage with humble demeanour, and begged that his Imperial Majesty would deign to take breakfast. An abrupt non! and the order to his Mamelucks to put to the horses, was the reply. Without condescending any further word or look to the Duke, he leaned back in the carriage and left the Prince standing at the closed door in the most painful perplexity. The Duke turned pale with inward rage to see himself so insulted in the presence of his Court and People, and yet, had not the courage to return immediately to the palace. Thus passed in a dead silence, five or six fearfully long minutes, until the horses were put to. At the first forward movement they made, the Emperor’s head was once more visible, and with a cold nod, he drove off. The Duke, as though annihilated, returned to the palace, and the citizens loudly expressed their rage, that the overbearing Corsican should have so insulted their Prince.

On the 6. November, 1808, my wife presented me with a second daughter, who was named Ida, after my wife’s step-sister Madame Hildt, who held her over the font. Her confinement passed over as lightly and happily as the former one, and during the first days the health of the invalid was excellent. This, however, induced her to leave her bed too soon, whereby she caught cold, and the sad consequences were, that she was seized with a violent nervous fever. For several days her life was in imminent danger. I left her neither by day nor night, for she would receive attention from no one but me. What I suffered at the side of her sick-bed is indiscribable! Alarmed by her fits of delirium, by the grave countenance of the physician, who shunned my interrogatories, and tortured with self-reproaches for not having taken more care of her, I had not a moment’s rest during Dorette’s illness. At length the more cheerful expression of the physician’s face betokened that the danger was passed, and I, who during the last days, first became really sensible of all I possessed in my wife, and of the intense love I bore her, now felt unspeakably happy. Her recovery progressed rapidly. Yet there was great weakness still remaining, from which Dorette was not wholly releived until the spring, when by the recommendation of the Doctor I hired a house in the country with garden attached, and by that means procured her the continual enjoyment of fresh air. Strengthened by this, she then gradually began her musical studies, which for almost six months she had been obliged to discontinue. In the Catalogue of the whole of my works, which I began shortly after my appointment in Gotha and continued up to the present time, besides those Compositions already named, dating from 1808, the following are specified: Two Duetts for violin (op. 9) and one for violin and viola (op. 13), Variations for the harp and two Quartetts for stringed instruments. In Quartetts, certainly the most difficult of all compositions, I had already made a trial the year before. But with them I succeeded no better than with Song-compositions. Shortly after their completion they no longer pleased me; and for that reason I should not have published them had not my Leipsic publisher, Herr Kühnel, at whose house I played them in the autumn of 1807, retained them almost by force, and shortly afterwards published them (as op. 4). The new Quartett (op. 15) also brought out by Kühnel, pleased me it is true somewhat longer; but at a later period when I had learned to produce a better style of Quartett-composition I regretted also that I had published them. The two first Quartetts I dedicated to the Duke of Gotha, but only at his personal request; for though I felt a pleasure in dedicating my works to Artistes and amateurs of music, as a token of my respect and friendship, yet my artistic pride would never permit me to dedicate them to Princes for profit’s sake, though even at their express desire.

At the time when the Duke invited me to dedicate my Compositions to him, he frequently used to send for me to converse with him upon his tastes in Art. As is well known, in spite of his peculiarities, he was a man of mind, and cultivated taste, which his published Poems and his Correspondance with Jean Paul sufficiently prove. But with the affairs of Government he did not in the least trouble himself, and left them entirely to the Privy-Counsellor von Frankenberg, who, therefore, was virtually the Regent of the land. Obliged pro forma to be present at the sittings of the Privy-Council, he invariably got tired of the subjects of discussion, and endeavoured to make them as short as possible, himself frequently, saying, in derision of his own want of interest “will not the Gentlemen of the Privy-Council soon be pleased to command what I am to command?”

At that time, perhaps incited by my Compositions for the voice, he was seized with the desire to have one of his longer poems, a kind of Cantata, set to music. He did me the honour to consult me on the subject. But as the Duke probably could not prevail on himself to let me see his limited knowledge of music, he applied to his old music-master, the Concert-Director Reinhard, to carry it out. From him at a later period, in an unguarded and confiding moment, I heard how the composition of the Cantata was brought about. The Duke, read to his master seated at the piano, a passage of the text, and explained to him his ideas respecting the style in which it should be composed. When the Duke had once heard or read the characteristics of the different tones, Reinhard was then obliged to strike several of them in sequent accords, so that he might find the right one for his text. If this was cheerful, a Major-Key was chosen, if it was mournful, a Minor-Key was selected. It happened one day that the Duke took the Major too sprightly, and the Minor was too mournful, upon this he required poor Reinhard to sound the Key in half Minor. When they had agreed upon this point, the melody suited to the text was next sought for. The Duke then whistled every melody that came into his head, and left his master to choose the most suitable to the character of the words. When in this manner a few lines of the poem had been disposed of, they passed on to the next. As Reinhard could not compose, or at least not arrange the instrumentation, the plan of the Cantata thus sketched out in the Duke’s leisure-hours was handed over to the “Kammer-Musicus” Backofen to complete with score. The latter, as may readily be imagined, could make but little use of the materials given to him, and was therefore obliged to recompose as it were the Cantata anew. Possessing considerable talent for composition, he accordingly put out of hand a piece of music such as could well be listened to. The work thus completed, was now written out, carefully practised under my direction, and then produced at a Court-Concert. The Duke, though he may well have been somewhat astonished that his music sounded so well, received the congratulations and praises of the Court with a satisfied mien, praised me for having so well entered into his ideas in practising it with the orchestra, and privately sent his two fellow-workmen their gratuity. In this manner all parties were satisfied.

In the winter of 1808-9, I arranged some Subscription-Concerts in the town for the benefit of the Court-Orchestra. But as these could present nothing better than was heard at the Court-Concerts, and those were much frequented by the amateurs of music of the town, for whom a large space behind the orchestra in the Concert-saloon was set apart, these Subscription concerts met with but little support. The product therefore was so small after the deduction of the expenses, that it was not considered worth while repeating the undertaking.

At one of these Concerts, Herr Hermstedt, Director of the “Harmonic-music” to Prince Sondershausen, appeared as Clarinet player, and attracted much attention by his admirable performance. He had come to Gotha to request me to write a Clarinet-concerto for him, for which the Prince upon the condition that Hermstedt should be put in possession of the manuscript, offered to pay a handsome gratuity. To this proposal I gladly assented, as from the immense execution, together with the brilliancy of tone, and purity of intonation possessed by Hermstedt, I felt at full liberty to give the reins to my fancy. After, that with Hermstedt’s assistance I had made myself somewhat acquainted with the technics of the instrument, I went zealously to work, and completed it in a few weeks. Thus originated the Concerto in E-minor, published a few years afterwards by Kühnel as op. 26, with which Hermstedt achieved so much success in his artistic tours, that it may be affirmed he is chiefly indebted to that for his fame. I took it over to him myself to Sondershausen, at the end of January, and initiated him in the way to execute it. On this occasion, I appeared also as Violinist at a concert given by Hermstedt, and played for the first time, my Concerto in G-Minor (op. 28) which I had just finished a few days before, and, also, a new Pot-pourri (op. 24).

Secretary Gerber, the author of the “Musical Lexicon”, speaks of these not only in that work, under the article “Spohr” but also in a spirited notice in the Musical-Journal, a reprint of which is to be found in number 26. of the eleventh volume. The third part of this Concerto is a Spanish Rondo, the melodies of which are not mine but genuine Spanish. I heard them from a Spanish soldier who was quartered in my house, and who sang to the guitar. I noted down what pleased me, and wove it into my Rondo. In order to give this a more Spanish character, I copied the guitar-accompaniments as I had heard them from the Spaniard, into the orchestral part. At the beginning of the same winter, I had also a visit from Reichardt, Director of the orchestra at Cassel, and then first made his personal acquaintance. Reichardt told me he was going to Vienna by the command of his Court, to engage singers for a German theatre that was about to be opened at Cassel. This, proved afterwards to be false; for Reichardt was at that very time no longer in the Westphalian service. I had felt at first much annoyed by a sharp criticism of Reichardt’s upon my play, on my first appearance at Berlin; but as I soon found that it contained many truths and well founded strictures, and that it had prompted me to correct the faults it pointed out in my execution, a sentiment of gratitude had long taken the place of my former resentment. I therefore welcomed my guest with great cordiality, and immediately arranged a musical party at my house in his honour, at which I let him hear my two new and just finished Violin-Quartetts.

As at that time I knew none of Reichardt’s compositions beyond a couple of successful songs, and looked upon the famous author of the “Confidential letter from Paris” and the dreaded Critic, as a great Composer, I set much value upon his opinion, and awaited it with a feeling of acute expectancy. I therefore again felt somewhat chafed when Reichardt had various objections to make, and expressed them sans gène. But it was perhaps more the self sufficient look of infallibility with which he pronounced his judgement, that wounded me; for some time after, I was again obliged to admit to myself, that Reichardt’s observations were in many respects just. There was one remark, which I frequently called to mind in my subsequent studies. For instance, in an Adagio, from the beginning to the end, I had carried out a figure after the style of Mozart, now in one Key, and then in the other, and in my delight at this scientific interweaving, had not remarked that it at last became monotonous. But although Reichardt praised the manner in which I had carried it through, he spoke unsparingly against it, and added more over, maliciously, “You could not rest until you had worried your motive to death!”

In the spring of 1809, from the unusual expenses attendant upon my wife’s confinement and subsequent illness, as well as those incurred by the necessary removal to another house outside the town, I found myself in such straightened circumstances, that I earnestly desired to see realised the promise of an increase of salary that had been made to me on my appointment. I therefore addressed a petition to the Duke, which as he never troubled himself with administrative matters, was without effect, and probably, was laid aside unread. I was therefore advised by the Intendant, Baron von Reibnitz to make a personal application to the Privy-Counsellor von Frankenberg and deliver to him my petition for the desired increase of salary. I followed this advice, and in the afternoon of a fine spring-day, walked over to the seat of the Privy-Counsellor, distant about two miles from Gotha, on the road to Erfurt. I found him in his garden, sitting under a large lime tree, playing chess with his daughter. As I had been familiar with this game from my early youth, played it often, and was passionately fond of it; after a short salutation of the players, I immediately directed my whole attention to the game as it stood. The Privy-Counsellor observing this, had a chair placed for me close to the table, and quietly played on. When I first arrived, the game looked very threatening for the daughter, and it was not long before she was checkmated by her father. I had taken particular notice of the position of the pieces, and in so doing, a move had suggested itself to me by which the checkmate could have been prevented. I represented this, and was immediately challenged by the Privy-Counsellor, who thought himself sure of the victory, to try it. The pieces were again replaced in the position they stood when I arrived, and I now took the daughter’s game. After a few well combined moves I succeeded in extricating my King from all danger, and I then played against my opponent with such success, that he was soon obliged to confess himself beaten. The Privy-Counsellor, though somewhat nettled at his defeat, was nevertheless much struck with the unexpected issue of the game. He held out his hand to me in a friendly manner and said: “You are a capital Chess-player, and must often do me the pleasure of playing with me.” This I did; and as I was world-wise enough not to win too many games, I soon got in great favour with my new patron; the result was, that a rescript, for an additional two hundred thalers to my salary was soon made out.

Towards the middle of the summer, from the constant enjoyment of fresh air, and frequent walks which were extended by degrees to little excursions into the neighbourhood; Dorette had regained her former strength and health, and again devoted herself with renewed assiduity to the study of her instrument, in order to prepare herself thoroughly for our projected second artistic-tour. As I also now became more and more acquainted with the properties of the harp, with its effects, and what my wife in particular was capable of performing with it, I at that time wrote another grand Sonata for harp and violin (op. 115 published by Schuberth in Hamburg), and took great pains to introduce into it the result of my experience. I was completely successful; the part for the harp in this Sonata was easier to play, and at the same time more brilliant than in the previous ones. Dorette therefore, practised it with special predeliction and soon played this new work with the same precision as the others.

Thus once more prepared for an Artistic tour, we began to consider in which direction it would be most advantageous to go. I had learned from a traveller just returned from Russia, that my Musical fame and that of my wife had already reached there, and that in the previous winter a visit from us had been expected. As I had reason to hope, moreover, that I should receive powerful letters of recommendation from the Court of Weimar to the Imperial Court of St. Petersburgh, the journey to Russia appeared to me to hold out the most advantages. But, Dorette would not consent to so distant a journey from home, as she beleived herself unable to bear so long a separation from her children. Yet, when I represented to her, that if at any time it was our intention to go to Russia, the present was the most favourable moment, in which our children under the assiduous care of their grandmother, would miss us less than at a later period, she at length, though with a bleeding heart, consented to it. As I had foreseen that the Dutchess, also, would not consent to so long an absence as would be required for a journey to Russia, I kept secret for the present the real aim of our journey, and named Breslau as its object, for which I asked and obtained a three-month’s leave. From there, I intended to apply for an extension of leave, to proceed farther.

We set out on our journey in October, 1809; played first at Weimar, and received from the Grand-Dutchess the desired introduction to her brother, the Emperor Alexander, as also to other Russian Magnates. We then gave a Concert in Leipsic, of which the Musical-Journal contains the following short notice: “Herr Concertmeister Spohr and his wife afforded us the pleasure to hear for a whole evening, several of his newest Compositions, and himself on the Violin; as, also, his wife on the Harp. Respecting this true artiste and his talented wife we have already spoken fully and decidedly, we shall here therefore be succinct. Since we last heard them, both have made a surprising progress, not alone in their mastery and ready command of all the resources of their Art, but in their skilful application of them to the best and most effective purposes:—And if the former Compositions of this Master found both here and everywhere else the most unanimous applause, his later Compositions which we have now heard, will much less fail to do so.”

Of our Concerts in Dresden, and Bautzen, having sought in vain for a notice of them, I am unable to say more than that they took place on the 1. and 7. November, as I perceive from a memorandum of the receipts on this journey, which has by chance been preserved. But of the three Concerts we gave in Breslau, on the 18. November, and the 2. and 9. December there is a notice in the Musical-Journal, which speaks in great praise of our Play, though it finds some fault with the Compositions. It says: “The opinion of our musical friends of Herr Spohr as a Composer, agrees fully with that which they previously pronounced respecting him. He is in truth a Musician of high merit. He has nevertheless a peculiarity, and one which by degrees perhaps, will lead him to uniformity in style; namely, his latest compositions, so far as we are acquainted with them are one and all of a melancholy character. Even the Pot-Pourri which he played at the close of the Concert, partook somewhat of it.”

This remark upon the melancholy character of my Compositions, which is here made for the first time, and so often repeated at a later period in criticisms upon my works, as to become regularly stereotyped, has always been a riddle for me; for, to me, my Compositions appear for the most part quite as cheerful as those of any other Composer. Those in particular which I then played in Breslau, with the exception of two subjects, were all of so lively a character, that I am still unable to understand the above remark. The two first Allegro’s alone of the Concertante in H- and G-Minor are serious, the former perhaps even somewhat mournful, but the other subjects are all of them, lively. The same may be said from beginning to end of the Concertante for two violins in A-Major, which I played with Herr Luge, and more than that, the third Thesis is even saucily playful. Neither does the Composition for the harp, nor the Overture to “Alruna” bear any trace of melancholy; how then does the Reviewer come by his remark?—Nevertheless, as something similar has been maintained respecting my Compositions even up to the present time, so that people who have not known me personally, have considered me a misanthrope, or an hypochondriac, though I am happy to say I am always of a cheerful tone of mind; there must be something in it, and I think it is, that people have taken the prevailing dreaminess and sentimental character of my Compositions, and my predeliction for the Minor Keys, as outbursts of melancholy. If it is so, I am content to bear with it, though at first it always annoyed me. Of the Overture to “Alruna”, the same Breslauer critic says: “It is not free from reminiscences.” He might have said right out, it is an exact imitation of the Overture to the “Zauberflöte”; for that was the object I had in view. In my admiration of Mozart, and the feeling of wonder with which I regarded that Overture, an imitation of it seemed to me something very natural and praiseworthy, and at the time when I sought to develope my talent for Composition I had made many similar imitations of Mozart’s master pieces, and among others that of the aria full of love-complaints in Alruna, imitated from the beautiful aria of Pamina: “Ach, ich fühl’s, es ist verschwunden.” Although shortly after that time, I became sensible that a Composer should endeavour to be original both in the form of his musical pieces, and in the development of his musical ideas, yet I retained even up to a later period, a predeliction for that imitation of the Overture to the “Zauberflöte”, and still consider it as one of my best and most effective Instrumental-compositions. Neither is it so slavish an imitation as to contain nothing of my own invention; for instance, the striking modulations in the introductory Adagio, and the second Fugue-theme with which the second half of the Allegro begins, and, which then is so happily connected with the chief theme. The instrumentation, also, though quite in the Mozart style has nevertheless, some original characteristics.

In Breslau we met an old acquaintance from Gotha, Baron von Reibnitz, who hitherto had been Intendant of the Orchestra, but had resigned, and retired to his estate in Silesia. He was then in town for the winter months, and acquainted with all in Breslau who were fond of music, and who played, he introduced me into the Musical Circles there, and was of great assistance to me in making arrangements for my concerts. In Breslau, from olden time one of the most musical Towns of Germany, there was at that moment such a succession of Concerts, that one took place almost every day in the week. As the Theatre, was open also every evening, it was therefore very difficult to fix upon a day favourable for an Extra-Concert, and almost more difficult to get together a good and numerous orchestra. The kindness of Schnabel the Leader of the Cathedral-Choir enabled me nevertheless to overcome this difficulty, for he not only procured for me a good Orchestra for each of my three Concerts, but each time undertook to conduct it. The experienced Director evinced a particular interest in my compositions, which he soon transferred to the Composer, who returned it in the most hearty manner. We became much attached to each other, and until Schnabel’s early death remained on the most intimate terms of friendship.

Shortly after my arrival in Breslau, just as I was about to write to Gotha for an extension of my leave to proceed to Russia, I received through Baron von Reibnitz a letter from the Court-Chamberlain Count Salisch in Gotha, to the following effect:

The Dutchess has with great regret received the information from Weimar, that I had the intention of proceeding to Russia and did not contemplate returning before the expiration of the year. As she would be extremely unwilling to miss my services and those of my wife at the Court-Concerts for so long a period, she therefore offered, if I would give up the journey to Russia, and return speedily to Gotha, to indemnify my wife, by procuring for her the appointment of Solo-player at the Court-Concerts, and Teacher of Music to the Princess.[10]—Scarcely had I communicated to my wife the contents of this letter, than I saw how the hope of sooner rebeholding her children brought tears of joy into her eyes. This moved me so deeply, that I at once resolved to give up the journey. I therefore immediately put myself in communication with Count Salisch, the new Intendant of the Gotha Orchestra, and when he had definitively arranged the appointment of my wife with a suitable salary to commence from the 1. January 1810, I agreed on my side to return to Gotha as soon as possible. We therefore hastened our departure from Breslau to Berlin, and proceeded through Liegnitz to Glogau, where we gave two Concerts on the 13. and 18. December, that had been previously arranged for by our musical friends there, and which were very numerously attended.