Louis Spohr's Autobiography. Spohr Louis
also of the strings and of the flute had together a very bad effect.
I also wrote my opinion of Fodor, the then celebrated violinist and composer. I heard him in the concert of the “Nobility’s, or Musical club,” where however everything was very unmusical; for the elite assembled there, “not to listen, but to chat and walk about in the saloon.” At first a fine symphony by Romberg, (C-sharp) was extremely well executed. Then Signor Pasco, first tenorist of the Italian theatre, sang an aria so charmingly, tastefully and tenderly, that it actually became somewhat more quiet in the saloon. Herr Fodor now followed with a concerto of his own composition, which however appeared to me worse than those I already knew. His playing also did not please me. He played indeed in a pure and rather accomplished manner, but without warmth and taste. In the passages he also played with rebounding bow, which soon became unbearable. Madame Canavassi, prima donna of the Italian opera who before had not pleased me on the stage, sung this time so beautifully, that I must confess to having wronged her.
During Lent, the Greek church allowing no theatrical representations, the Intendancy of the Court theatre gave two grand concerts weekly in the Steiner theatre, in which, only virtuosi of the Imperial orchestra performed, among whom Herr Eck was now reckoned. The best whom I had the opportunity of hearing there were the violinist Hartmann, Jerchow and Remi, the violinist Delphino, the hautboyist Scherwenka, and the hornist Hirschfeld.
In the first concert, the orchestra consisted of thirty six violins, twenty bass and double set wind instruments. Besides these the choruses were supported by forty hornists from the Imperial orchestra, each of whom had only one single note to blow. They served in place of an organ, and gave the chorus, the notes of which were divided among them, great firmness and strength. In several short soli, their effect was ravishing. Before the orchestra, were the Court singers, men and boys, about fifty in number, all in red uniform embroidered with gold. After the first part of Sarti’s oratorio, Remi played a violin concerto by Alday with much success. “After the concert as we drove home, he asked me for my opinion of his playing. As truth alone should be spoken between friends I did not withold from him that: clean and pure as his playing was, I had yet missed the shades of forte and piano, expression in the cantabile, and a sufficiency of vigour in the passages. He thanked me for my candour and declared that he had been particularly embarrassed that day, at having to appear in Herr Eck’s place, the latter having previously been advertised for this concerto.”—After the second part of the oratorio, Signor Delphino played a violin concerto. As his playing was much extolled I had expected more from him. “He played without taste, and not once perfectly clean.”
The Italian singers appeared in the second concert, and the French in the third. Among the first, Signor Pasco and Madame Canavassi, already mentioned, distinguished themselves. Among the French there were only two, M. St. Leon and the celebrated Phyllis Andrieux, who could lay claim to be called singers; they had charmed all Petersburgh by their correct and pleasing singing, their skilful and graceful acting, and their personal beauty. There was especially a Polonaise with which the latter fascinated everybody, and which was always encored. The beginning of it is found in my diary as follows:
Between the first and second part of this concert, the Imperial hornists executed an ouverture by Gluck, and with a rapidity and exactness which would have been difficult for stringed instruments, how much the more so then for hornists, each of whom blew only one tone! It is hardly to be believed that they performed the most rapid passages with the greatest precision, and I could not have conceived it possible, had I not heard it with my own ears. But as may be imagined, the Adagio of the ouverture made a greater effect than the Allegro; for it always remains somewhat unnatural to execute such quick passages with these living organ pipes, and one could not help thinking of the thrashings which must have been inflicted.
These concerts, with the exception of one in which Herr Eck played and Mademoiselle Phyllis sang, were but little frequented; for which reason the managers soon discontinued them.
On the other hand a performance of Haydn’s “Seasons” which was given for the benefit of a widow’s fund, (also during Lent,) was very well attended. Baron Rall, one of the projectors invited me also to take part. I therefore shared in all the orchestra rehearsals, and in these, as well as in the performance, played with M. Leveque, the same part. The orchestra was larger than any I had yet heard. It consisted of seventy violins, thirty bass, and double set wind instruments. The whole therefore was something very grand, and my diary mentions it with delight; as also of the work itself, which I then heard for the first time, although I estimated the “Creation” yet higher!
My playing thus with Leveque, had increased our friendship, and I learned from him that, during the summer he intended to visit his parents in Hanover. We therefore agreed to make the voyage to Lübeck in the same vessel.
As my new friend now visited me oftener, I played my new violin concerto to him, and expressed my wish, to hear it with the orchestra before I sent it to the publisher. Leveque immediately offered to study it with his orchestra, took the parts with him, and invited me to a rehearsal some days later.
“I was in great agitation now that I was about to hear my own composition with full orchestra for the first time. The Tutti were well studied, and from this I could calculate how, in every part, the effect I intended would be brought out. The most of them satisfied me, some even surpassed my expectation...... But I was the less pleased with my own play. All my attention being fixed on the accompaniment, I played much worse than I did at home. I therefore begged permission of Mr. Leveque to try the concerto once more at the end of eight or ten days, when I should have received the copy; this permission he readily granted.”
The following appears later: “I got the copy of my concerto yesterday, for which I was obliged to pay eight silver rubles. I could have had six concertos copied for a like sum in Germany.”
The work was again tried from the new-copied parts. I was much calmer than the first time, and played therefore much better. It was also better accompanied than before, and therefore more effective. Leveque declared himself very well satisfied. “I therefore hastened home, packed up my concerto and took it, together with a letter, to the post. I there heard to my great amazement, that there was no parcel’s post in Russia by which one can send things out of the country, and that if I would send it as a letter I should have to pay at least fifty rubles.” I therefore took it back in order to send it by sea by the next opportunity.
I have mentioned the Imperial hornband, each member of which had only one note to play. On the twelfth of January, the Russian Newyear, upon which day the Emperor, as usual, gave a grand masquerade in the Winterpalace, for which twelve thousand tickets were issued, I found the said band joined with the usual Ball-orchestra, and I heard a music such as till then I had no idea of. “The accompaniment of this hornband gave a fullness and harmony to the orchestra such as I have never heard. Several Horn-Soli, produced a most enchanting effect. It was long before I could tear myself away from this place.”
In another saloon opposite the Throne-room, the Imperial family, surrounded by the Court, were dancing. But as this part of the saloon was cut off from the rest by a wall of gigantic grenadiers with high bearskin caps, and as I, inspite of my fair allowance of inches, could not even peep over the shoulders of these giants, I was unable to see much of the Imperial state, and of the diamonds of the ladies. I therefore passed on, and entered the third and most beautiful of the saloons. It is entirely of polished marbles, the walls white, the pillars violet, and the window frames blue. The lights mirrored themselves a thousandfold in the polished stone. The whole building was lighted by twenty thousand wax tapers.
“After wandering several times through the apartments, and having gazed at all the magnificence, I tried to find Herr Eck again, he having been separated from me in the beginning of the evening. Among the twelve thousand present this was however a vain attempt. I now guessed that he had gone direct home, and not finding our servant in the place where he had been desired to wait, confirmed me