Louis Spohr's Autobiography. Spohr Louis
subsequent compositions, Rode’s style is predominant, from which at a later period only, my own style and peculiar mode of execution develloped themselves.
In this manner passed the summer of 1804. In the autumn, fully prepared for a fresh Musical tour, I felt disposed to repair first to the German Capitals. I much desired also to appear once in Leipsic, which through the excellently conducted Musical Journal of Rochlitz had risen to be the Centre of Musical criticism. I therefore set out upon my second Artistic tour on the 18. October, through Leipsic and Dresden, to Berlin.
Of this journey also, a Diary exists, but which extends only to the 9. December, and then suddenly breaks off. The cause of this will be related hereafter.
I made my first stay at Halberstadt, where I gave a public Concert, and on the following day played at the house of Count Wernigerode. Among the Musical amateurs who received me in a particularly kind manner I must mention the Vicar of the Cathedral, Augustin, and the Auditor Ziegler. With the latter, who was an accomplished connoisseur of Music and an excellent pianist, I remained on terms of intimacy until his death. I received also great attention and assistance in getting up my Concert, from the there resident Musicians, the brother Organists Müller and Holzmärker, the Violinist Glöckner, with whom I played my Duetts, the Bassonist Barnbeck, and Clase, the Secretary and Musical Director of Count Wernigerode. I therefore passed many pleasant days in Halberstadt.
One afternoon, “I took a walk with Herr Holzmärker and one of his friends outside the gate of the town. We visited the Klus, a mountain on the top of which rise several isolated steep rocks, the inside of which is excavated, and which according to the legend was the work of robbers, who in former times took up their abode there. I could not resist the desire to ascend one of these rocks, hazardous as was the attempt, and earnestly as my companions dissuaded me from it. I succeeded in reaching the summit without accident, and besides the pleasure I felt at having effected what few had the courage to attempt, I had that of an extensive and magnificent view. So far all went well. But when at length I wished to descend, and looked down the declivity, a sudden giddiness overcame me, and I was instantly obliged to sit down to save myself from falling over the precipice. Full ten minutes elapsed before I could summon the necessary composure to make the descent, and it is doubtful whether I should have effected it in safety, if the gentlemen below had not shouted to me, where to set my feet, which I could not see to do, having my face turned towards the rock. Trembling from the exertion and the convulsive clinging to the rock, as well as thoroughly ashamed at having disregarded the warning of the two gentlemen, I reached them at length, and returned with them to the town not a little glad to have escaped uninjured from so eminent a danger.”
On the 22. October, I gave my Concert. At the rehearsal, my Concerto in D-Minor had made a great sensation.
“Messrs. Ziegler, Müller and others declared to my great satisfaction, that they had never heard a finer Violin Concerto.”
“The Concert itself began at five o’clock. The Theatre was very empty, but the audience was composed of persons possessed of a high intelligence of Art, as I could readily see by the deep silence and sympathy with which my play was listened to.” Among other things, the following were executed: A Symphony by Haydn; my Concerto in D-Minor; a Concerto in D-Major by Kreutzer; a Polonaise by Rode from the Quartett in Es-Major. After the Concert, Count Wernigerode expressed his satisfaction to me, and invited me to a Concert at his house on the following day, in which the third Count assisted as Clarionetist in the orchestra. I played Rode’s Concerto in A-Major and his Quartett in Es-Major.
“After the Concert was over, the company surrounded me and overwhelmed me with expressions of praise. I was obliged to relate to the ladies a great deal about St. Petersburgh.”
In Magdeburg, as artiste I also met with the most friendly reception. Captain von Cornberg, Major von Witzleben, Regimental Quartermaster Türpen, and Privy Counsellor Schäfer, to whom I was recommended, exerted themselves to the utmost, both to procure a numerous audience for me, and to make my stay as agreeable as possible. Already at my first Concert on the 3. November, the audience was very numerous. I played my D-Minor-Concerto, the A-Minor-Concerto of Rode, and the G-Major-variations.
“I succeeded right well in all, and the people seemed to be quite carried away by my play.”
At this time I occupied myself with the remodelling of my last Concerto but one, in E-Minor. I wrote an entirely new Adagio for it.
At a Musical party at the house of the Secretary to the Board of Finance, Feska, I heard his son play in a Quartett of his own composition.
“The Quartett,” says the Diary, “is very well worked out and evinces great talent. As a Player he pleased me less. He is certainly not wanting in mechanical skill, but in a finished and well regulated handling of the bow, and therefore in a good tone, and in clearness of the passages. Neither was his intonation always pure. Were he to study under a good master, he might become something great.”
I went frequently to parties at the houses of the Merchants Hildebrandt and Schmager, of the Criminal-Counsellor Sukrow, and the Privy Counsellor Schäfer, and “everywhere pleased much.”
“I was also invited by Türpen to an interesting Musical Soirée. I found assembled there a small but a very select company of the most zealous friends of Music in Magdeburg. I played Quartetts by Haydn, Beethoven, Mozart, and in conclusion the Es-Major-Quartett of Rode. I was accompanied very well in all of them, so I that could give myself entirely up to my feelings. The company seemed enchanted. Herr Türpen affirmed that I understood better than any one how to render the peculiar style of each Composer. As finale, our host played a Trio by Mozart, right well, on a very good pianoforte by Blum of Brunswick. But he has the bad habit of drawing out the “Canto” too much, by which he rather injures the expression than improves it.”
On the 10. November, I gave my second Concert, which was not quite so numerously attended as the first, and in which I executed a Symphony by Haydn and my Violin-Concerto in E-Minor, I also played a Concertante by Eck, with Feska. The remodelled E-Minor-Concerto went well. The new Adagio appeared to please very much.
Of the other circumstances that occurred while I was in Magdeburg, I will only mention a theatrical representation, the Author of the Piece having made himself a name in the theatrical world by his piquante notice “Musical Ollapodrida from Paris.” It was the first representation of “The Female Abällino” by Sievers.
“Never have I read or seen enacted a more wretched piece. It is a sorry imitation of the well known “Great Bandit,” but has neither the exciting scenes nor the clever dialogue which made that piece a favorite of the public. The chief personage Rosa Salviatti, who in order to protect her lover from a conspiracy of his uncle’s, resorts to the most romantic and absurd means, explains the reasons of her conduct in a speech that lasts at least a quarter of an hour. The public, which had already previously manifested signs of impatience, became so noisy during this discourse, that the play could scarcely be concluded. At length when the curtain fell, a general hissing and whistling broke forth. The unfortunate Author, unappreciated as he considered he had been in Brunswick, and who thought to achieve a triumph here, is said to have been present in the Theatre, but made a hasty retreat before the end of the piece.”
Respecting my stay in Halle, whither I next went, the Diary gives but very scanty information. The more I was drawn into society by an increased circle of acquaintances, the less pleasure I took as it would appear, in the previous frequent freedom of style in my remarks upon it. I may also not have had the time, as I was very careful in preparing myself for every performance whether public or private, and was constantly engaged in composing.
My two Concerts on the 21. and 23. November, were very well attended. Besides my own works, I played a Concerto of Rode, A-Minor and the G-Major variations.
“My play met with an enthusiastic reception.” The persons, who took a particular interest in me, and whom I have to thank for many pleasant