Louis Spohr's Autobiography. Spohr Louis

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