LIFE OF MÜSOHELES. VOL. I. Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/lifeofmoschelesw01mosc Felix Mos elides, pinxit. LIFE OF MOSCHELES, WITH SELECTIONS FROM HIS DIARIES AND CORRESPONDENCE, BY HIS WIFE. ADAPTED FROM THE ORIGINAL GERMAN BY A. D. COLERIDGE. IN TWO VOLUMES. VOL. I. LONDON : HURST AND BLACKETT, PUBLISHERS, 13, GREAT MARLBOROUGH STREET. 1873. All rights reserved , B jr . - 8 bl3/mk c vj>i THESE VOLUMES (adapted from the german) ARE AFFECTIONATELY DEDICATED TO SIR JOHN DUKE COLERIDGE, ATTORNEY-GENERAL OP ENGLAND, HIMSELF A LOVER OF MUSIC, r* AND ON MANY OCCASIONS ITS ELOQUENT ADVOCATE AND SUPPORTER. vs> # PREFACE. fjpHE reader will find in the following pages a truthful record of the life and works or Moscheles, as also a chronicle of the musical history of his time ; for from the year 1814 up to the date of his death he rarely omitted to enter in his diary reflections, more or less minute, on events that interested him. These entries, supplemented by letters from Moscheles and his wife to relatives and friends, are the groundwork of this Biography. Moscheles frequently expressed a wish that his art ex- periences, ranging over a period of nearly sixty years, as well as his relations to his musical contemporaries, should be published after his death. During his lifetime he entrusted to his wife the task of remodelling these notes, making many additions with his own hand. Vlll. PREFACE. It was his habit to communicate and explain to her his opinions and views on all subjects, so that she has been able to retain in her memory much that was not committed to writing. He hoped, in case she should survive him, by these means to have prepared her for carrying out his favourite object. The wish of a dear one taken from us is sacred, far above all personal feelings and petty conside- rations ; the Editor therefore, although not without diffidence, undertakes the arduous task as a duty bequeathed to her. Others might perhaps have done the work better, none with such reverential love. May this book faithfully and impartially represent to the art-world Moscheles as an artist, and may it recall to his friends the picture of a friend. Charlotte Moscheles. NOTE. My best thanks are due to Felix Moscheles, Esq., not only for the advice and generous assistance he has given me in the revision of the following pages, but for much specific information gathered from his father’s manu- scripts and valuable collection of autographs, both musical and literary. Amongst these are such miscellaneous treasures as sketch-books of Beethoven, manuscript music of Sebastian Bach, Mozart, Weber, and Mendelssohn, and a correspondence, as yet unpublished, between Moscheles and Mendelssohn. For the versions of the two poems by Heine and Castelli, I am indebted to my friend, that distinguished scholar and humourist, Charles Steuart Calverley, Esq. A. D. Coleridge. CONTENTS OF THE FIRST VOLUME. CHAPTER I. 1794—1814. Early Recollections — Musical Instinct — Too Quick for his Music- master — Indiscreet Friends — Beethoven Fever — A Pupil of Dionys Weber — A Candid Opinion — On the Wrong Road — Tomaschek — First Visit to the Opera-House — Death of Mos- cheles’ Father — First Appearance in Public — Vienna — The Baroness Eskeles — Curious Attestatum — Beethoven — Salieri pp. 1—10 CHAPTER II. 1814—1816. Moscheles’ Diary — Meyerbeer — Beethoven — Celebration of the Liberation of Germany — Compositions — Sonate Melancholique — Pupils — Habits of Study — Artistic Circle — Connexion with Beethoven — Congress of Verona — Imperial Festivities — Musical Entertainments — The Countess Hardegg — Alexander Varia- tions — Amusing Incident — Visit to Prague — The Ludlams- hohle— Moscheles and Hummel — Karlsbad — Schumann pp. 11-26 Xll CONTENTS. CHAPTER III. 1816—1821. Impressions of Leipzig — Conversation with Beethoven — Schicht — Professor Schulze — Gewandhaus Concerts — Classig’s Coffee- House — Moscheles’ Concert — Concert at Altenburg — Dresden — Spontini’s “Vestalin” at the Opera — Introduction to the Artistic World — Goethe and Music — Anecdote of Haydn — Performance before the Court — Intrigues of Polledro — Munich — Excursion to Holland — Musical Life in Brussels — Paris — Spohr pp. 27 — 37 CHAPTER IV. 1821. Baron Poifere de Cere — Spohr — Gall the Phrenologist — Diary of a Day — Concert at the Theatre Favart — Soirees with Lafont — Concerts Spirituels — A Curious Bet — An Evening at Ciceri’s — The Theatres of Paris — Christening of the Duke of Bordeaux — Mistaken for a Courier — London — A Learned Waiter — Musical Celebrities — Her Majesty’s Theatre — Braham — Soirees and Con- certs — Visit to Kalkbrenner — The Erards — August Leo pp. 38 — 59 CHAPTER V. 1822. MalzeTs Metronome— New Work by Beethoven — Mile. Mock (Madame Pleyel) — Concert at Rouen — London — Cramer’s Con- cert — A New Work of Moscheles — Broadwood’s Pianos — F. Cramer — London Rehearsals — Bochsa the Harp-player — Monster Programme — Fashionable Soirees— Concert for the Poor Irish — Excursion to Brighton — At Home in England pp. 60—70 CONTENTS. Xlll CHAPTER YI. 1823. Visit to Bath — Lady Pupils — Quid pro Quo — Oratorio Concerts — Unflagging Industry — Musical Engraving — Conductors and Leaders — Artistic Jealousies — English Amateurs — The Charity Children at St. Paul’s — Musical Prodigies — F. Hiller, Schau- roth, Malibran — Sir George Smart — Visit to Germany — An Adventure — Nights in the Birnbeck-Kneipe — Rehearsals of Weber’s “ Euryanthe ” at Vienna — Visit to Beethoven — Salieri in the Hospital pp. 71 — 90 CHAPTER VII. 1824 Prague — Inauguration of the Redo utensaal— Reception by the Emperor — Series of Concerts— Respect for his Old Master — Dresden — Artistic Society — Tieck — C. M. von Weber — Per- formance before the Court — Leipzig — Distinguished Critics and Artists — Berlin — Relations to the Mendelssohn Family — Frau Varnhagen von Ense (Rahel) — Felix Mendelssohn — Zelter — Potsdam — Magdeburg pp. 91—103 CHAPTER VIII. 1825. Hanover — The Duke of Cambridge — Hamburg — Marriage to Char- lotte Erabden — Paris — Intercourse with Distinguished Men — Reception in London — Mori’s Monster Concerts— Sebastian Erard’s Invention — Advantage of Numbering Concert Tickets — Habits of Study— Sir Michael Costa — Sundays with the de- mentis — The Collards — Holiday Excursions and Concerts — A Liverpool Rehearsal — The Christmas Waits . pp. 104 — 114 Xl^ CONTENTS. CHAPTER IX. 1826. Stormy Voyage to Ireland — Impressions of Dublin — Reception at the Castle — Return to London — Musical Activity — C. M. von Weber — “ Der Freyschütz ” at Covent Garden — Improvisation — Rehearsal of “ Oberon” — Braham’s Benefit — Caprice of the “ Gods” — Weber’s Concert — Death of Weber — Thalberg — Visit to Germany — Sontag — Felix Mendelssohn — Art and Artists in Berlin pp. 115 — 187 CHAPTER X. 1827. Tour in Germany— -Spohr — Elector of Hesse-Cassel — Musical Pupils — Tyrolese Singers — Escape from a Difficulty — Liszt — Letters from Beethoven — His Melancholy Condition — Correspondence with Schindler and Rau — Beethoven’s Relatives — Carl van Beethoven — Generous Assistance of the London Philharmonic Society — Death of Beethoven — Stars in London — Dinner to Clementi — Heine the Poet pp. 138 — 199 CHAPTER XI. 1828. Edinburgh — Curious Architecture — Sir Waiter Scott — A Delightful Visit — Highlanders and the Bagpipes — Scott’s Appreciation of German Literature — Contribution to Moscheles’ Album — Scotch Church Service — Visits to the Lions of Edinburgh — Spurzheim the Phrenologist — Life of a Musician in London — Mademoiselle Sontag — Peter Pixis — Fete at Vauxhall — Scott and the Prima Donna— Mademoiselle Mars pp. 200 — 219 CONTENTS. XV CHAPTER XII. 1829. Moscheies* Productions — Fugitive Pieces — Expense of Private Concerts — Domestic Sorrows — Visit of Felix Mendelssohn- Bartholdy — The Chevalier Neukomm — A Cinque-Cento of Vocalists — De Beriot — “ Troubadours’*and “ Bohemian Brothers” — Artists* Concerts — Power of the Italian Opera — Laporte — Handel’s “ Acis and Galatea” — Visit to Hamburg — Remi- niscences of a Tour in Denmark and Sweden . pp. 220 — 240 CHAPTER XIII. 1830-1831. An Accident — Hummel — Madame Malibran — Music in England — Failure of Beethoven’s Ninth Symphony — Erard’s Pianos — Henry LitolfF — Neukomm — Philharmonic Concerts — First Rail- way Journey — Operatic Celebrities — Field’s Return to London — Paganini— Prodigies from the Continent — Visits of Intimate Friends — The Reform Agitation — A Musical Festival — Cele- bration of Christmas pp. 241 — 260 CHAPTER XIV. 1832. Moscheles as an Orchestral Writer — Death of Clementi — German Opera in London — The Italian Opera — “ Robert le Diable” — Centenary of Haydn’s Birth — The Elder Mathews — Pianists and Prime Donne — Literary and Artistic Friends- — Mendelssohn’s “ Lieder ohne Worte” — Art- Congress — Anecdote of Schröder — Moscheles* Birthday — Paganini — Visit to Berlin — Intercourse with the Mendelssohns — Leipzig and Weimar — Souvenir of Goethe — At the Pavilion, Brighton — Beethoven’s “ Messe Solen- nelle” pp. 261—280 XVI CONTENTS. CHAPTER XY. 1833. Concerts in the North of England — Birth of a Son — Congratulatory- Letter from Felix Mendelssohn — John Parry — Herz — Handel’s “ Messiah” — Pasta — Madame Malibran — Chopin’s “ Studies” — Mendelssohn in London — Illness of Mendelssohn’s Father — Coleridge — Moore — Lockhart — Seaside Music — Lessons given during the Year pp. 281 — 301 CHAPTER XYI. 1834 Stars of the Italian Opera — Grisi, Ruhini, and Tamhurini — De Yrugt — Yieuxtemps — Lady Yiolin-players— Festival in West- minster Abbey — Distribution of the Chorus — Comparison of the two Festivals in 1784-1834 — Solo-singers — Tenors and So- pranos — “ Israel in Egypt ” — “ The “ Messiah” — Demeanour of the Audience — Festival at Birmingham — Overture to “ Joan of Arc” — Byron’s “ Manfred” at Covent Garden . pp. 302 — 312 CHAPTER XYII. 1835. “ Trial Night” of the Philharmonic Society — An Unmannerly- Nobleman — Litolff ’s Compositions — Berlioz’ “ Symphonie Fan- tastique” — Musical Pains and Pleasures — Julius Benedict — Cramer’s Retirement — Yisit to Germany — Leipzig — Intercourse with Musical Artists — Felix Mendelssohn — Letters to Madame Moscheles — Concert — Berlin — A Family Fete— Musical Ab- surdities — A Painful Affair — Death of Mendelssohn’s Father — Holland and Belgium pp. 313 — 333 LIFE OF MOSCHELES. /i CHAPTER I. 1794—1814. EARLY RECOLLECTION'S — MUSICAL INSTINCT — TOO QUICK FOR HIS MUSIC-MASTER — INDISCREET FRIENDS — BEETHOVEN FEVER A PUPIL OF DIONYS WEBER — A CANDID OPINION — ON THE WRONG ROAD — TOMASCHEK — FIRST VISIT TO THE OPERA-HOUSE— DEATH OF MOSCHELES’ FATHER — FIRST APPEARANCE IN PUBLIC — VIENNA — THE BARONESS ESKELES — CURIOUS ATTESTATUM— BEETHOVEN SALIERI. HHHE time of life preceding the period when J- Moscheles began to keep a diary (1814) has been described by him in the following memoranda, which are here given verbatim : — " I was born at Prague on the 30th of May, 1794, so that my memory carries me back as far as the beginning of the century. In those days I heard the great French Revolution and all its horrors constantly discussed. Military instincts were uppermost, even in the minds of boys, and there was no end to the playing at soldiers. When the military band performed parade music in front of the guard-house, I was seldom absent. The bandsmen got little boys to hold their music for them, and I was always at hand to undertake von. i. B 2 LIFE OF MOSCHELES. the duty. Coming home all enthusiasm from these street concerts, I used to say, ‘ I too will be a musician 9 (Spielmann). My mother was kindness, love, and affection itself; she was constantly attentive to the wants of her husband and her five children. The marriage was a happy one. My father, a cloth- merchant by trade, found leisure, with all his business, to keep up his music, which he loved devotedly. He played the guitar, and sang as well. I owe to him my first impulses towards a musical career, for he used constantly to say, f One of my children must become a thoroughbred musician 9 — words which made me desire that I might be that one child. My father, however, began with my eldest sister. During her pianoforte lessons, I used to stand, mouth and ears wide open, by the upper C (the extreme limit of the little instrument), watching how my sister worked her way through the little pieces, which she never thoroughly mastered. When by myself I had tried to spell out these same pieces, it seemed to me anything but a difficult matter. My sister’s clumsy playing was trying to my temper, and on one occasion I forgot myself so far as to call out, c Dear me, how stupid ! I could do it better myself/ Zadrakha, the old master, chuckled incredulously, but allowed me never- theless to jump up on the music-stool and play instead of my sister. His report to my father must have been a favourable one, for a few days afterwards I was suddenly informed that a trial should be made with me instead of my sister. EARLY RECOLLECTIONS. 3 “ Who in. the world could be happier than I ? The pianoforte lessons were started at once, and I made rapid progress — too rapid perhaps for the old music- master, to whose dreary, monotonous exercises I was not disposed to submit. I subscribed out of my own pocket-money to a circulating music-library, and took away as many as half a dozen pieces at a time — pieces by Kozeluch, Eberl, Pley el, and others, which I scampered through. Whether my master took um- brage at this proceeding, or was dismissed by my father, I know not ; anyhow he left off teaching me. “ Our friends thought they were doing my father and myself a service by taking me occasionally with them to the houses of neighbours and acquaintance, where my performances, miserable as they must have been, caused me to be petted and admired as an infant prodigy. Naturally, I enjoyed all the compliments, kisses, and all kinds of endearments heaped on me by the ladies. My father, however, soon put a stop to this mischief, by reprimanding my indiscreet friends. He argued rightly that such practices were not calculated to advance me. The more the musical instinct stirred within me, the more gentle and tender was his treatment ; but many a time did I get into trouble when I presumed to slink away from the piano and the odious finger-exercises, to make scabbards, helmets, and other pasteboard armour, to distribute amongst my troop. After all, I had B 2 4 LIFE OF MOSCH ELES. my duties as a Captain, and felt myself bound to furnish my men with new equipments. “ Meanwhile I had advanced, under my new musical teacher Horzelsky, to the study of more important pieces, which did not however prevent my regularly attending school. Although but seven years old, I actually ventured upon Beethoven’s Sonate Pathetique. Imagine if you can how I played it ; imagine also the Beethoven fever, to which I fell a victim in those days — a fever which goaded me on to mangle the other great works of the immortal author. “ My father put a check to this mischief by taking me one day to Dionys Weber. c I come/ he said, ‘ to you, as our first musician, for sincere truth instead of empty flattery. I want to find out if my boy has such genuine talent that you can make a really good musician of him/ Naturally, I was called on to play, and I was bungler enough to do it with some conceit. My mother having decked me out in my Sunday best, I played my best piece, Beethoven’s Sonate Pathetique. But what was my astonishment on finding that I was neither interrupted by bravos nor overwhelmed with praise ; and what were my feelings when Dionys Weber finally delivered himself thus ? - e Candidly speaking, the boy is on the wrong road, for he makes a hash of great works, which he does not understand, and to which he is utterly unequal. But he has talent, and I could make something of him if you would hand him over to me for three years, and follow out my plan to the letter. STUDIES UNDER DIONYS WEBER, 5 The first year he must play nothing but Mozart, the second dementi, and the third Bach ; but only that — not a note as yet of Beethoven, and if he persists in using the circulating libraries, I have done with him for ever/ “ My father agreed to all these terms, and on my way home I received many a golden precept on the subject of my studies, which were now to be begun in sober earnest. I was told that if I went through them conscientiously and thoroughly, I should bring credit to myself, my father, and all the family. Gladly would I have resigned this remote prospect for my beloved Beethoven, and the constant varied enjoyments of my circulating library. But as it was, I had been expelled from Paradise, and must begin to toil in the sweat of my brow. My father, who generally came himself to fetch me home after lessons, questioned Weber very closely on the subject of my progress, and if the report was thoroughly satisfactory, I was invariably rewarded with a visit to the confectioner's. “ Weber and his contemporary Tomaschek were opposed to one another — the former representing the German, and the latter the Italian school. ‘Who on earth is there, excepting Mozart, dementi, and Bach T said Weber. ‘ A pack of crazy, hare-brained fools, who turn the heads of our young people. Beethoven, clever as he is, writes a lot of hare- brained stuff, and leads pupils astray/ He would dwell however with enthusiasm on the beauties of 6 LIFE OF MOSCHELES. / Mozart, rejoice in the original intricacies and com- binations of Bach, and interpret them by dint of his vast theoretical knowledge. His own compositions were not successful. Not a publisher could be found for them ; they were lithographed at his own expense, and lay piled up in his study. When he began to take delight in my progress, he made me play his music in his presence at the houses of Count Clam-Gallas and Schlick, but without much success. Then, as in later years at Vienna, my efforts failed to make his works popular. Tomaschek held a very .different art creed. His compositions however equally failed to make their way. “ One day when Weber had given my father repeated assurances that I should do something in the world, I was rewarded by being taken for the first time to the theatre. The opera was that of f Achilles/ by Paer ; it was a new work, and I was particularly delighted with the funeral march. When I came home, I played it correctly from beginning to end, and drew tears from my dear fathers eyes. A visit to the Opera House, which was now and then allowed to me, was a source of the greatest enjoyment. Would to God I could have kept for years my excellent and judicious father ! He was taken from us suddenly by typhus fever, and, as a boy of fourteen years of age, I stood weeping by the side of his coffin. Time has soothed my sorrow, but never chilled my gratitude and love. His wish, repeated over and over again during his FIRST APPEARANCE IN PUBLIC. 7 illness, to hear my first composition, was destined never to be fulfilled ; but his death, and the not too affluent circumstances in which he left his family, were the reasons of my first public appearance in Prague. Dionys Weberns opinion being that I ought to rely solely on myself, and was quite able to do so, he allowed me to finish the concerto which I had been working at, and then to give a musical soiree, where I was much applauded and earned some- thing for my pains. My mother was greatly com- forted by this event, but an old uncle declared I was on the road to ruin, and would end by playing at dancing parties; that if I had taken to business 1 might have had the good fortune to find my way to the wealthy city of Hamburg, and who could say I might not have married the daughter of some great merchant ! Well, I did not become a f beer- fiddler/ as the good old man sometimes used to call me, and I never got a place in a merchant's office. The second half of his wish, however, was realized in after-years : I went to Hamburg, and married a Hamburg lady. “ A short time after the death of my father my mother sent her young musician to Vienna. It cost her a struggle, but she yielded to the advice of her friends. At Vienna I was to continue my studies, and earn my own bread and independence. I re- member with gratitude the hearty welcome and kind attentions I received in the family circles of Lewinger and Eskeles, and in the house of the Italian 8 LIFE OF MOSCHELES. Artaria, who afterwards published my first composi- tions. A relation of the Baroness Eskeles gave large musical parties,, in which I was allowed to take a part. The daughter of the house was a pupil of Streicher, and a warm supporter of his school. Both master and pupil fancied they alone were genuine and correct pianoforte players. The lady advised me to listen frequently to her daughter’s playing, and at the same time to take lessons of Streicher. The first half of this advice seemed to me arrogant on her part, and to follow the latter would have been ungrateful. I owed so much to my old friend Dionys Weber. Should I now, as a deserter, serve under another flag ? No, I determined to build for the future only on the groundwork he had constructed with such infinite pains. I would hear and examine everything, and appropriate all that was good according to my best ability, but I would remain his grateful pupil to the last/ 5 Moscheles did not fail to keep up his connexion with Streicher, and gladly acknowledged himself indebted to him for many hints, although he would not bind himself down to copy his style of playing. He was a constant attendant at the musical evenings given by the best connoisseurs, with whom the society at Vienna in those days abounded. Many of the Viennese ladies had been admirably taught, and the youthful Moscheles modestly admitted their superiority in delicacy of touch and expression, and soon learned to appropriate these qualities. At the same time he CURIOUS ATTESTATUM. 9 became a laborious student of the theory of music, under the Dorn- Kapellmeister Albrechtsberger, who on parting gave him the following curiously worded testimonial : — “ Attestatum. “ The undersigned testifies that Ignatz Moscheles has for some months acquired under me such a good knowledge of thorough Bass and Counterpoint that he is capable (as he plays in a masterly way on the pianoforte and organ as well) of earning his bread anywhere with both these arts. And as he now wishes to set out on his travels, I think it only fair to warmly recommend him in all places he may choose to visit. “ Vienna, 28th September, 1808. (Seal) “ Georgius Albrechtsberger, “ Kapellmeister in der “ Domkirche zu St. Stephan.” “ As a matter of course,” Moscheles continues, “the great Beethoven was the object of my deepest venera- tion. Having so exalted an opinion of him, I could not understand how the Viennese ladies just mentioned had the courage to invite him to listen to their musical performances, and play his compositions in his presence. He must have liked it, however, for at that period he was frequently to be met with at these evening entertainments. His unfortunate deafness might have made him reluctant to perform on the piano, so that he entrusted these ladies with the first 10 LIFE OF MOSCHELES. playing of his new compositions. But how astonished I was one day when calling upon Hofkapellmeister Salieri, who was not at home, to see on his table a sheet of paper on which was written, in large, bold characters, r The pupil Beethoven has been here/ That set me thinking. What ! a Beethoven acknow- ledges he has yet to learn of a Salieri ! How much more then do I stand in need of his teaching ! Salieri had been the pupil and most fervent admirer of Gluck, but it was well known that he would not acknowledge Mozart's works. Notwithstanding this, I went to him, became his pupil, was his deputy Kapellmeister at the Opera for three years, and received as such a free pass to all the theatres. Those were happy and busy days in dear old Vienna \” 11 CHAPTER II. 1814—1816. MOSCHELES’ DIARY — MEYERBEER — BEETHOVEN" — CELEBRATION" OF THE LIBERATION" OF GERMANY — COMPOSITIONS — SONATE MELANCO- LIQUE — PUPILS — HABITS OF STUDY — ARTISTIC CIRCLE — CONNEXION WITH BEETHOVEN — CONGRESS OF VERONA — IMPERIAL FESTIVI- TIES — MUSICAL ENTERTAINMENTS — THE COUNTESS HARDEGG — ALEXANDER VARIATIONS — AMUSING INCIDENT — VISIT TO PRAGUE — THE LUDLAMSHÖHLE — MOSCHELES AND HUMMEL — KARLSBAD— SCHUMANN. HE diary, which begins on the 1st of April, 1814, -L opens to ns a life full of cheerful activity. The youth, just turned twenty, is dependent entirely on his own exertions, and earns at artistic reunions or at public performances his first laurels as an executant as well as a composer. On the 8th of April he hears for the first time Meyerbeer, who plays a rondo of his own composition. We quote from the diary : — “ Thoroughly convinced of his masterly playing, I was still curious to see what effect it would have on a mixed audience, and re- marked that even those passages which possibly were not understood, caused great astonishment — chiefly on account of the mastery shown in overcoming great difficulties.” 12 LIFE OF MOSCHELES. On the 10th of April Moscheles’ diary mentions the great enthusiasm which the intelligence of the taking of Paris produced at Vienna ; how the populace, in great excitement, marched through the streets, singing national songs. “ April 11. — At a matinee in the c Römischen Kaiser/ I heard a new trio by Beethoven. It was no less than the Trio in B flat, and. Beethovenj|himself played the pianoforte part. In how many compositions do we find the little word c new ’ wrongly placed ! But never in Beethoven’s compositions ; least of all in this work, which is full of originality. His playing, apart from the spirit prevailing in it, satisfied me less, for it lacks clearness and precision ; still I observed several traces of the grand style of playing which I had long since recognised in his compositions.” The great event, the liberation of Germany, was vibra- ting in the hearts of even th e light-minded Viennese, and not only their poets, but their musicians also, vied with each other in celebrating the event. Spohr wrote his “ Befreites Deutschland Hummel celebrated the return of the Kaiser; Moscheles wrote the “ Entry into Paris,” and afterwards a sonata entitled “ The Return of the Kaiser.” The Jewish congregation at Vienna, to which he at that time belonged, com- missioned him to write for the occasion a cantata, which was performed very impressively and then re- arranged for the pupils of the famous Guntz Institute, who played it before the foreign princes. He also SONATE MJ^LANCHOLIQUE. 1 3 wrote six Scherzos, “Variations on a Theme by Handel ;" his Rondo for Four Hands in A ; minuets and trios ; Austrian Ländler, for Artaria's Collection of National Dances ; the Polonaise in E flat ; a Sonata for Pianoforte and Violin ; another for Piano and Bassoon, and lastly, the subject of the “ Sonate Melancolique" — thought by himself and competent judges to be one of his best works. The diary proves that this subject, which occurred to him whilst giving a lesson, was worked out with particular pleasure. Pupils, and those of the highest rank, had become so numerous that he was obliged to refuse any addition to their number. The diary shows that invitations never interfered with his studies, since he tried to make up for lost time by composing during the small hours of the night. In spite of this, by 7 a.m. the day's work was begun with the study of English and both pianoforte and violin exercises. That he judged himself severely is shown by such notes as these : — “ To-day I was much applauded, especially by Count P., who was quite enthusiastic ; but I was not satisfied with myself." And again, “ The company was enchanted ; but I was not. I must do much better than that." And once again, “ I was not to be talked over into playing, for I should not have done anything worth hearing to-day, and always see cause to repent, when I have been inveigled to the piano against my inclination." The unceremonious artistic circle of the family of L., 14 LIEF, OE MOSCHELES. at Dörnbach; near Vienna, where Salieri, Meyerbeer, Hummel, and others were to be met with, is described by Moscheles as particularly congenial to his tastes. “ On delightful summer evenings walks were taken, tableaux arranged, all sorts of musical trifles composed and per- formed on the spot/' At this period he came into closer connexion with Beethoven. “ The proposal is made to me," he writes, to arrange the great masterpiece, c Fidelio,' for the piano. What can be more delightful ?" We now come across constant short notices in the diary ; for instance, he tells how he has taken two numbers at one time to Beethoven, then again two others; next come occasional notes — such as, “he altered little," or “he altered nothing," “he simplified" such and such a passage, or “ he strengthened it." Again : “ When I came early in the morning to Beethoven, he was still lying in bed ; he happened to be in remarkably good spirits, jumped up immediately, and placed himself, just as he was, at the window looking out on the Schottenbastei, with the view of examining the ‘ Fidelio' numbers which I had arranged. Naturally, a crowd of street boys collected under the window, when he roared out, c Now what do these confounded boys want?' I laughed, and pointed to his own figure. * Yes, yes; you are quite right,' be said, and hastily put on a dressing-gown. “ When we came to the last grand duet, * Namen- lose Freude,' and I had written the words of the text — REMINISCENCES OE BEETHOVEN. 15 ‘ Ret-terin des Gat-ten,* he struck them out and altered them to * Rett-erin des Gatt-en ;* ‘ for no one/ said he, can sing upon t.* Under the last number I had written c Fine mit Gottes Hülfe* (the end with the help of God). He was not at home when I brought it him; and on returning my manuscript, the words were added, * O, Mensch, hilf dir selber* (Oh, man, help thyself).** We read on the 29th November : “ At Beethoven*s concert at noon, in the large Redoutensaal. He gave his glorious Symphony in A major, the Cantata f Her glorreiche Augenblick,* and the * Battle of Vittoria.* Everything was' worthy of him.** In winter Moscheles is commissioned to write the Carrousel music, to be performed in the presence of the foreign princes. He writes : “ The Riding School was brilliantly illuminated, and mediaeval decorations had transformed it into a kind of arena. Twenty-four knights in armour did their part admirably, and their ladies were in splendid costume. T never saw such a fine pageant.** Whenever he visits the classical quartet performances of the Schuppanzig party he praises the admirable execution, especially of Beethoven*s quartets ; observing on one of these occasions, “ How could Spohr speak against Beethoven and his imitators ?** During the great Congress at Vienna we find Moscheles and his young friends eagerly joining the enthusiastic crowd which surrounds the royal family of Austria, to welcome the Kings of Würtemberg, 16 LIFE OF MOSCHELES. Denmark, Prussia, and lastly, the Emperor of Russia. The Hiller regiment plays a march composed by Moscheles. The Burgplatz, the Imperial family at the window, the foreign princes below, everybody and everything en fete , the theatre in the evening, and the brilliant illuminations excite his admiration. A few days later he describes a grand Court Ball in the Riding School, “ changed into a garden, and the illuminations brilliant as daylight. Our own Emperor personally superintended the arrangements for the comfort of his distinguished visitors. I saw every- thing and everybody, and remained there until three o’clock in the morning.” Again : “ St. Stephen’s tower in a blaze of fire- works at the people’s fete in the Augarten was most beautiful ; the artistic rainbow, the imitations of the Brandenburg Gate, and the column constructed of French cannon left in Russia, well worth seeing. The f Vestalin,’ by Spontini ; Rossini’s f Mose,’ and ‘ Jean de Paris,’ as well as Handel’s oratorio of € Samson’ were performed before the Princes.” “Handel’s e Samson !’ ” exclaims Moscheles, with youthful enthusiasm, “ which always strengthens and elevates my soul ! The first time I heard it, I was in ecstasies of delight ; smnee then I have heard every rehearsal and performance of this masterpiece, and always found myself refreshed anew.” Many youthful pranks were played, and many practical jokes devised with his artistic colleagues MEYERBEER. 17 Merck and Giuliani, the poets Castelli and Campani, and other jovial fellows. The intercourse with Meyer- beer materially benefited the artistic development of Moscheles, who constantly played to and with him and never tired of admiring him. He repeatedly says, “ His bravura playing is unparalleled — it cannot be surpassed. I admire his own original manner of treating the instrument.” For hours together they sat extemporizing and improvising on one piano ; hence arose the “Invitation to a Bowl of Punch,” and other duets. It was a hard matter for Moscheles to part from his friend, when the latter prepared to leave Vienna. Meyerbeer was at that time in his transition period. He began to apply himself to dramatic music, wrote an operetta for Berlin, and soon afterwards went to Paris, where he steadily pursued his career as a great dramatic composer. The new year opens as busily as its predecessor had closed. The most important event in this new year, and the most momentous in its consequences, was Moscheles' visit to the Countess Hardegg. “ She sent for me,” he says, “ to ask me if I was willing to play at a concert on Ash Wednesday for the charitable institutions of Vienna. I was not very eager in the matter, because I had no new composi- tions, but she was not to be denied. ' Write some- thing, Moscheles, as quickly as you can, and let it be brilliant, she said. c Yes but what ?' I replied. VOL. I. C 18 LIFE OE MOSCHELES. After much deliberation it was settled that I was to write variations upon the march played by the regiment bearing the name of the Emperor Alexander of Russia.” He began writing the variations on the 29th of January, and finished them on the 5th of February. These are the famous Alexander Variations, of which it was said for many years that Moscheles alone could play them, and which won for him, both at Vienna and elsewhere on his artistic tours, his high reputation as a bravura player. There were certain parts in this composition which (twenty years later) sent a thrill of enthusiasm through the audience ; nay, when he would have been glad “ to lock them away in some dark corner ” — so that his “ youthful effort,” as he called it, might be entirely forgotten — they were still rapturously called for, and those who had heard him play them in his youth would have him repeat them in his more mature age. In the diary of the 8th of February we read : — ■“ To- day being Ash Wednesday, I had a rehearsal of my Alexander variations at the Kärtnerthor Theatre ; they went very well with the orchestra, and were much applauded. In the evening I played them at the concert given by the committee of noble ladies for the benefit of charitable institutions ; all the Allied Princes were present. The variations were unexpect- edly well received — they seemed to be the piece best appreciated during the evening.” A concert given jointly with Hummel follows; the ALEXANDER VARIATIONS. 19 art-loving Grand-Duchess of Weimar, who is present, cordially invites him to come to Weimar. “ I am most proud, ” he writes, “ at Salieris attending the concert and being satisfied with my performance.” Another note speaks of Moscheles' devotion to this master. “My beloved master, Salieri, is in great danger ; he is suffering from inflammation on the lungs. God grant that his illness may take a favour- able turn !” After several days of anxiety he is allowed to see him, but not to speak to him, and then follow expressions of joy at his recovery. An amusing incident occurs on the 7th of May. The friends had taken a walk to Mödling (near Vienna), Moscheles had off-hand arranged the picnic music, and says, “ To set every one going, I took the sticks out of the drummer's hands and thundered and flourished, whilst the violins twittered, the clarionets doodled, the trumpets clanged, and the bassoon growled. It was a wonderful ensemble.” His cheerful mood does not always predominate. Moscheles confides to his diary that, “not being up to the mark, I preferred leaving the company.” Again we meet with this remark, “ Played and pleased others, not myself.” Then he works all the more industriously, and is cheered by the conscious- ness of uninterrupted progress and an almost in- variably unclouded intercourse with his friends. He is busy composing his Polonaise in E fiat major, which became afterwards the last movement of c 2 20 LT FE OF MOSCHELES. the concert in the same key ; but at the rehearsal he complains of the three discordant drums (in E flat, B flat, and C flat), and this complaint is repeated at nearly every performance, even in later years ; so that at last, in the year 1832, when Mendelssohn makes a humorous illustrated sketch of Moscheles^ works, he writes un- derneath, “ Respect, sie sind eingestimmt !” (“ All honour to them. They are in tune !”) Scarcely is the Polonaise finished, when he begins his Sestet. In after years he used to tell of his great anxiety at that time to write something in the style of Hummefs Septet. But he always winds up with the admission, “ My ambition resulted in a light youthful effort, not to be compared with HummePs work/’ On one occasion at Dörnbach a pelting storm drives a whole party, Moscheles included, to seek shelter in the house, and he is asked to play to the company, to compensate them for the loss of the walk. “ I impro- vised,” he said , u but in conjunction with the elements ; for with every flash of lightning I brought my playing to a pause, which allowed the thunder to make itself heard independently.” During the autumn his mother spends a fortnight with him ; he devotes himself to her entirely, and after she leaves, we find him re- suming his studies and his frequent attendance at the theatres. He also looks for incentives in the sister arts. Speaking, in the diary, of Oehlenschlager’s “ Correggio,” he says : “ I find so many beautiful things in it with reference to painters and painting, VISIT TO PRAGUE. 21 that I applied it all to my own art, to impress it inde- libly on my mind.” There are interesting notices interweaved in his diary at this period with reference to serenades (“ Nacht-musiken ”) practised at this time. Count Palffy gave six of them this winter in the Botanical Gardens. The performers, besides Moscheles, were Mayseder, Merck, Giuliani, and Hummel. At the first series, the Empress Marie Louise, the Archdukes Rainer and Rudolf, &c. &c., were present^ and the programme contains an arrangement of the overture to “ Fidelio” (the chief parts by Moscheles and Mayseder) ; Sonata for piano and horn by Beet- hoven (Moscheles and Radezki) ; Polonaise by May- seder; Rondo by Hummel, with quartet accompani- ment played by Moscheles. In the intervals there were jovial “ Jodler,” echoing merrily through the gardens, and a still more jovial supper. The other five Serenades, as well as one for the Empress Marie Louise, and half a dozen for the name-days of private people, were not less interesting. The first incident worthy of record in this new year (1816) is a journey to his native town, Prague, where he gave a concert* for the poor, the proceeds of which amounted to 2400 florins. At Pesth he met with his usual success. Old friends and new gathered around him, the Batthyany and other noble families invited him to their country seats, and he was never weary of praising the artistic taste and hospitality of this circle. Scarcely had he returned to Vienna 22 LIFE OE MOSCHELES. when he resumed his former pursuits. In those clays he was a constant guest at the Ludlamshöhle, an artists' tavern, where poets, painters, musicians, and actors used to meet to spend an hour in unrestrained conviviality, and wit and wine were the order of the evening. Every member had his nickname ; and these Moscheles took as the words of a chorus composed for his jovial comrades. Often in after-years he fondly recalled the happy hours spent in this circle. Meanwhile Moscheles had, by dint of study and observation of the strong points of others, steadily improved in finish and execution, so that two camps were formed — the one preferring Hummel, the other Moscheles. Trustworthy contemporaries are of opinion that Hummel's legato playing had not at that time been attained to by Moscheles ; Hummel's touch, they said, was soft as velvet, his running passages perfect as a string of pearls ; whereas Moscheles, with his dashing bravura and youthful enthusiasm, carried away his hearers with irresistible force. There was no kind of personal rivalry between the two artists themselves. We have seen how Moscheles preferred Hummel's Septet to his own composition of the same kind. In return Hummel gave Moscheles tokens of the most sincere acknowledgment, such as entrusting him with a favourite pupil when obliged himself to be absent from Vienna. Moscheles mentions his inter- course with several other artists, amongst them Reichardt and Czerny, of whom he says ; “ No one HÜMMEL CZERNY. 23 understood better how to strengthen the weakest fingers, or to lighten study by practical exercises, without neglecting to form the taste.” Whilst recog- nising the merits of others, he cannot forbear saying, cc We musicians, whatever we may be, are mere satellites of the great Beethoven, the dazzling luminary.” Moscheles produced about this time his grand Sonata in E flat, for two performers, dedicated to the Archduke Rudolf of Austria, who played it in musician-like style at first sight with him. One concert follows another. Moscheles^ reputation is rising, but, in spite of the homage paid him, he never relaxes, but ener- getically devotes himself to his regular studies. His friends urge him to try his fortune in the wide world ; he at first opposes their views. No wonder ! He felt so perfectly happy in his beloved Vienna, as a favourite of the public and the centre of a large circle of friends. His influential patrons and patronesses however prevail upon him to set out on longer ar- tistic travels, and remove all obstacles attending such a plan. We next find him at Prague, and read, “How delightful it is once more to be with mother and sisters ! What pleasure it gives me to play before them; no one listens as they do.” And again, “ To- day my sisters and I had some of our old childish fun — a regular game of romps ; I think mother liked it.” He had to play to his truly respected teacher, Dionys Weber, to artists and friends, one and all of whom were surprised and delighted with his progress. Every family 24 LIFE OE MOSCHELES. /. which had known him as a boy, and set hopeful store on his future, gave him a hearty reception. Success followed Success ; merry adventures and pleasant excursions are recorded, and Moscheles -accepts an invitation of Count Wallis to pass the summer with him and his family at Karlsbad. This celebrated watering-place was just then the resort of princes and nobles, famous statesmen and artists. Besides King William III. of Prussia, there were Hardenberg and Gneisenau, Wittgenstein, Rostopschin, and others. The Prussian, Austrian, and Russian nobility vied with each other in the magnificence of their entertainments, and a happy fusion of the various ranks proved that the great folk were glad to associate with the artists and make music with them. The Russian Baroness Lunin sang extremely well, and Prince Galitzin, who had devoted himself to composition, wrote for her romances which Moscheles revised and accompanied. Moscheles created quite a furore with his Alexander variations and fantasias ; such attentions were lavished on him that years afterwards he would eulogize the favours shown him in that artistic circle, and contrast them with the coolness and indifference of “ now-a-days.” It was in Karlsbad that the young Robert Schu- mann heard Moscheles for the first time, and lasting were the impressions there produced. Many years later, when Moscheles dedicated to Schumann the Sonata (op. 121) for pianoforte and violoncello, he received from him the following letter : — “ I am ROBERT SCHUMANN. 25 honoured and delighted by the dedication of your Sonata, and I regard it as an encouragement to my own aspirations, in which you took a friendly interest from early days. When I, completely unknown to you, kept for more than twenty years at Karlsbad, as a relic, a concert programme which had been yours, how little I dreamt of being honoured in this way by so illustrious a master ! Accept my sincerest thanks for your kindness.” An excursion was made from Karlsbad to Eger. Moscheles saw the house in which Wallenstein was murdered, the old fortress with its massive pillars, and lastly the Mordgässchen, “ Murderers Lane,” where, in the days of darkness, all the J ews, except the family of Seligsberg, whose descendants still inhabited the same spot, were cruelly put to death. A visit to Franzens- brunn and Mariakulm, and another short stay at Karls- bad, concluded this successful tour. Meanwhile the Countess Hardegg and other influ- ential admirers had prepared his grand tour for him on his return to Vienna, by providing him with letters of recommendation to every Court he might visit, to every diplomatic or art-loving celebrity, as well as to the “haute finance.” These letters were something more than ordinary introductions : the young man was warmly and earnestly recommended, his talents and general bearing placed in the most favourable light, and his successes described as accomplished facts. In those days letters of recommendation had their real 26 LIFE OF MOSCHELES. value, and this partly explains the social as well as artistic * success that almost invariably attended Moscheles. In the first instance confidence inspired by those who had recommended him, was followed by pleasure in his artistic performances. To this must be added the charm of modest, unassuming manners, which made the stranger a welcome guest, then a friend — not for months, or even years, but for life itself. Let us now follow him upon his wanderings, which were the means of carrying his name far and wide, and investing it with a European celebrity. 27 CHAPTER III. 1816—1821. IMPRESSIONS OF LEIPZIG — CONVERSATION WITH BEETHOVEN — SCHICHT- PROFESSOR SCHULZE — GEWANDHAUS CONCERTS— CLASSIG’S COFFEE- HOUSE — MOSCHELES’ CONCERT — CONCERT AT ALTENBURG— DRES- DEN — SPONTINl’S “VESTALIN 7 ’ AT THE OPERA — INTRODUCTION TO THE ARTISTIC WORLD — GOETHE AND MUSIC — ANECDOTE OF HAYDN — PERFORMANCE BEFORE THE COURT — INTRIGUES OF POL- LEDRO — MUNICH — EXCURSION TO HOLLAND — MUSICAL LIFE IN BRUSSELS — PARIS— SPOHR. I N the autumn of 1816 Mosch eles bid a sorrowful adieu to the beautiful Imperial city, and went to Leipzig by way of Prague. He travelled in a so-called “ Hauderer,” a most tedious and cumber- some vehicle, and many ejaculations of impatience did it draw from him, which neither books, nor the dumb row of keys he carried with him, in order to keep his fingers exercised, at least technically, availed to moderate. At last he reaches Leipzig. He says : — “ Anxious to see the place, I hastened to the prome- nades, the ancient market-place, and thence went to the theatre. The students, with their unseemly noise, their furious thumping on the ground with sticks when impatiently calling for the piece to proceed, astonished me, the orderly Austrian. I was destined to be fur- ther annoyed. The performance was a parody upon 28 LIFE OE MOSCHELES. Künstler's ' Erden wallen/ in which the author, Julius Voss, in biting satire, speaks of all those who had come to the Leipzig fair with some show or other to make money. Was that a hit at me ? I quickly laughed away the notion, and thoroughly enjoyed my supper in the ' Joachimsthal/ ” Some pages further on we find frequent notices of the crowds in the streets, the foreign costumes, the Polish Jews in the Brühl, and the overcrowded public places. He says after- wards : — '' The first concert I heard in Leipzig was given by Mile. Sessi ; the overture was played very steadily. I must make special note of the contra- basso player Wach, because, with his force and energy, he seemed to keep the whole orchestra together.” And again a few days afterwards we read : — '' To-day I was with Schicht, the Cantor of the Thomas Schule. We had a long conversation about art and artists, and he gave me the full benefit of his opinions on Beethoven. Amongst other things he affirmed that 'the Mount of Olives' was not written in the oratorio style, and told the story that when Beethoven had sent the work to the publisher, the latter had thought it right to omit the chorus, 'Welchen Weg fliehen wir ?' (' Ah, whither shall we fly ?') Beethoven was very indignant, condemned such conduct as arbitrary, and wrote a very strong letter to the publishers. Schicht seemed to think this curious, whereupon I clearly set before him the proper point of view. GEWANDHAUS CONCERT. 29 a At the house of Schulze,, Professor of Music, I heard several choruses and motets without accom- paniment, admirably executed by his pupils, and these performances were in the presence of Zelter, the severe critic, who happened to be at Leipzig at the time. I heard also in the Thomas Church eight part motets and fugues sung with much force and precision by pupils under the directorship of my friend Cantor Schicht" On the 6th of October the Gewandhaus concerts began. Moscheles attended of course. Some inte- rest may attach to a programme of those days; we therefore copy it from the diary : — PART I. Symphony . . . Mozart. Aria .... Madame Sessi. Pianoforte Concerto, written and played by Zeuner, of St. Petersburg. Duet . . Madame Sessi and Herr Bergmann. PART II. Overture . . Andrew Romberg. Aria . . . Wild, Cavatina, with Guitar. Lied, “ Vergissmeinnicht. " Swiss Rondo . . . By Zenner. Finale . A chorus from Winter's “ Power of Music." 30 LIEE OE MOSCHELES. Moscheles finds life in Leipzig extremely pleasant. At Classes coffee-house he falls in “ daily with the most delightful company/* hears “ arrangements of the best symphonies, overtures, and operas, with an almost complete orchestra, that plays admirably.** But the mediaeval custom of closing the city gates at dusk (Thorsperre), now abolished, and being admitted only on payment of some few groschen, frequently troubles him when he is returning from visiting the Wiecks (the parents of the famous Clara Schumann). His own concert was to be given on the 8th of October. “ I was in great excitement,** he says. “ My pressing business began as early as seven o* clock in the morning. In accordance with the local custom, I paid the cashier beforehand a bill receipted by the committee, charging sixty-six thalers, twelve neu- groschen for the room and lights. The rehearsal began at nine a.m. My overture to the ballet, c Die Portraits,* was admirably performed at the first read- ing, but the orchestra wished to rehearse it again, and then it exceeded my expectations. I cannot sufficiently praise the horns and trombones, but beyond all the admirable violin of Matthäi, the leader. The small audience collected in the room was unanimous in applauding me, and the Alexander varia- tions allured many of the orchestral players away from their desks towards the piano, where they could watch the execution of the difficult passages. In spite of this success, my nervousness was so overpowering, in expec- CONCERT IN LEIPZIG. 31 tation of the evening, that I could not swallow a morsel. In the afternoon I found my instrument in the concert-room, well tuned and in good order, when I felt its pulse ; my own was anything but quiet. At five o'clock the room was opened and lighted. Every- thing looked grand and impressive, and half-an-hour afterwards some ladies elegantly dressed arrived, so as to secure good places. It is not easy to imagine a handsomer room, or one better fitted for its pur- pose. I also found the seats arranged in a very prac- tical manner, and one which was quite new to me. At half-past six, after I had swallowed a cup of tea with a drop of rum in it, I gave the signal for the concert to begin, and was received with applause on my appearance — a distinction not given to every one in this place. My overture, owing to the hearty co-opera- tion of every one, surpassed my expectations. The public was so enthusiastic and unanimous in its applause, that I look back to this evening as one of the brightest and happiest of my life. A chorus by Schicht followed. My Polonaise, which was shown to the best advan- tage by the delicate accompaniment of three drums, all admirably tuned, will probably never be more effec- tively performed than here, or secure me more genuine applause. Between the parts the directors warmly congratulated me. In the second part we had Romberg's Capriccio for Violin, played by Matthäi; the Alexander Variations, repeated with the same enthusiastic applause ; a Hymn 32 LIFE OE MOSCHELES. by Mozart ; then a pause of a few moments, after which I began my Improvisation. The public, feeling more and more interested, came nearer to me, and ended by regularly hemming me in, so that I became the centre of a great and admiring circle.” Such a success, on such difficult ground, was as sur- prising as it was encouraging to Moscheles. It was the universal wish that a second concert should soon follow, and the 14th of October was the day fixed on. “ I had intended to-day,” says the diary, “ to introduce no extraneous subject into my Improvisa- tion, when coming to a pause, the melody, ' Das klinget so herrlich' (Zauberflöte) involuntarily forced itself upon me. Two rounds of applause rewarded my treatment of this subject.” Next morning Moscheles gave a dejeuner to artists and amateurs ; there were plenty of oysters and good wines, supplemented by a musical entertain- ment. In the following days he strolled about amongst the booths at the fair, and attended some interesting theatrical performances ; he also examined the battle-field, the gardens, streets, and villages through which the torrent of war had rolled. Coun- cillor L., of Altenburg, arranged a concert for him at Altenburg, “in which the enthusiasm of the good Leipzig people was loyally repeated.” Some new songs, as well as the Sestet, were published by Hofmeister. Delighted beyond measure with his artistic successes in the musical city of Leipzig, he prepared to go on DRESDEN. 33 to Dresden. On his arrival there, after a tedious journey, and considerable bodily suffering, in conse- quence of an affection of the throat, he sought for some relief and forgetfulness of pain by listening to Spontini's “Vestalin” given by an Italian com- pany. “The director is called Polledro, the singers Madame Sandrini, Benelli, &c. &c. Their genuine Italian method and extraordinary power of sponta- neous vocalization delighted me extremely, but I was so irritated with their constant ritardando at the finish of each melodious phrase, and the halts and draggings of the band, that I was obliged to brood over my bodily ills, and only got through the three acts by great effort. Myself and my pains I should completely have forgotten had I been present at a classical opera, classically performed. The orchestra, of which I had formed such great expectations, left much to be desired, notably the first horn-player. One passage in the andante of the overture could not be recog- nised.” Moscheles about this time was confined to his room for a month, by order of his medical advisers, and beguiled this somewhat irksome time by arranging his four heroic marches for an orchestra, writing the Andante of the Sonata in E major, which he dedi- cated to Beethoven, and arranging some other pieces, besides reading several of Goethe's works, Men- delssohn^ “ Phädon,” &c. At last he was restored to health, and utilized the early days of his newly acquired freedom by intro- VOL. i. D 34 LIFE OE MOSCHELES. ducing himself to the artist world of Dresden. In the choir of the Catholic church, during the performance of the mass, he made the acquaintance of Morlaechi, Polledro, Dotzauer, Benelli, and other artists. “ I find the effect of the Mass grand ” (we read in the diary) ; “ twenty violins, six violas, four basses and violon- cellos, with but one only of each of the wind instru- ments, with the exception of the four bassoons, the leading solos sung by Sassaroli.” Further on we read : “ I found in August Klengel an interesting acquaintance. He plays in the Clementi style, his toccatas, fugues, and gigues are as solid as they are artistic and thorough. Klengel and Zenner often come to visit me, and play to me alternately.” At the next grand concert, he speaks of “ the room as inferior in many respects to that at Leipzig, the programme itself meagre, and the performance rather consumptive.” The diary of this period contains several notes on miscellaneous subjects. We give some few extracts. “ Goethe writes in the ‘ Neuen Melusine' (a periodical), ‘ I must confess that I have never been able to make much out of music/ A thing I naturally cannot understand,” Moscheles added. Further on : “ I must note a proof of Haydn's love of justice. Haydn heard that Beethoven had spoken in a tone of depreciation of his oratorio the ( Creation/ ' That is wrong of him/ said Haydn ; ‘ what has he written then ? His Septet ? HAYDN. 35 Certainly that is beautiful, nay, splendid P he added, in tones of earnest admiration, completely forgetting the bitterness of the censure directed against himself.” But to revert to Dresden. Here Moscheles met with many obstacles in the way of professional success; first his own illness, then the intrigues of Polledro, who wanted himself to give concerts, and finally the aggravating Court etiquette. “At last,” says Moscheles, “ I got my foot firmly in, or rather my hand, for I played, and with approval, first at the house of the Austrian Ambassador, Count Bombelles, then before Oberhofmeister Count Piatti, and Ober Stallmeister Count Vitzthum, ending finally on the 20th of December by a successful performance before the Court itself. The Court actually dined (this barbarous custom still prevails), and the Royal house- hold listened in the galleries, whilst I and the Court band made music to them, and barbarous it really was, but in regard to truth, I must add that Royalty, and also the lacqueys, kept as quiet as possible, and the former actually so far condescended as to admit me to friendly conversation.” His success secured for him what he had hitherto in vain striven to acquire, the permission to have the aid of the Royal band at his intended concert ; this permission invariably refused to all others, was granted to Moscheles in recognition of his special merits. The musicians, too, began to like him better ; Morlacchi and Schubert frustrated the intrigues of Polledro, 30 LIFE OF MOSCHELES. ■who wished to give him the weakest players in the orchestra, Count Piatti negotiated with the ungracious landlord of the Hotel de Pologne for the hire of the room, and the day of the concert was fixed for the 28th of December. “ In accordance with local usage,” he says, “ I gave tickets to each of the members of the orchestra. We rehearsed, and in the evening the concert came off before a brilliant public, profuse in manifestations of applause.” Moscheles in comparing the performance of some pieces given at Leipzig and Dresden, gives the palm to the Leipzig orchestra. The next place visited was Munich, where Mos- cheles, after taking part in some grand performances, gave two concerts on his own account. He had let- ters of introduction to Prince Eugene of Leuchtenberg and the Court ; the old King Max was very kind and amiably disposed towards him, and after hearing him play before the royal circle, presented him with a diamond ring. A pin with the letter E, set in diamonds on an enamelled ground (a present from Prince von Leuchtenberg), is still kept as a precious souvenir. After playing at Augsburg before the ex- Queen Hortense, Moscheles made an excursion to Holland, giving four concerts at Amsterdam, and one at the Hague. There he saw for the first time the glorious sea, and he records the powerful impression made upon him. It was at Amsterdam that he began his concerto in G minor, which he finished on the 4th of August, 1817. G MINOR CONCERTO SPOIIR. 37 He says, “ Since I daily heard the chimes of the melancholy church bells, it was natural that I should choose a minor key, and mark the first movement as * malinconico/ ” A first rehearsal of this concerto in the “ Liebhaber Gesellschaft” was a great success, but certainly neither the listeners nor the author himself could have foreseen the long life in store for this favourite composition. He next visited the Rhine and Belgium, and writes, “ Brussels is the preparation for Paris, both as regards language and customs” The musical life in that city was one of great activity, and Moscheles' performances were eagerly welcomed. On the 29th of December he reached Paris, and put up at the Hotel de Bretagne. He writes thus : “ The impression as I drove through the crowded streets, and watched the brilliant shops filled with purchasers, will never be effaced from my memory. Going out for a morning walk on the 30th, whom should I meet but my friend Spohr — a good omen ! Our joy on meeting was mutual, we were a long time together, and sauntered on the Boulevard des Italiens. Later in the day I accompanied him to the Palais Royal, and in the evening we heard f Don Juan 9 at the Italian Opera, given, to my surprise, in its integ- rity ; Fodor was a charming Zerlina, and all the others good. We had, however, great trouble in getting into the theatre. The crowd was so dense, that we were obliged to engage a man to take tickets for us.” 38 CHAPTER TV. 1821. BARON POIF^RE DE CERE — SPOHR — CALL THE PHRENOLOGIST — DIARY OF A DAY — CONCERT AT THE THEATRE FAY ART — SOIREES WITH LAFONT — CONCERTS SPIRITUELS — A CURIOUS BET — AN EVENING AT CICERIS — THE THEATRES OF PARIS — CHRISTENING OF THE DUKE OF BORDEAUX — MISTAKEN FOR A COURIER— LONDON — A LEARNED WAITER — MUSICAL CELEBRITIES — HER MAJESTY^ THEATRE — BRAHAM — SOIREES AND CONCERTS — VISIT TO KALK- BRENNER — THE ERARDS — AUGUST LEO. D URING the first week of his stay in Paris,, Mos- cheles thoroughly explored the city in every direction, and his delight in the novelty and sights is duly recorded in the diary. Besides this, special mention is made of Spohr, who frequently met Mos- cheles at the house of Baron Poifere de Cere. The baron gave morning parties every Sunday, where the aristocracy of artists, as well as the great world of Paris, were numerously represented. Spohr had entrusted Moscheles at one of his matinees with the pianoforte part of his quintet in E flat (with wind instruments), which was greatly ap- plauded by the audience. In addition to this, Moscheles was called on to improvise, and was par- ticularly happy to find Reicha and Kreutzer for the first time amongst his audience. Moscheles and SPOHR CHERUBINI. 39 Spolir attended the quintet and quartet parties given by Reicha and Sina, and the two Germans delighted in finding our great masters, Haydn. Mozart, and Beethoven, admirably played and admired in the capital of France. The following passage from the diary proves how anxious Moscheles was to see those of his colleagues whom he himself revered, in the enjoyment of full recognition by a French as well as German public. “ Why does Spohr fail to awaken general enthusiasm here ? Will the French, from a feeling of national pride, acknowledge none but their own violin school ? Or is Spohr too little communicative, too retiring for the Paris fashionable world ? Enough that to-day he has been obliged to give up his intended evening concert from want of public interest ; this really pains me. Yesterday, at a soiree at the Valentins, he played in his E flat quartet, which passed without the applause it well deserved — a man like Spohr Again we read : “ At BailloFs, who had got up for Spohr and myself a genuine soiree of artists, he was greeted with real enthusiasm. I also played and improvised. He played, I played, and we each shared in a brotherly way the applause of this select audience.” Applause in this instance means no ordinary recog- nition, for we read in the diary the following names — Cherubini, Auber, Herold, Adam, Lesueur, Pacini, Paer, Mazas, Habeneck, Plantade, Blangini, Lafont Pleyel, Ivan Müller, Strunz, Viotti, Ponchard, 40 LIFE OF MOSCHELES. Pellegrini, the brothers Bohrer, the famous singers Nadermann, Garcia, and others. Nor were the leading journalists, such as Martinville, Mangin, Bertin, wanting on these occasions. There were also present Schlesinger, Boieldieu, Lemoine, the publishers, and Pape, Petzold, Erard, and Freudenthaler, the piano- forte makers, whose rivalries were a constant source of trouble to Moscheles. At that time he preferred Pape's instruments ; the Viennese pianos, with their lightness of touch, had rather spoilt him for the slow and heavy action of the Erards of that time. The leading families in Paris became more and more attracted towards Moscheles, partly to secure him as a teacher, partly from the hope of hearing him at their own musical parties, but here, as in Vienna, he steadily devoted his morning hours to pianoforte practice and composition. “ This work done," he says, “ I plunge cheerfully into the joys and delights of this great capital." He was loaded with invitations to dinners, balls, and all sorts of fetes. The houses most notable for music were those of the Princess Vaudemont, the Marquise de Montgerault (a good pianist herself, and the authoress of a very able work on pianoforte playing), the Princess Ouwaroff, Madame Bonnemaison, who sang prettily, and Monsieur Mesny, to whose daughter Moscheles dedicated his variations on the theme, “ Au clair de la lune." Music and dinner parties were frequently given by the Prussian and other ambassadors, and the “ haute GALL CHERU|INl’s MASS. 41 finance,” represented by Lafitte, Rothschild, Fould, and others, vied with each other in hospitable and luxurious entertainments. There were brilliant assemblies also at the d*Hervillys*, Matthias*, and Valentins*. “ There is less grandeur at the Valen- tins*,** says Moscheles, “ but for that very reason I feel more at home with them.** The first pub- lisher of Goethe in the French language, Monsieur Pankouke and his wife, received Moscheles with the greatest cordiality. “ They were so delighted to see me that, when I joined their large party, I was greeted with clapping of hands.** At that time he was brought into contact with Gall, the famous phrenologist. “ He did not know me, but, at the suggestion of some friends, examined my skull, and found, in addition to my decided organiza- tion for music, the bump of mathematics, a passion for travelling, and a memory for persons and things !** We extract from the diary the description of a single day (28th January), which may, with its varied occupations, be taken as a correct type of many others during Moscheles* stay in Paris. “ This morning, Herr Strunz brought Rigel, the pianoforte player, to my house, to hear me play. At eleven a.m. I rehearsed at Paer*s with Baillot for this evening ; then I went, or rather ran, with him at full speed to the Court Chapel in the Tuileries, where we heard a glorious mass by Cherubini, admirably performed, as might be expected with the co-operation of such 42 LIFE OF MOSCHELES. men as Kreutzer, Baillot, Habeneck. Plantade directed, and Cherubini, who talked to me, was amongst the audience. After this Spohr and I went to the rehearsal of LafonFs concert in the Theatre Favart, and on our return home, we had long and animated discussions on musical matters. Schles- inger and I dined at the famous but expensive Restaurant the Freres Provenfaux (I am not always so luxurious). Then I drove with Paer, Levasseur, Rigaud-Pallard and his wife, to the evening party given by the Duchess of Orleans. There was a large Court circle assembled. Besides the vocal pieces, I played with Baillot my Potpourri, and was obliged to improvise twice. I was received with favour and kindness.” Moscheles, in giving public performances in Paris, had many difficulties to contend with, and there were constant negotiations with the Marquis Lauriston and M. de la Ferte, before he managed to fix on the 25tli of February for his concert in the Theatre Favart. We have the following notice of the concert and matters incidental to it : “ I was still busy in the forenoon in adding trombone parts to my concerto, distributing boxes and free tickets ; in the afternoon I went to the Theatre Favart to try my piano, one of Papers. Ever since the rehearsal it had been specially guarded by one of his men, to prevent any trick being played. The concert passed off successfully. The attendance and receipts were all in keeping with the artistic honours showered upon me ; but woe to the CONCERT AT VERSAILLES. 43 artist if ever in public he violates the forms of etiquette and politeness. The singer Bordogni was hissed, because, from forgetfulness or intention, he did not offer to conduct Mademoiselle Cinti back to her seat after finishing their duet.*” Besides this concert, Moscheles gave another with Lafont, and four soirees with the same artist : the fourth and last was given on the 21st of May, for the benefit of a poor family. The two artists played on this, and on other occasions, a Potpourri on sub- jects by Gluck, Mozart, and Rossini. It was their joint composition, and, blending as it did the thoughts of three such different schools of art, proved highly interesting. Both artists were so much patronized by the fashionable world of Paris that Count Senzillon had arranged a concert for them at Versailles also. They arrived with their piano and violin, had a re- hearsal, walked about the castle and park, played to a very enthusiastic audience, and returned well satisfied. Moscheles remarks upon Lafont : “ He was a sentimental artist, not only as a violin player, but also as a vocalist, and knew how to draw many a tear from the eyes of the fair ones by singing the Romanza r La Larme/ His wife also sang romances. She was as pretty as she was voiceless, and this called for the following pointed remark in a newspaper : c Madame Lafont a chante, eile a de beaux yeux/*' Moscheles often entertained parties of jovial artists at his lodgings ; music, punch, and supper were going on up 44 LIFE OF MOSCHELES. to three in the morning. Whoever could play or sing was present, and good music alternated with amusing tricks played upon the respective instruments. “ Altogether/* he writes, “ it is a happy, merry time ! Certainly, at the last state dinner of the Rothschilds, in the presence of such notabilities as Canning or Narischkin, I was obliged to keep rather in the back- ground. The invitation to a large, brilliant, but cere- monious ball appears a very questionable way of showing me attention. The drive up, the endless queue of carriages, wearied me, and at last I got out and walked. There, too, I found little pleasure.** On the other hand, he praises the performance of Gluck*s opera, at the house of the Erards. The ‘ concerts spirituels * delight him. “Who would not,** he says, “ envy me this enjoyment ? These concerts justly enjoy a world- wide celebrity. There I listen with the most solemn earnestness.** On the other hand, there are cheerful episodes, and jovial dinners with Carl Blum and Schlesinger, at the Restaurant Lemelle. “ Yesterday,** he writes, “ Schlesinger quizzed me about my slowness in eating, and went so far as to make the stupid bet with me, that he would demolish three dozen oysters whilst I ate one dozen, and he was quite right. On perceiving, however, that he was on the point of winning, I took to making faces, made him laugh so heartily, that he couldn*t go on eating; thus I won my bet.** We find the following notice on the 20th of March : “ I spent PARIS CELEBRITIES. 45 the evening at CicerFs, son-in-law of Isabev, the famous painter, where I was introduced to one of the most interesting circles of artists. In the first room were assembled the most famous painters, engaged in drawing several things for their own amusement. In the midst of these was Cherubini, also drawing. I had the honour, like every one newly introduced, of having my portrait taken in caricature. Begasse took me in hand, and succeeded well. In an adjoining room were musicians and actors, amongst them Ponchard, Levasseur, Dugazon, Panseron, Mile, de Munck, and Mad. Livere, of the Theatre Franpais. The most interesting of their performances, which I attended merely as a listener, was a vocal quartet by Cherubini, performed under his direction. Later in the evening, the whole party armed itself with larger or smaller ‘ Mirlitons * (reed pipe whistles), and on these small monotonous instruments, sometimes made of sugar, they played, after the fashion of Russian horn music, the overture to Demophon, two frying- pans representing the drums.” On the 27th of March this “ Mirliton ” concert was repeated at CicerFs, and on this occasion Cherubini took an active part. Moscheles relates of that evening; “ Horace Yernet entertained us with his ventriloquizing powers, M. Salmon with his imitation of a horn, and Dugazon actually with a Mirliton solo. Lafont and I repre- sented the classical music, which, after all, held its own.” 46 LIFE OF MOSCHELES. We find many an interesting notice of the theatres, nearly all of which Moscheles visited in snccession. In Franconi’s Cirque Olympique, in the Faubourg du Temple, he saw the harrowing story of Ugolino, a falling tower, and other startling effects, produced by machinery. At the Porte St. Martin, the bur- lesque of “ Les Petites Danaides” and Potier’s exquisite comic acting created a furore. People laughed in the “ Varietes*” at Scribe’s pieces, written in his earliest best time, such as “ L’Ours et le Pacha/'’ “ La Champenoise,” “Les Yoitures Versees,” &c. At the Gymnase he was enchanted with the appearance and playing of the lovely actress Esther. Perlet’s comedy made him “ die of laughing ; and/'’ says he, “ words cannot be found ” to describe Talma’s “ Mithridates.” The “ Jeune Femme Colere” of Mademoiselle Mars draws from him the observation ; “ The acting of this great artiste must live for ever in the memory of any fortunate enough to have seen her.” He was greatly interested by a pilgrimage to the graves of Rousseau and Voltaire, and enjoyed with the enthusiasm of youth and a keen susceptible nature the art-treasures of Paris, and the charm of its environs. These delights, however, are only briefly hinted at in the diary. A thorough musician, Moscheles records again and again his musical impressions. Thus, for example : “ I drove early with Lafont to the Hotel de Ville, where Cherubini’s new Cantata, and the Intermede by Boieldieu and Berton, written for CHRISTENING OE THE DUKE OF BORDEAUX. 47 the christening of the Duke of Bordeaux, were re- hearsed. The first of these works was under the direction of the great master himself. His squeaky, sharp little voice was sometimes heard in the midst of his conducting, and interrupted my state of ecstasy, caused by his presence and composition. The whole of the magnificent and far-famed Court band was in attendance. The Prefect, Count Chabrol, and his wife, whom I met at this rehearsal, offered me, in the most friendly manner, a ticket for the grand ball to be given in honour of the christening. In the evening I attended the general rehearsal of an opera which Cherubini, Paer, Berton, Boieldieu, and Kreutzer had jointly composed in honour of this same christening. The final chorus by Cherubini made an indelible impression on my mind. Each master conducted his own pieces, and Cherubini was loudly cheered. “ On the morning of 30th of April, present at another rehearsal of the Intermede, at the Hotel de Yille, under the direction of the composers, Boieldieu and Berton. Bigaud- Pallard and Boulanger, MM. Pouchard and Huet, sang. Immense crowds of people and a host of carriages are moving about. To-day is evidently the beginning of the grand festivities.*” “ May 1. — Christening of the little Duke of Bor- deaux. The whole of Paris turned out; the streets were crowded. I could not stay much within doors. I saw the procession on its way to the Church of 48 LIFE OF MOSCHELES. Notre Dame, then went to the Tuileries, where the Duchess, standing on the balcony, showed her infant to the enthusiastic crowd. In the evening I joined a party of friends to see the illuminations. Those in the Tuileries gardens made the scene one of fairy- land. “ May 2. — The Intermede given in a brilliant manner in the Salle du St. Esprit in the Hotel de Ville. “ May 9. — To-day I played in the Hotel de Ville, where the City of Paris gave a grand banquet to the Provincial Deputies; Cherubini, Boieldieu, and Berton directed the music. The Intermede was repeated. Lafont also played. “ May 13. — I went with friends to the Villette, to witness the inauguration of the Canal St. Denis. The Court party were rowed about in gaily decked gondolas or yachts ; the crowd was enthusiastic,” A few days later he writes : “ The festivities, and my stay at Paris, are drawing to a close, and I have every reason to feel grateful. As an artist I have had great success, and in a material point of view I can announce to my mother that I have been doing extremely well. She shall enjoy my good fortune with me.” We have already mentioned that, after the early death of Moscheles’ father, the widow and her five young children were left completely unprovided for — it is delightful to record that the constant and MISTAKEN EOR A COURIER. 49 beneficent care bestowed by Moscbeles on bis mother and sisters dates from this success in the French capital. His brother, too, whose weakly health never allowed him to enjoy complete independence, was an object of his tenderest solicitude, and so cheerfully did he render this assistance, that it was a source of happiness to both giver and receiver, it lightened the sense of obligation. His most intimate Parisian friends having vied with each other in showing him kindness and hos- pitality, Moscheles gave them in return a dinner at the Freres Provenjaux, and finally left Paris on the 23rd of May. The coach, owing to unfavourable weather, did not reach Calais until the evening of the 24th. The wind was contrary, no sailing vessel could leave the harbour until the 26th. “ A day never to be forgotten by me \” he says. “ We spent fully fourteen hours on the stormy sea. I was tor- mented with all the sufferings of sea-sickness. At last, at midnight, when we were getting near Dover, and the steward asked me for my passage fare, I only had strength to point to my well-filled pocket. c For shame V exclaimed the fellow, ( a courier, and so sea- sick V And whence did I get this title of a courier ? At the Austrian Embassy they had stamped the large packet of my music with the Imperial seal, and in- scribed it f Despatches/ so that I might travel free of tax and delay, and the steward of course supposed I was the bearer of despatches, crossing and recrossing the Channel frequently. VOL. i. E 50 LIFE OF MOSCHELES. “ On arrival at Dover I soon recovered,, and the following morning started in the mail-coach, which in twelve hours brought me to London. Little did I think that there I was to find my second home.” “ Yesterday evening” (we quote from the diary of the 28th of May), “ I arrived at the Golden Cross Hotel, in Charing Cross. Early this morning, when I told the waiter how I admired the ‘ Platz/ he ex- plained, with a scholar-like air, that the very spot on which we stood had been one of the halting-places at the time when the body of Queen Eleanor was carried to Westminster Abbey for interment, that crosses had then been erected at all the halting-places of the funeral procession, and that this present Charing Cross took its name from the then village of Charing, which in those days formed the site of the present ^ Platz’ and its surroundings. All this was new to me with my hazy ideas of England’s history and London geography. Little did I think that this strange London was to become my second home.” Launched into the metropolis of the British Empire, Moscheles plunged, full of youthful fire and energy, into the musical and fashionable world, as he had done before at Paris. He wished above all things to hear music and be listened to, and just as many opportunities presented themselves in London as in Paris. Players on his own instrument, such as J. B. Cramer, F. Ries, Kalkbrenner, entered the lists with him, and men like Clementi were the judges. (Mos- JOHN CRAMER. 51 cheles at that time played by preference on dementias pianos.) Moscheles writes of his colleague Cramer : “ His interpretation of Mozart, and his own Mozart-like com- positions^ are like breathings c from the sweet south/ but nevertheless he shows no hostility to me and my bravura style ; on the contrary, in public and private he pays me the sincerest homage, which I requite with heartfelt admiration. Cramer is exceedingly intellec- tual and entertaining, he has a sharp satirical vein, and spares neither his own npr his neighbour’s foibles. He prefers to converse in French, and shows by his manners that he has spent much of his early life in France. “He is one of the most inveterate snuff-takers. Good housekeepers maintain that after every visit of the great master, the floor must be cleansed of the snuff he has spilt, whilst I, as a pianoforte player, cannot forgive him for disfiguring his aristocratic, long, thin fingers, with their beautifully shaped nails, by the use of it, and often clogging the action of the keys. Those thin, well shaped fingers are best suited for legato playing ; they glide along imperceptibly from one key to the other, and whenever possible, avoid octave as well as staccato passages. Cramer sings on the piano in such a manner that he almost transforms a Mozart andante into a vocal piece, but I must resent the liberty he takes in introducing his own and frequently trivial embellishments.” Further on we read : “ His newiy composed Sonata in D minor gives me great delight, e 2 UNIVERSITY OF ILLINttS 52 LIFE OF MOSCHELES. / and our friendly relationship is all the warmer from the sincere admiration I bestow on that work.” “ With Ferdinand Ries, too, I pass very happy musical hours, for I eagerly embrace the opportunity of becoming acquainted with a man whose admirable Concerto (in C sharp minor) I had performed in public at Vienna.” Each performer wished to hear the earliest and latest compositions of the other, and they tested each others powers in pieces written for four hands. Kindred sympathies were fostered, and a lasting friendship promoted by their profound venera- tion for Beethoven, the master of Ries. At that time Ries had ceased to appear in public as a pianoforte player, and lived entirely as a professional teacher and composer ; his lessons and writings were both sources of honour and income, so that as early as the year 1824 he retired to Godesberg in the neighbourhood of Bonn, and lived there with his amiable wife and family, a well-to-do and esteemed artist. There he continued to compose music ; his pianoforte pieces, and particu- larly his violin Sonatas, were greatly esteemed in Vienna, as well as other German musical cities. As to his orchestral works, they met with no greater success than those of Clementi. Overtures and sym- phonies by both of them were performed at the Phil- harmonic Concerts, but soon disappeared from the programmes in England, as well as in other countries. Moscheles spent the greatest part of his leisure hours with Kalkbrenner, Dizi the harp-player, and Latour. KALKBRENNER. 53 “ Dizi,” lie says, “ has the most charming house at Crabtree, in the neighbourhood of London ; a pretty drive by the side of the Thames brings me to the place, and as the heavy London atmosphere oppresses me and gives me bad headaches, which I never knew formerly, Dizi and his wife wish me to visit them frequently, and kindly place a bed at my disposal.” Kalkbrenner and Latour being, like Moscheles, regular visitors at the house, music was the order of the day. Kalkbrenner was known in the musical world as a brilliant pianoforte -player. Mo'scheles admired the power and elasticity of his fingers, enjoyed reading pieces for two performers with him, but con- demned his octave passages played with a loose wrist. “ It is a bad method,” he writes in the diary, “ and not a sound one. He took me to hear the young people who study with Logier, but I could not share his admiration of this newly invented system, although I think Logier and his wife a clever and artistic couple. Would I have any one follow this system? I hardly think so. The mind should work more intensely than the fingers, and how can there be a question of mind when two pupils play the same piece at the same time ?” Dizi was an excellent artist on his own instrument ; Latour also was a painstaking pianoforte teacher and able composer of light pieces, which he published himself. At that time, as now, there was a great influx and variety of artistic celebrities in London. 54 LIFE OE MOSCHELES. There was Kiesewetter, the admirable violin-player, the superlatively great Mara and still greater Catalani, besides Dragonetti, who for many years together held successfully the foremost place as double-bass player. Dragonetti was an original of the purest water. Moscheles says of him : “ In his ‘ salon 9 in Leicester Square, he has collected a large number of various kinds of dolls ; amongst them is a negress. When visitors are announced, he politely receives them, and says that this or that young lady Will make room for them ; he also asks his inti- mate acquaintances whether Lis favourite dolls look better or worse since their last visit, and similar absurdities. He is a terrible snuff-taker, helping him- self out of a gigantic box, and he has an immense and varied collection of snuff-boxes. The most curious part of him is his language — a regular jargon, in which there is a mixture of his native Bergamese, bad French, and still worse English.” In the earliest days of his stay in London, Moscheles visited His Majesty’s Theatre (Haymarket), and was not a little astonished that, in conformity with a troublesome custom, people had to appear in evening dress. “ It was a fortunate thing for me,” he says, “ to have to listen to the ‘ Turco in Italia/ with its light, shallow music, for I could give myself up to entire enjoyment in the excellent singing of a Camporese, an Ambrogetti, and feast my eyes, as I sat in the pit, on the brilliant company DRAGONETTI THEATRES— HYDE PARK. 55 in the boxes. This galaxy of charming and beautiful women, with their elegant toilettes and jewels, and the house brilliantly illuminated, formed a splendid scene.” The English operas at Drury Lane interested him very much, and he was delighted with Braham, whose wonderfully beautiful tenor voice had been most effectively trained by his friend Madame Camporese. He also found the other singers admirably taught. Miss Wilson, the prima donna, less attractive than the others, and the audience at Drury Lane less elegant and fashionable than the habitues of the Italian Opera. Descending in the theatrical scale, he visited the Surrey Theatre, where he saw a sensational melodrama, which gave him no kind of pleasure. On the other hand, he was greatly amused with a small French company performing in the Argyle Booms. This troupe was supported by the nobility for its own entertainment, and at its own expense. Astley's Theatre rivalled that of Franconi in its splendid performance of “Gil Bias.” Moscheles says of Hyde Park in those days : “I admire the splendid horses and carriages, their fair occupants, reclining lazily on soft cushions, and the Amazons on their spirited horses. The Park itself is quite bare, without tree or shrub. I have hardly ever seen anything like it, and I couldn't help thinking of Byron's words : “ Those vegetable puncheons called parks, With neither fruit nor flower to satisfy Even a bee’s slight munchings.” 56 LIFE OF MOSCHELES. In later years lie was able to enjoy tbe Parks decked out with flowers, and so endlessly beautified and improved. In London, as in Paris, the diary refers, generally speaking, to matters essentially musical. “ May 28th. — Beethoven’s Pastoral Symphony was very fairly executed under Kiesewetter’s direction at the Philharmonic Society's Concert, the drums too noisy. There was some fine singing by Mrs. Salmon and others, and all the concerted pieces went with remarkable precision." “ May 30th. — Heard the famous flute-player Tulon at his own concert in the Argyle Rooms. A medley of vocal pieces sung by Goodall, Vestris, Camporese, Salmon, Signor Ambrogetti, and others. Mademoiselle Buchwald, a very clever pupil of Kalkbrenner, played in his Septet." cc June 1st. — Met Clementi by agreement at his pianoforte warehouse, and played some things to him, with which he declared himself extremely pleased. Afterwards called on Prince Esterhazy, Prince Leopold, Lords Lowther and Castlereagh. In the evening, at a concert given by Vaughan the singer, I heard Cramer again play with rare delicacy a concerto of Mozart’s. The grand choruses and vocal selections from Handel’s Oratorios, with the organ accompaniment, impressed me as being given with unusual precision and effect." “ June 6th. — At the ancient concert (in the Hanover Square Rooms), Handel’s f Messiah ’ was given in all its grandeur and simple majesty. The organ accom- FIRST APPEARANCE AT THE PHILHARMONIC. 57 paniments were supplemented in the full passages by wind instruments. The chief soloists were Mrs. Salmon, Miss Stephens, and Mr. Vaughan. It seemed strange to me that, instead of boys, elderly men sang the contralto part with the head voice. The famous Hallelujah Chorus was given in very slow time. The obligato trumpet parts attracted my attention." “ June 9th. — In the evening went with Cramer to the dinner of the Royal Society of Musicians/’ “ June 11th. — Important day. My first appearance at the last Philharmonic Concert. I had great success in my E flat concerto, and the Alexander variations. This piece had been named in England the f Fall of Paris' (a circumstance which exposed me in after-years to some unpleasant remarks in the French papers)/' “ July 4th. — At last my concert, which cost me such trouble to arrange, came off to-day in the Argyle Rooms. The Concerto and the ‘ Clair de Lune Variations ' went well, and were very favourably received; but what pleased most was my extempore playing on the air, * My lodging is on the cold ground/ Cramer accompanied the vocal pieces on the piano. Mrs. Salmon, Camporese, the Ashes, Corri, Begrez, and Braham were the singers. I was also assisted by the violinist Mori." “ July 11th. — A grand evening musical party at the Rothschilds', at their country house on Stamford Hill, given to the foreign Ministers present in England on 58 LIFE OF MOSCHELES. account of the approaching coronation of George IY. I was introduced to most of the Ministers, who, with the old Prince Esterhazy, expressed themselves greatly pleased with my playing. In the intervals vocal solos and quartets were given by English singers. Not at home till four o’clock in the morning.” “ July 19th. — To-day being the coronation-day, I went early to the vicinity of the Abbey. Saw the brilliant procession, and the banquet in Westminster Hall.” Moscheles, before leaving London, wrote his rondo for piano and horn, arranged the choruses from “ Timotheus” for the piano, heard the new Cavatina of “ di tanti palpiti,” from Rossini’s “ Tancredi,” sung by Catalani, and in the evening was invited to her house. At last the farewell visits were paid, and when it came to Prince Esterhazy’s turn, the Prince handed over to him a new passport, with the title of “ Kammervirtuos.” He took an unwilling leave of the London art-world, but was delighted to get away from the London atmosphere ; “ the heavy air,” he calls it in his diary, “ which so often gives me head- aches, that I am glad to leave it.” Then he made his way back to Prance, taking Boulogne on his road, and visiting Kalkbrenner, at the Chateau Pralin. There, until the following October, he led a cheerful, quiet country life, devoting much time to music. Madame Kalkbrenner, a highly intellectual woman. VISIT TO PARIS — ERARD. 59 was a most amiable hostess, and he wrote for her, in gratitude for the hospitality he received, his rondo “ La Tenerezza.” In this rural retreat he composed three “ Allegri di Bravura,” which he dedicated to Cramer, and a brilliant Polonaise in E flat. Constant pianoforte playing, reading of. musical scores, and French studies, filled up the rest of his time. He had only just returned to Paris when Lafont persuaded him to make a tour with him in Normandy, and give concerts jointly. These were brilliantly successful. In Paris, Moscheles was in constant requisition. Amongst the soirees at which he assisted, special mention is made of one at the Duchesse de Berry’s, which Paer conducted, and where Garcia, Galli, Bordogni, and the lovely Fodor sang. Further on we read : “ Young Erard took me to-day to his pianoforte factory, to try the new invention of his uncle Sebastian. This quicker action of the hammer seems to me so important that I prophesy a new era in the manufacture of pianofortes. I still complain of some heaviness in the touch, and therefore prefer to play upon Pape’s and Petzold’s instruments ; I admired the Erards, but am not thoroughly satisfied, and urged him to make new improvements.” The last evening of the year Moscheles spent with a small circle of friends at the house of August Leo.* * August Leo, a well-known German amateur at Paris, related to Mrs. Moscheles. 60 CHAPTER V. 1822. MALZEL’s METRONOME — NEW WORK BY BEETHOVEN — MLLE. MOCK (MADAME PLEYEL) — CONCERT AT ROUEN — LONDON — CRAMER’S CON- CERT — A NEW WORK OF MOSCHELES — BROADWOOD’S PIANOS — F. CRAMER — LONDON REHEARSALS — BOCHSA THE HARP-PLAYER — MONSTER PROGRAMME — FASHIONABLE SOIREES — CONCERT FOR THE POOR IRISH — EXCURSION TO BRIGHTON — AT HOME IN ENGLAND. T| N the beginning of this year Mälzel came before the public with his Metronome, on the invention of which he had worked for years. Finding, however, endless difficulties in introducing it, he was obliged to provide himself with the bare necessaries of subsis- tence by the exhibition of his trumpeter automaton, and his dolls squeaking out “ papa and mamma.” The appearance of a new work by Beethoven was always an event for Moscheles, and the beginning of this year was made memorable by the publication of the two new sonatas (op. 109 and 110). Moscheles studied them with the greatest zeal, was quite absorbed in their beauties, and played them before his art brethren, and in particular to his friend August Leo, whom he credits with a genuine understanding of music, and a graceful turn for composition. Beethoven’s choral fantasia. 61 Around Leo was collected a circle of Germans whose musical centre was Moscheles, and who were unani- mous in their reverential homage of Beethoven. A second event was the appearance of Weber's “ Freyschiitz.” This work, too, was welcomed by that circle with enthusiasm, its beauties enjoyed in the pianoforte arrangement, and the new era which seemed to have dawned on dramatic art in Germany was discussed often and thoroughly. Moscheles himself wished to introduce as a novelty, at the grand concert which he intended giving with Lafont, Beethoven’s Choral Fantasia, but this was no easy matter. A German musician, of the name of Lecerf, gladly promised the co-operation of a choral body under his direction. The music was rehearsed again and again; but the ejaculations in the diary at the amount of labour required in the preparation of this particular work seem endless. The text trans- lated by Theolon was revised and altered by Moscheles himself, at the sacrifice of many a midnight hour. In spite of this, the audience which filled the salon of the opera-house to overflowing had not the faintest conception of the composer’s meaning. Moscheles complains : " I know not whether the piece was too long for the Parisian public, or whether false intona- tion of the choruses injured the effect — enough, the performance was almost a failure. Everything that Lafont and I played as solos and duets was received enthusiastically, so also were Cinti and Nourrit the 62 LIFE OF MOSCHELES. vocalists, and Ivan Müller with his clarinette. Receipts, 8000 francs.” An unforeseen annoyance followed. An ignorant critic, contributing to the “ Miroir,” fell foul of Moscheles, reproaching him with having himself added the choruses, and making thereby the Fantasia dull and wearisomely long. Moscheles was therefore obliged to justify himself publicly in the papers. On the Dimanche Gras and Shrove Tuesday we find Moscheles in the whirl and tumult of the Carnival. The endless number of carriages, the picturesque confusion and drollery of the processions and masks, the mad crowd following the Boeuf Gras — all these things delighted and amused him. In spite of all these distractions he found time on the Shrove Tuesday to continue and finish the Adagio of his E flat concerto. Of his lady pupils at this period, the most in- teresting was Mademoiselle Mock (afterwards Madame Pleyel), whose great talent he took a true pleasure in cultivating. It was also flattering to him that the im- mortal Catalani, who this winter gave four crowded concerts at short intervals, entrusted him with the teaching of her niece. In March Moscheles spent a fortnight at Rouen, several influential families inviting him there. They were active and zealous in showing him the interesting city and its environs, as well as everything memorable connected with the history of Jeanne d'Arc. Pape himself brought the best of his pianofortes from Paris, CONCERT SPIRITUEL. 63 and the tickets for the impending concerts were soon disposed of. He writes : “ Without drudgery and running about nothing is ever done ; those con- founded theatrical directors take care of that. The local manager here is called Van Ofen, and refuses his singers. Of course the influential friends inter- posed in my favour, and finally succeeded in bringing round the troublesome manager. The concert was a great success, and a second one asked for and granted.” In fulfilment of a former promise Moscheles re- turned to Paris, to conduct a performance of Mozart's Requiem at Leo's, who had admirably rehearsed the choruses. On Easter Sunday he played by request, at the “ Concert Spirituel/' his Potpourri with Lafont, but took as the theme of his improvisation a church choral, which seemed to him to be suited to the day. “ Again I succeeded on this occasion,'' we read in the diary, “ in communicating to the public my own inspiration.” 64 LIFE OE MOSCHELES. The Paris season ended, Moscheles joyfully accepted the invitation of his friends to return to London. “ There/' he says, “ I found J. B. Cramer on the point of giving his yearly concert. He showed me two movements of a Sonata which he wished to play with me, and expressed a desire that I should compose a third movement as a finale ; only I was not to put any of my octave passages into his part, which he pretended he could not play. I can refuse him nothing. I shall therefore be obliged to strive and write something- analogous for him, the disciple of Mozart and Handel. He played to me a part of his new pianoforte quintet, dedicated to me — a genuine Cramer composition. He urged me to play to him the three allegri di bravura, f la force, la legerete, et le caprice/ which I dedicated to him.” The piece which Moscheles wrote in haste for this concert of Cramer's, as a finale to his friend's sonata, is the Allegro of the well known and constantly played “ Hommage ä Handel/' which he afterwards converted into an independent piece, by composing an introduc- tion to it, and publishing it in this form for two pianos. This novelty, on the occasion of the first performance at Cramer's concert on the 9th of May, created a furore. To hear Moscheles, of whom the newspapers said “ that his execution is most wonderful, and more wonderful because he always makes the right use of his genius/' playing together with “ glorious John/' and in addition to that, in a composition on which both had BROADWOOD F. CRAMER. 65 worked, was “ an unrivalled treat, an unprecedented attraction.” Each of them had chosen a Broad- wood instrument, Cramer as usual, Moscheles only on this occasion. “ The strong metal plates,” ob- serves Moscheles, “ used by Broadwood in building his instruments, give a heaviness to the touch, but a fulness and vocal resonance to the tone, which are well adapted to Cramer’s legato, and those fingers* softly gliding from key to key ; I, however, use Clementes more supple mechanism for my repeating notes, skips, and full chords.” Cramer’s D minor concerto, and the new quintet led by his brother Franfois, in which Lindley, the favourite violoncello player, besides Dragonetti and Moralt, took part, pleased exceedingly. P. Cramer was a good musician, a great admirer of his brother, but himself merely a clever practical artist, without any genius for compo- sition. He was well known as a teacher and leader at the Ancient and Philharmonic Concerts, as well as at the provincial musical festivals. Moscheles played his G minor concerto, which he had lately reconstructed, first at the Philharmonic, and afterwards at his own concert, with much applause. On the last occasion he was supported by the charming Cinti, Kiesewetter, and Dizi, the excellent harp-player. Everything went well and effectively together. “ We have, however,” he writes, on reading our answer you will at once guess its object and general purport. What you and Smart have further to do; is to publish in the Allge- meine Zeitung your letters as well; so that these wretched scribblers may be thoroughly humiliated. Ran and Pilat think our article too courteous; but neither Breuning nor I dare come out with the whole truth; although we should like to do SO; and think the disclo- sure due to the world. Apart from the fact of my having already; as Beethoven's friend and champion; made myself many enemies; I think it would be base con- duct; were I to remain silent when his memory is slandered; now that he is dead and buried; and his well-intentioned friends are publicly attacked; and their generous efforts misinterpreted. “ I wrote to you lately that the Philharmonic Society should enter the lists by publishing in its own name the letters to yourself and Smart ; we are all of this opinion. The Philharmonic Society should state what is perfectly well known in London; that Beethoven; after his first concert in the Kärntnerthor Theatre; two years ago ; after deducting all expenses; which came to 1000 florins; and paying the managers for the hire of the theatre; had only 300 florins of clear profit; not a single subscriber paying a farthing 174 LIFE OF MOSCHELES. for his box ; not even did the Court appear at the concert, although Beethoven, by my advice, gave a personal invitation to every member of the Imperial household. Every one promised to come, and not only in every instance failed to redeem that promise, but never sent Beethoven the smallest contribution, a present of some sort being the invariable rule, even at the benefits of ordinary concert-givers. “ At Ins second concert, given at the Redoutensaal, in the same month, the committee, who undertook the management on their own account, were obliged to pay 300 florins out of their own pockets ; and I had the greatest difficulty in preventing Beethoven from making up the deficit out of the 500 florins guaranteed to him for his services on the occasion. It gave him the greatest pain to feel that the committee lost money on his account. “ When the subscription was started for his last Grand Mass, not a soul at Vienna, no, not even the Court, would subscribe, and there were other countless insults and humiliations that poor Beethoven was obliged to endure. Now is the best opportunity of making all these things known. All Vienna knew that Beethoven had been lying on a sick-bed for two or three months, and no one took the trouble to inquire into his state of health and circumstances. With such sad ex- periences of Vienna, could he be expected to look for help here ? I declare to Heaven that had not the Philharmonic Society, by its generosity, aroused the Beethoven’s medical advisers. 175 Viennese from their inaction, Beethoven would have died and been buried like Haydn, who was followed to the grave by fifteen persons. “As to the concert to be given by the collected forces of onr theatre for raising a monument, matters stand thus : ‘ Norma/ which was to have been given after Easter, has been fixed for this week, so we lose our evening by this extra opera night. An afternoon concert Weigl thinks unfavourably of, and proposes its postponement until next autumn. But by that time, what little zeal there is will have completely cooled, and no one will think of doing anything more in the matter. “ I cannot help telling you about the conduct of the medical men. At the very beginning of his illness, Beethoven asked the doctors he had formerly con- sulted to attend him. Dr. Braunhofer excused him- self on the plea of his being too far from the house. Dr. Staudenheim, after three days^ solicitation, came at last, and retired after one professional visit. The consequence of this was that Beethoven had to trust himself to the care of a professor in the general hospital, whose services he obtained in a very singular way. Gehringer, the proprietor of a coffee-house in the Kohlmarkt, happened to have a sick servant whom he wished to place under the care of this practitioner. He therefore wrote to Professor Wawruch, asking him to receive the patient, and requesting him, at the same time, to visit Beethoven, who was in want of medical aid. 176 LIFE OF MOSCHELES. Considerable time elapsed before I ascertained that Beethoven's amiable nephew Karl, whilst playing one day at billiards in this coffee-house, entrusted the proprietor with this commission. The professor knew neither Beethoven nor his constitution, treated him in his regular routine fashion, prescribing for him, during the first four weeks of his illness, seventy-two bottles of medicine, often three different sorts in one day, so that, as early as the 1st day of January, the patient was more dead than alive. At last I could not look any longer on this gross mismanagement, and went off straight to Dr. Malfatti, formerly Beethoven's friend. He required a great deal of persuasion, and when Beethoven himself implored him, most earnestly at the first consultation, to attend him professionally, Malfatti replied he could not, out of respect for the other doctor, and came at most once or twice a week to the con- sultation. During the last week, however, he came daily. In short, to you, I can and will say it : Beethoven might have lived ten years longer, had he not been sacrificed to the most contemptible meanness and ignorance of others. All these matters will be more fully explained at a later period. “ Hummel went back again to Weimar on the 9th. His wife and his pupil, a Mr. Hijler, from Frankfort, were with him here. The latter sends you his kind remembrances, and so does Hummel. The expenses of the funeral are now nearly settled, and amount to 330 florins. LETTER FROM RAU. 177 “ I might tell you a great deal more, but I must con- clude. Our friend, Lewinger, sends both of you his kind remembrances. He is so kind as to send this letter by Rothschild. Rau also desires to be remembered. Write to us soon. Say everything that is kind for me to Herr Stumpff, and tell him that it was Beethoven’s intention to dedicate to him one of his newest works. This shall be done, if we can only find some one work that is completed. A kind fare- well from “ Your old friend, “ Schindler.” After a few months Rau writes to Moscheles on this matter : — ‘‘Vienna, June 17th, 1827. “ Do not accuse me of neglect, dear friend, because I have left you so long without information respecting the state of Beethoven’s affairs. I told you already that I put in a claim to the 1000 florins sent by the Philharmonic Society before he died. Herr Hofrath Breuning, the executor of the will, could and dared not take any steps in the matter, until Beethoven’s creditors had been publicly summoned in the usual way. They met on the 5th of June. By the advice of Herr Baron v. Eskeles, I sent a legal friend of mine to the meeting, desiring him to renew my claim, but the f Masse-Curator,’ Dr. Bach, steadily opposed it. So in order to expedite matters, and VOL. i. N 178 LIFE OF MOSCHELES. bring them to a successful issue, I want a power of attorney from the Philharmonic Society which, duly proved at the Austrian Embassy, may confer on me full powers to demand back, by legal pro- cess, the 1000 florins, and to appoint a legal friend to settle this business. I propose Dr. Eltz as a fitting person. “ After the meeting I went off to Dr. Bach, to talk over the matter confidentially, for I could not under- stand the difficulties which people thrust in the way of this righteous demand. He answered me honestly and openly that it was his duty, acting on behalf of the nephew, still a minor, to dispute every counter-claim that interfered with that nephew's interests. But his opinion was that a lawsuit, and its heavy attendant expenses, would be best avoided if the Philharmonic Society would generously be induced to consider this sum as a contribution to Beethoven's monument, the remainder to be lodged in the house of Eskeles or Rothschild for remittance back to the Society. Under this supposition, Dr. Bach would do his best to further this remittance. Baron Eskeles, and many experienced jurists, gladly entertain this scheme, especially as, since Beethoven's death, one of our most important wit- nesses, I mean Hofrath von Breuning, has also died. This excellent man caught cold whilst attending the sale of Beethoven's property by auction, and died after three days. He was the single witness who could identify the 1000 florins as the same that were BEETHOVEN S MS. MEMORANDA. 179 sent over by the Society. We shall be guided by your next letter as to our future conduct in this affair. “ The Eskeles and Wimpffens, one and all, join with me in kind regards to you and your wife, “ Your friend, “ Rau ” “Vienna, Sept. 14th, 1827. My dearest Friend, — By the kindness of Mr. Levisey, bearer of despatches to the English Government, I seize the opportunity of writing and forwarding you the enclosed souvenir of our friend Beethoven. In your last letter you wished for a manu- script of some well-known composition of the great master. Here then is the last part of the scherzo of his last Symphony, and along with it one of those remarkable pocket-books in which Beethoven, whilst out walking, used to jot down his ideas, working them up, on his return home, from these skeleton sketches into his full score. I was so fortu- nate as to rescue several of them, and to me they are of the deepest interest, but they are scarcely intelligible to any but those who can trace the full flower in the germ before them. The book I send contains sketches for one of his last quartets ; and should you ever hear any of these you will see by some of the passages written down at full length to which quartet they belong. I believe I n 2 180 LIFE OF MOSCHELES. cannot better prove to you my friendship than by sending you this relic, the first and only one I shall ever part with — unless a large sum of money be offered. Lewinger tells me he has already sent you Beethoven's portrait. I only hope it is that in which he is lithographed writing, for that is the best ; all the others are bad. On the sheet of paper before him are the words e Missa Solemnis.' I wanted to send everything to you by Mr. Clementi, whose acquaintance I made in London, but I missed him before he left, and had not heard of his intended departure. “ Pixis came here from Paris, for a fortnight, and returned yesterday, travelling by way of Prague. Spontini, too, has left us. He is beating up recruits, and gave my sister an engagement. She and I may go together next spring to Berlin, as the Kärntner- thor Theatre will probably be closed again. This at all events is certain, that Barbaja's management ends next April. "What will happen afterwards is an open question. People talk confidently of Madame Pasta coming here for the next winter. I should exceedingly like to hear the real truth from you. You can easily find it out for me ; I should be glad, for my sister's sake, that she should see and hear such an artiste. Perhaps you would enclose a note for me in a letter to Lewinger or Rau, and give me information on this subject. I should like, too, to have an ackowledgment of the receipt of these papers, BIOGRAPHIES OF BEETHOVEN. 181 sketches, &c. Tell me how you are, and all your be- longings. “ The Beethoven business proceeds very slowly ; we are met by so many obstacles. In June, that most amiable man, Hofrath von Breuning, died ; and now the f curator' has been laid up for the last six weeks. I am only anxious to know what is to be done with the money sent from England. The tombstone is to be placed very shortly. Piringer and others have ordered it. I have heard nothing, seen nothing of it, for everything is done secretly, probably that they may have the sole credit. At Prague, Herr Schlosser has published a most wretched biography* of Beethoven. Here, too, a subscription is circulating for another ‘ life/ which, I hear, will be compiled by Herr Graffer, although the biographer, selected by Beethoven him- self, is Hofrath Bochlitz, of Leipzig, to whom, by Beethoven's desire, Breuning and I had to deliver very important papers. The newly-appointed guardian of Beethoven's nephew has handed over Breuning's papers to Herr Graffer. This was very bad conduct, but no harm is done, for the papers were for the most part connected with the family history, and I have the most important still in my own custody. God bless you! “ Your very sincere and obliged friend, “Ant. Schindler." The business in which Moscheles found himself 182 LIFE OF MOSCHELES. involved by the death of the great Beethoven, and the service he had rendered him, could not be brought to a satisfactory conclusion at once, as the following letter proves : — “ Vienna, Feb. 10th, 1828. ‘ To Herr Ignaz Moscheles, Composer of Music, and Member of the Philharmonic Society of London. “ Most respected Sir, — After the death of Herr von Breuning, which took place in Vienna on the 4th of June 1827, 1 was appointed by the proper authority in that city the legal guardian of Karl von Beethoven, a minor, the nephew and heir of the composer Ludwig von Bfeethoven, who died — alas ! prematurely for the world of art— on the 26th of March last year. I undertook this heavy responsibility solely for the purpose of trying to lead this highly-gifted youth back to the paths of virtue, from which (I say it with sorrow) he has to some extent strayed. I did it for the sake of his great uncle, who had befriended him since his childhood, although he had not alw T ays availed himself of the most . discreet means to in- sure his welfare. I have yet another reason. The young man has expressed great confidence in me, and has conducted himself with the strictest propriety since he entered upon the military profession as a cadet in an infantry regiment. “ Judging by the legal documents before me, Beet- hoven's small fortune (after deducting sums for pay- ment of some heavy debts, expenses of his illness, and LETTER FROM HOTSCHEBAR. 183 funeral) consists of little more than 8000 florins in Austrian paper-money. I am on the point of nego- tiating the legal registration of this property, for according to the terms of the will my ward is only to enjoy a life-interest in the property, whilst the capital reverts to his heirs, unless otherwise appointed by will, to whom the property will be legally secured. “ In addition to several other debts legally regis- tered and publicly announced at the general meeting of Ludwig von Beethoven^ creditors, there is a further claim for 1000 florins, Austrian money, preferred by the advocate, Dr. Eltz of Vienna, as the representative and nominee of your friend, Herr Kau ; he is also empowered to act for the Philharmonic Society of London. This sum is said to be identified as the money sent some time since, during Beethoven^ life- time, as a present in the shape of pecuniary aid, by the Philharmonic Society of London. “ As it is necessary before the legal settlement of the testator's property to prove that this claim on behalf of Dr. Eltz has been either settled or with- drawn, and as I, acting as guardian, am most anxious to arrange this business as soon as possible, I write to you, sir, as one of Beethovens most intimate and respected friends, as the representative of that high- minded body, the Philharmonic Society of London, and as one of ourselves whom we delight to honour, although living far from us ; lastly, in the name of a youth full of talent and promise, who when his uncle 184 LIFE OF MOSCHELES. died lost his sole support, and is left destitute. May I beg of you, sir, to take the necessary steps that the Society may generously withdraw their claim, even assuming it to be a perfectly righteous one, through Herr Rau, and his representative Dr. Eltz ; and that they empower Herr Rau to notify this withdrawal of claim to the proper authorities. “I am deeply and solely concerned for the welfare of this most promising youth, who by the death of his uncle, Ludwig von Beethoven, who idolized him, has lost his only support. I address myself very confidently to the generous Philharmonic Society, trusting they will not ask the return of the sum given to assist Beethoven — money presented so long ago that it is impossible to say that the identical sum still exists. I would further request them, through you, not to curtail the small sum with which I am to maintain my ward, for I can hardly hope to get more than 400 florins in the shape of yearly interest. Ac- cording to the accounts, more than 1000 florins have been expended in defraying the expenses of the testator's illness and funeral, besides paying other debts ; so that it will be fully believed that I feel great difficulty in securing my ward from want, until he is fortunate enough to get his commission as an officer — a position which, in the absence of other support, would actually leave him still in embarrassed circumstances. “ Por these reasons, sir, I shall be excused in ex- Claims of Beethoven’s nephew. 185 pressing a hope that the Society, and the old friends and admirers of Beethoven, will show their honour to his memory by befriending the nephew who sorely needs their assistance. I venture to offer my ser- vices, and bind myself to invest any sum as advan- tageously as I can. “ I cannot bring myself to think that the Philhar- monic Society would ever persist in enforcing their claim ; nor, if it came to a question of law, do I doubt for a moment the Judge would give a decision in favour of the heir, but still the law expenses and the delay would seriously embarrass me. The sum left is so small, and I have got to pay law expenses, legacy duties, &c. “ Finally, I think I can explain to the Society the reason why Ludwig von Beethoven complained of poverty before his death, and asked their assistance. He considered his nephew as his son and ward, and thought it his duty to provide for his support. This feeling may confidently be asserted to have prompted him to look on the seven shares of the Austrian National Bank, not as his own property, but as that of his favourite nephew, for whose support he destined them in his will. It was a matter of religious feeling with him, and he adhered to it loyally, that the burden of maintaining his poor nephew, for whom he would have sacrificed his own life, imposed on him such a duty. “ I may safely say that the noblest sacrifice to the manes of Beethoven, and the fulfilment of his dearest 186 LIFE OF MOSCHELES. wish, for which he toiled throughout all his life, would be the securing of his poor nephew from want. Were I myself blessed with a fortune, and had I not duties to my own relatives, I would willingly devote it to him. “I trust, sir, you will recognise the honesty and purity of intention with which 1 write to you, and will excuse me the more readily as I can assure you that I have, out of pure affection for the nephew of the great man, undertaken the duties and care of a guardian. On this point, and for references to my per- sonal character, M. Rau will give you all the informa- tion you can wish. “ Hoping that I shall soon receive a kind and favourable reply, sent to me direct, or through Mr. Rau, and commending myself and the cause of my ward to your kind consideration, “ I remain, Sir, with great respect, “ Your most humble servant, “ Jacob Hotschebar. “ Imperial Hofconcipist. ” Rau also wrote as follows : — “Vienna, Feb. 10th, 1828. “ Dear Friend, — I send you herewith a letter from the administrator of Beethoveir’s property, by which you will see that - the legal proceedings are drawing to an end. I was called on to give an official explanation about the 1000 florins presented by the Philharmonic Society*; but not having received further instructions from you, and being unwilling without them to make PHILHARMONIC SOCIETY’S CLAIM ABANDONED. 1S7 myself responsible, I asked for a delay, until I heard your wishes on the matter. The enclosed letter will put you in possession of all the facts. “ Between ourselves, if you can manage to negotiate the surrender of the 1000 florins, we shall be spared much unpleasantness, and perhaps a lawsuit. Even Dr. Eltz and Baron Eskeles think that the 1000 florins found at Beethoven^ death would with great difficulty be identified, as Hofrath Breuning, who managed the inventory, is now dead. Should the money, however, be unexpectedly redemanded, a power of attorney must be sent to Dr. Eltz by the Philharmonic Society, in order that he may prove his legal claims at the cost of the Society . The legal process might possibly swallow up the entire sum. Pray give me a speedy and definite answer. The Eskeles, Wimpffens, Ephraims, &c., are well, and join me in kind remem- brance to you and your wife. — Your friend, “ Rau.” On receipt of this note, Moscheles conferred with the Directors of the Philharmonic Society, and induced them to abandon altogether their claim to the money, but the whole business and the comments thereon gave him a great deal of annoyance and trouble. Re- ports came to England from Vienna, where people were naturally ashamed of Beethoven^ having had to look to London for assistance, stating that Beethoven, after all, had not been so badly off, that he had not touched the 183 LIFE OF MOSCHELES. 100/., and besides that he had left some Bank shares ; how could Moscheles have been bold enough to open a subscription for him in London, or the Philharmonic Society have ventured to force itself upon our Beethoven with their present ? Moscheles personally was pro- foundly indifferent to such insinuations ; it was enough for him to have been called e friend ' by Beethoven himself, and to have lightened, in however humble a way, the sufferings of his latter days. Still it was due to Beethovens memory, as well as to the Philharmonic Society, to see that the truth was properly stated, and thus to silence malignant and envious tongues. He therefore made a public statement, which went the round of the newspapers. The lock of Beethoven's hair, the sketches in his own hand, the metronome tempi of the 9th Symphony, and the sketch-book which Schindler sent him, were always kept and regarded as the most sacred relics, and are now in the possession of his son Pelix. We here insert a letter of Beethoven's which, although unconnected with the preceding correspon- dence, is of interest to the student of his works ; it is from the collection of autographs in the possession of the late Consul-General Clauss of Leipzig. “ To Mr. Joseph von Warena, in Grätz. " Honoured Sir, — Bode was perfectly correct in everything he said about me. My health is none of the best, and without any fault of my own, my BEETHOVEN S LETTER TO WARENA. 189 condition in other respects is perhaps the most un- favourable I have ever experienced ; that, however, and nothing in the world shall prevent me from help- ing as far as possible, by such small work as I can offer, your Convent ladies, who, like myself, are suffer- ing from no fault of their own. “ Two completely new symphonies therefore are entirely at your service, an air for a bass voice with chorus, several isolated small choruses, and if you want the overture to c Ungarns Wohlthäter” (overture to King Stephen, Hungary's benefactor), which you performed last year, this is at your service as well. “ The Overture to ( The Ruins of Athens/ although in rather a small style, is also at your disposal. Amongst others there is a Dervish chorus, a good signboard for a motley audience (ein gutes Aushängeschild für ein gemischtes Publikum). In my opinion you would do wisely to choose a day when you could give the oratorio of “ Christ on the Mount of Olives." Since I wrote it, it has been performed everywhere. This would make up the half of a concert ; for the second half you might give a new symphony, the overtures, and several choruses, and also the above-mentioned bass air with chorus. Thus the evening would not lack variety. Still you had best talk over this matter with, and be advised by, the local musical authorities. With regard to what you say respecting my remu- neration at the hands of a third person, I believe I can guess to whom you allude ; were I in my former 190 LIFE OF MOSOHELES. position, well, I would say straightforwardly f Beethoven never takes a farthing where humanity is to be benefited/ but just at present I am so circumstanced by my large charities (a state of things I have no reason to be ashamed of); and by other matters arising from the conduct of men destitute of honour and good faith; that I tell you plainly I shall not refuse my share; if offered to me by a person who can well afford it. The question here is not one of claims; but should the whole business about this third person come to nothing; be assured that; I am even now just as ready as I was last year, without the smallest recompense; to do any good turn to my friends; the respected ladies of the Convent; and that I shall be ready to assist suffering humanity as long as I breathe. “ And now farewell ; write soon; and I shall most zealously look after everything that is required. My best wishes for the Convent; with great respect; “ Your friend; “ Ludwig van Beethoven.” The programmes of the Philharmonic Concerts of this season bear witness to the respect paid to Beethoven's memory and that of other German com- posers, since their masterpieces were to be met with in every programme. Liszt and Moscheles appeared as solo performers; and the best singers were constantly heard. The programme was often composed of the masterpieces of Handel, Haydn, and Mozart. Amongst DINNER GIVEN TO CLEMENTI. 191 tlie vocalists we read of Madame Stockhausen, who had already become a favourite with the public; her unpre- tentiousness and earnestness made her a model to every young aspirant in the profession. Her voice was lovely, bell-like, and exquisitely flexible. She had created a furore in the salons of Paris with her native Swiss melodies, but devoted her best energies to serious study. When she came to London in search of engagements, a soprano was wanted for oratorios, and Sir George Smart, who at once recognised her talents, offered to study with her the English text, with a view to correct accent and pronunciation. This kind and able man offered to instruct Madame Stockhausen in the tradi- tional method of singing in Handelns oratorios ; without his aid her success in England must have remained doubtful. Sir George soon found that his gifted pupil profited by his teaching, and she became an indispen- sable support for the London as well as the great pro- vincial music-festivals. Her fame steadily increased, but she continued as amiable and unpretending as before, and with all her grand performances in oratorios, condescended to charm her audiences with her light Swiss melodies. We read in the diary, "We artists gave a dinner and musical entertainment to old Clementi. Cramer and I received him ; he was greeted with rounds of applause, and ninety of us sat down with him to dinner. He was placed between Sir G. Smart and myself, and when the cloth was removed we had speeches, toasts. 192 LIFE OE MOSCHELES. and music. Of course a wish was expressed and rapturously applauded, that Clementi, the father of pianoforte playing, should be heard on this occasion, and thus prove his right to the title. Clementi rose from his chair ; Smart, Cramer, and I led him to the instru- ment. The excitement was great, the whole party eagerly listening. Clementi had not been heard for years. He extemporized on a theme from Handel, and completely carried us away by his fine playing. His eyes gleamed with youthful fire ; those of many of his hearers were dimmed with tears of emotion. Amidst shouts of applause, and the heartiest congratulations, he resumed his seat. “ Clementes pianoforte playing, when he was young, was famed for the exquisite legato, pearliness of touch in rapid passages, and unerring certainty of execution. Even now the remains of these qualities were recognised and admired, but what chiefly delighted his audience was the charm and freshness of his modulations in improvisation.” On the day of the dinner given to Clementi, Moscheles writes : “ I can only jot down a few words in addition to my wife’s letter, before our great dinner comes off, as ten stiff fingers are waiting in the next room for me to make them flexible ; they are like thirsty mill-wheels waiting for a fresh flow of water. “ Hummel wished to publish his e New Pianoforte School’ in England, and I negotiated the matter for him, although I saw the wreck of his scheme in his PLATS BEFORE THE PRINCESS VICTORIA. 193 demand of 150/. the publisher refusing to give more than 100/. “ During this season c Oberon ' was frequently given at Covent Garden, and also Mozart's c Seraglio/ not, however, the pure unadulterated Mozart music, such as we Germans know, but with whole numbers cut out, and other popular English melodies substituted. A fearful desecration ! The culprit who has this Pasticcio on his conscience is Kramer, of Brighton, director of the King's band. As a compensation for this musical outrage, we had some rich and often amazingly beautiful scenic effects." Moscheles played before the Court circle assembled at the Duchess of Kent's in Kensington Palace. “ The little Princess Victoria was present, and the Duchess begged me to play at once, so that the Princess, who was obliged to go to bed early, might hear me. She left the room after my second piece. I had to play a great deal (on a Broadwood), and accompanied the Duchess in a song of Beethoven's, besides a duet from * Zelmira,' sung by her Boyal Highness and the Princess Feodora. The Royal party took a very friendly interest in my performances, but what I think pleased them more than all was my improvisa- tion on some of the Tyrolese Melodies, for the Duchess had twice commanded the attendance of the Rainers at the palace." Extracts from Mrs. Moscheles' letters will show that her husband's time was socially and professionally a VOL. i. o 194 LIEE OE MOSCHELES. busy one : “ Happily such a day as that of Monday last is a rare occurrence in my poor husband’s life, busy as it always is. First came the inevitable nine lessons, then the dinner of the Royal Society of Musicians, where he played, and to wind up, an evening party at Sir Richard Jackson’s, which lasted until two a.m.” This was the first season that Heinrich Heine appeared in London. During his residence in Ham- burg, he was on intimate terms with Mrs. Moscheles’ family, and since those days had become distantly related. It would have been strange if, in such a commercial centre as Hamburg, Heine’s genius had been instantly recognised, and, as a fact, no one sus- pected it in the youth who, often absorbed in thought, was always satirical, and more than averse to the routine of “ business ” in a rich uncle’s office, though it might prove the surest passport to the income of a millionaire. But a poet he was, and a poet he would be. Consequently all he retained of his mer- cantile studies was a horror of business, and a singu- larly beautiful handwriting. So far from agreeable were his recollections of Hamburg that wffien, in 1830, Mrs. Moscheles asked him to write in her album, he treated her to a satire on her native town, which we here give in the original, and an English version of the same : — Dass ich bequem verbluten kann, Gebt mir ein weites edles Feld ! 0 lasst mich nicht ersticken hier, In dieser engen Krämerwelt ! HEINRICH HEINE. 195 Sie essen gut, sie trinken gut, Erfreu’ n sich ihres Maulwurfsglück?; Und ihre Grossmuth ist so gross, Als wie das Loch der Armenbüchs’. Cigarren tragen sie im Maul, Und in der Hosentach’ die Hand’, Auch die Verdauungskraft ist gut — Wer sie nur selbst verdauen könnt ! O, dass ich grosse Laster sah’, Verbrechen blutig, colossal — Nur diese satte Tugend nicht, Und zahlungsfähige Moral ! Ihr Wolken droben, nehmt mich mit, Gleichviel, nach welchem fernen Ort — Nach Lappland oder Afrika, Und sei’s nach Pommern, immer fort ! O nehmt mich mit !— Sie hören nicht — Die W olken droben sind so klug ! Vorr überreisend dieser Stadt ^Engstlich beschleun’gen sie den Flug. H. Heine. TRANSLATION. I crave an ampler worthier sphere : I’d liefer bleed at every vein, Than stifle mid these hucksters here, These lying slaves of paltry gain. They eat, they drink ; they’re every whit As happy as their type the mole ; Large are their bounties, as the slit Through which they drop the poor man’s dole. Cigar in mouth they go their way, And hands in pockets, they are blest With grand digestions — only they Are such hard morsels to digest ! The hand that’s red with some dark deed, Some giant crime, were white as wool, Compared with these sleek saints whose creed Is paying all their debts in full. o 2 196 LIFE OF MOSCHEI.ES. Ye clouds that sail to far off lands, Oh, waft me to what clime ye will ; To Lapland’s snows, to Libya’s sands, To the world’s end — but onward still ! Take me, 0 clouds ! they ne’er look down: But proof of a discerning mind, One moment hang o’er Hamburg town, The next they’ve left it leagues behind. After the publication of his “ Reisebilder," he made many enemies ; some persons, of whose identity with characters portrayed in that work there could be no doubt, smarted under the merciless lash of the poet, and would have retaliated on him if they could, whilst lookers-on at a distance chuckled with delight at the biting satire. Heine's prose was acknowledged to be that of a master. His originality of thought, striking imagery, terseness and vigorous language, con- trasted wonderfully with the involved periods of some of his contemporaries. His great reputation had reached England before his arrival, and naturally his appearance in London created a sensation. Mrs. Moscheles writes : “ My old Hamburg acquain- tance, the famous Heinrich Heine, is here. We delight in seeing him. He often invites himself to dinner, and I flatter myself that he feels quite at home with us. His genius and writings are a constant source of delight to me, yet I can't help feeling some slight misgiving, knowing as I do the keenness of his satire. At his very first visit we had a very curious conversation. I scarcely know how I came to muster courage, but when he told me of all the lions he HEINE IN LONDON. 197 wanted to see, I said, r I can get you tickets of admission to numbers of private galleries and other sights, and shall consider it an honour to do so, but I must stipulate for one thing in return. This is that you will not mention Moscheles by name in the book you are no doubt going to write about England. He was completely taken by surprise, and I gave additional reasons. Moscheles^ speciality is music; this, I know, interests you — but you have no thorough knowledge of it as an art, and consequently cannot fully enter into it. On the other hand, you can easily find in Moscheles a subject for your satirical vein, and intro- duce him in your work ; I should not like that/ He laughed, or rather simpered, in his peculiar way, and then we shook hands over our bargain.” Again Mrs. Moscheles writes : “ Heine took a walk with us in Grosvenor Square, the key of which had been lent us ; he was very facetious on the number of chim- ney-pots, which are certainly bewildering to a gaping foreigner. Two days ago he came here, wet through, for a change of clothes. I sent him into my husband's dressing-room. He sent back the things shortly before he left England, with the following note : — “ My dear Mr. Moscheles, — On the point of start- ing, I bid you heartily farewell, and take the oppor- tunity of thanking you for the sympathy and kindness you both have shown me : I am sorry I did not find Mrs. Moscheles at home the day before yesterday. 198 LIFE OF MOSCHELES. You, Mr. Moscheles, were c engaged and I did not like to have you called away. I am just packing my trunk, and at last return your property, thinking it a good joke to ask for my hoots, as well as the second volume of the ‘ Tteisebilder/ left as a deposit in your dressing-room. If I possibly can I will pay you another visit, if only to assure you by word of mouth that I highly, very highly esteem and love you both. “ Your devoted, “ H. Heine. “ 32, Craven Street, Strand, July, 1827.” Carl Klingemann, the gifted poet, and friend of Mendelssohn, who arrived in London this year, as Secretary to the Hanoverian embassy, became, after the lapse of a few weeks, a constant visitor and inti- mate friend of the Moscheles. His delightful verses, which Mendelssohn set to music, are well known. He was not only welcome to the Moscheles as a man of letters, but his vocal gifts and musical talent gave exceptional value to his criticism of musical composi- tions. In later years family ties helped to strengthen the sincere friendship which had arisen between the two families. During this season, Oury, an admirable violinist, gave Chamber Concerts ; De Beriot and Cramer were shining lights, and Camillo Sivori, a boy of nine years of age, Paganini's pupil, appeared on the musical horizon. “ Truly a prodigy for FIRST APPE ARAIN CE OF SIVORI. 199 power, purity of tone, and execution.” On one occasion, when the Hamburg relatives are invited to London, Moscheles writer : — “ We have plenty of room for you both ; should you find it too narrow, there is plenty more in our hearts. Besides, you ought to see my boy clambering about me, and chattering an obligato accompaniment to my letter.” Shortly after the arrival of the guests, Moscheles rejoices at the birth of a first daughter, and, a few months after, we find the whole family travelling to Scotland, Moscheles fulfilling, as he went along, professional engagements in several of the great northern towns. 200 CHAPTER XI. 1828. EDINBURGH — CURIOUS ARCHITECTURE — SIR WALTER SCOTT — A DE- LIGHTFUL VISIT — HIGHLANDERS AND THE BAGPIPES — SCOTT’S APPRECIATION OF GERMAN LITERATURE — CONTRIBUTION TO MOSCHELES’ ALBUM — SCOTCH CHURCH SERVICE— VISITS TO THE LIONS OF EDINBURGH— SPURZHEIM THE PHRENOLOGIST— LIFE OF A MUSICIAN IN LONDON — MADEMOISELLE SONTAG — PETER PIXIS— FETE AT VAUXHALL — SCOTT AND THE PRIMA DONNA — MADEMOISELLE MARS. E DINBURGH, 3rd January. — Yesterday's walk through the streets was a series of surprises. As I looked at the old houses, consisting in some instances of sixteen stories, inhabited by the poorest families, renting single rooms, each with its dimly lighted window, I seemed to look at a feeble attempt at illumination. Standing on the viaduct which con- nects the Old and New Town, I had these old houses to my left, on the right, the handsome Princes Street, and the whole of the new quarter, now in the process of building, which is to consist of a number of crescents, squares, and streets, filled with palatial houses, built of freestone. Such buildings are to be seen elsewhere, but Princes Street is certainly unique in its way ; there is a long row of houses on one side. VISIT TO EDINBURGH. 201 intersected by sloping streets, from which you get a view of the Frith of Forth, whilst the opposite side opens to your view Edinburgh Castle on its rock, to which you ascend by a terrace garden. As I was taking my evening stroll, I saw a party of Highlanders, kilt and all, coming off guard. They marched down from the Castle and passed close by me, regaling my ears with genuine Scottish music of drum and fife. “ Our lodgings in Frederick Street, which were taken for us beforehand, were curious specimens of architec- ture. One peculiarity consisted in a raised ground- floor, that ran under the neighbouring house, but disconnected with any staircase leading to the upper stories. The next house to that, on the contrary, had no rooms on the ground-floor, and the visitor, after mounting a staircase, found a bell, which secured his admission to the first story. House-doors and steps were quite open ; many other houses were constructed on this curious principle.” The success of this winter expedition, undertaken by Moscheles for professional purposes, was seriously imperilled by an Italian Opera Company which had forestalled him, and he was obliged to put up with a third-rate orchestra, got together any how from regi- mental bandsmen ; the Highlanders, with their bare legs and kilts, being the poor substitutes for a well- trained orchestra. The concert room was only two-thirds full, but Moscheles, in his fantasia, the “ Anticipations of Scot- 202 LIFE OF MOSCHELES. land/' created great enthusiasm ; and the newspapers, one and all, condemned the apathy shown by this poor attendance at his concert. This appeal to the good sense of the Edinburgh folk had its effect, for the two next concerts were filled to overflowing. The Moscheles, on the occasion of this visit to Edinburgh, made the acquaintance of Sir Walter Scott, in whom the reading world had discovered “ the Great Unknown/' and to whose intellectual eminence thousands upon thousands looked up with* feelings of the deepest gratitude and homage. The sickliness and sentimentality characteristic of the romance writers before the days of Scott, it is true, were avoided by Miss Austin, Miss Edgeworth, and some few others, who found materials for their fictions in the episodes of private life, but Scott was the first to intro- duce characters of real historical interest, and clothe them with flesh and blood. The world in those days knew nothing of the stimulants supplied wholesale by Eugene Sue, Alex- andre Dumas, &c., and revelled in the simplicity, picturesqueness, and wholesome truths conveyed in the fictions of the “ Great Wizard of the North." To the delight of Moscheles, Sir Walter sent an immediate answer to his letter of recommendation, saying that, being confined to his house with an attack of gout, he hoped Moscheles and his wife would come to breakfast, instead of waiting for him to visit them. Next morning, at 10 a.m., they called at No. 6, BREAKFAST WITH SIR WALTER SCOTT. 203 Shandwick Place, where the illustrious man was staying for the winter, with his second, and un- married, daughter. “ He opened the door himself,” says Moscheles, “ and welcomed us heartily : he was suffering from gout, and walked with a stick. Before we had taken off our things we felt completely at home, and my wife's anticipated awe of the great man had entirely vanished. We sat down to breakfast forthwith, and a genuine good Scotch breakfast we had, served on handsome silver plate, by two servants in powder and livery. Scott's conversation was ex- tremely animated and delightful : he understands German, and is thoroughly versed in our literature, and an enthusiastic worshipper of Goethe. He told us many anecdotes, but when he asked me, € How do you like my cousin the piper ? — you know, we Scotch are all cousins ' — I am afraid my answer must have done violence to his sense of music, which by nature was very limited. It was impossible for me to pretend to any enthusiasm for the bagpipes. Sir Walter had expected as much, but expatiated on the wonderful effect the national music has on the native High- landers, arguing that a wandering piper would attract crowds in the streets of Edinburgh; also, that in battle the sound of bagpipes would inspire Scotch soldiers with a desperate valour. * You should hear my cousin the piper play and sing “ The Pibroch o' Donald Dhu,'' but with the Gaelic words,' said he ; ‘ those words are the only appropriate ones to convey 204 LIFE OF MOSCHELES. spirit and animation, but the melody itself carries one away/ He began to hnm the tune, and beat time on the carpet with his stick, which was always by his side ; e but/ added he, ‘ the whole thing is wrong ; I sing so badly : my cousin, who has just come in, must play the tune for us upstairs in the drawing-room/ Accordingly, we went upstairs ; the cousin played me the subject ; I extemporized upon it, and completely won the heart of our ever-youthful- minded and genial host. This was the prelude to my playing several Scotch airs, which I had to vary and interweave in all manner of ways. At last we parted, after a delightful visit, ever memorable to us ; the amiability and sweetness of Scot/s manner are never to be forgotten. Kindness, indeed, is written in every feature, and speaks in every word that falls from him. He treated my wdfe like a pet daughter, kissed her on the cheek when we went away, and promised he would come and see the children, and bring them a book. This he did, and his gift was the * Tales of a Grandfather/ He had written in the title-page, ‘ To Adolphus and Emily Moscheles, from the Grandfather/ ” “ After our visit, Sir Walter was unfortunately con- fined to his bed with a fresh attack of gout ; he got better, however, and on the occasion of my third concert, which was a matinee, to the surprise of a crowded and fashionable audience, Sir Walter stepped into the room before the music began. My wife,” LETTER EROM SIR WALTER SCOTT. 205 says Moscheles, “ sat as usual in a remote corner of tlie room; Scotty however, found her out instantly, and sat down by her side, drawing upon her the envious eyes of many a fair beholder. His hearty bravoes and cheers, when I .played, stimulated the audience to redouble their applause, which reached a climax when I gave them the Scotch airs. Between the parts he asked my wife if she knew Bürgers poem ‘ Der Dichter liebt den guten Wein/ and, on her answering in the affirmative, he told her how he delighted in this poem, which he had translated into English, adding, ‘ Would you like to have it? I shall send it you/ She begged him to recite the song in the original ; this, to my wife's great delight, he willingly assented to, whilst all around listened eagerly. On the following day, the last before we left Edinburgh, Mrs. Moscheles received the following note : — “ My dear Mrs. Moscheles, — As you are deter- mined to have me murder the pretty song twice, first by repeating it in bad German, and then by turning it into little better English, I send the promised version. “ My best wishes attend your journey, and with best compliments to Mr. Moscheles, “ I am truly and respectfully yours, “ Walter Scott/' 206 LIEE OE MOSCHELES. “ The day before we left Edinburgh we were amused to see our kind friend sitting in the Court of Justice, with a wilderness of official papers before him/” Moscheles sent Sir Walter his album, with the request that he would contribute to its pages. Finding the following poem by Grillparzer, he trans- lated it : — Tonkunst, dich preis’ ich vor Allen , Höchstes Loos ist dir gefallen, Aus der Schwesterkünste drei, Du di e frei’ sie, einzig frei. Denn das Wort, es lässt sich fangen, Deuten lässt sich die Gestalt ; Unter Ketten, Kiegeln, Stangen Hält sie menschliche Gewalt. Aber du sprichst höh’ re Sprachen, Die kein Häscherchor versteht, Ungreifbar durch ihre Wachen Gehst du, wie ein Cherub geht. Darum preis’ ich dich vor Allen In so ängstlich schwerer Zeit ; Höchstes Loos ist Dir gefallen. Dir, und wer sich dir geweiht. This outburst of the poet, groaning under the censorship of Austria, and gagged in every generous effort for the emancipation of his countrymen, must have touched Scott's sympathies. A few hours afterwards he sent back the album, with the following translation of Grillparzer' s poem, headed with these words, “ I am afraid Mr. Grillparzer' s verses, and Mr. Moscheles' valuable album, are only disgraced by the following rude attempt at translation : ’' — scott’s version of grillparzer’s poem. 207 Of the nine the loveliest three Are painting, music, poetry, But thou art freest of the free, Matchless muse of harmony. Gags can stop the poet’s tongue, Chains on painters’ arms are flung, Fetter, bolts, and dungeon tower O’er pen and pencil have their power. But music speaks a loftier tone, To tyrant and to spy unknown ; And free as angels walk with men. Can pass unscathed the gaoler’s ken. Then hail thee, freest of the free ! ’Mid times of wrong and tyranny ; Music, the proudest lot is thine, And those who bend at music’s shrine. This translation, evidencing Scott's accurate know- ledge of the German language, Moscheles prized as one of the gems of his album. The poet and the musician parted, Moscheles pro- mising to find a London publisher for some pretty songs set to music by a Miss Browne, with words by her sister, Felicia Hemans. Scott, on his part, engaged to pay an early visit to the Moscheles. The music was published, and the visit paid. Moscheles observes upon Edinburgh : “ The church service, from which the organ is banished, struck me as peculiar. The Psalms are intoned by a four-part choir, in which the congregation joins. But the basses are usually in unison with the sopranos, instead of forming the support of the other voices. Dr. Thomson's sermon was very good in itself, but the nasal twang and Scotch accent coupled with the 208 LIFE OF MOSCHELES. vehement gesticulation of the preacher, made it more singular than elevating. The Scotch Sunday, I must say, is wearisome to a degree. Twice or three times at church, more prayers at home, or sitting twirling one's thumbs ; no music, no work, no visiting — a perfect blank. I have had to endure all this. It's a difficult matter to steal quietly off to one's own room and write letters, or clandestinely to read books of a secular kind. If I didn't do this I should not survive. The deep snow this winter only allowed us to take short walks or drives about the city ; here is a description of one. “ To-day we visited Calton Hill, and had a glorious view. On one side the blue line of sea, on the other Holyrood House ; above us the rock of Arthur's Seat, on which Nelson's monument stands. It is an un- wieldy mass, and seems too heavy for the rock. We could hardly keep our balance here from the violence of the wind. We drove to Roslyn Castle and Salisbury Craigs, but the weather was so cold we could not enjoy ourselves. Holyrood House is very interesting ; the arrangement of the rooms is the same as in the days of Mary Stuart ; the bed-hangings and furniture, as well as the coverlets and tapestry, worked by the un- fortunate Queen, have turned yellow from age. Time has left its stamp on everything. Still, no one standing in these rooms can fail to think with sympathy of the fair — possibly guilty — but ill-fated Queen. There are to be seen Darnley's armour, boots, and gloves ; HIGH COURT OF JUSTICE. 209 the small window out of which the infant James I. was handed, because his royal mother, weak and help- less, was under arrest in this little room ; and, last of all, the hidden side door, near the Queen's boudoir and bedroom, which leads to an underground passage. When the Queen was surprised by her husband, whilst she was with her favourite Rizzio, the unfortunate musician, it is said, was repeatedly stabbed with daggers, and dragged to the door leading to an outer passage, where dark stains are seen on the floor. We looked at these incredulously, and treated them as mythical ; but to vouch for their genuineness, or rather of the poet's belief in it, Mr. Ballantyne, Scott's friend, and the printer of his entire works, showed us a note which, as the testimony of the poet, is certainly of some weight. c I have no doubt,' says he, c of Rizzio's blood being genuine. I will look at the plan of the place ; but I think I am right.' “ Another day we were shown the High Court of Justice, crowded with Scotch advocates in their wigs and gowns. The din was fearful ; but the judges con- trived to follow the speeches of the opposing counsel, although the mere effort of listening in the midst of such a buzz seemed a mystery to me. I stood close to Mr. Murray — one of the greatest advocates in Scotland. He was in the act of speaking, but every word was drowned by the noise, and escaped me. I could see his mouth moving, and his hands raised ; that was all. If the listening to the legal arguments VOL. i. p 210 LIFE OF MOSCHELES. of counsel be such a difficulty, I asked myself, what must be the task of the judges in forming an opinion, or delivering a judgment ? Flights of steps behind the Court of Justice lead to a perfect labyrinth of small courts, lanes, and odd corners. Passing by these back- stairs, and through these tortuous passages, one thinks of poor Effie Deans, and for the first time begins to realize the feasibility of her seducer's escape." Amongst the numerous acquaintances made by Moscheles in Edinburgh, was that of Sir John and Lady Sinclair. He also called on the great phreno- logist Spurzheim, and, wishing to test his powers, gave no name, but requested him to examine his skull. Spurzheim merely uttered a few unmeaning common- places, such as a “ disposition for fine art," and the like ; afterwards, however, on hearing the name of Moscheles, he explained in a learned manner, how nature had stamped him for a musician. Spurz- heim gave a public lecture on the anatomy of the human brain, and Moscheles and his wife were present. During the whole time of his stay in Edinburgh, Moscheles was obliged to give lessons, in spite of the almost prohibitory fee of two guineas an hour. “ Some ladies," he says, iC are bent on galloping through my compositions with me at their side, no matter how difficult the music is, or how short the time." JBut he was soon weary of all this. “ I shall be off as fast as LABOURS OF A LONDON SEASON. 211 I can,” he writes, “ and be proof against the numerous offers they make me ; I can*t be plagued with endless concerts.” He was true to his word, and was soon back in London. The “ dead time of the year ” is supposed to com- mence when the season is over ; but to a busy pro- fessional man in London, all months are full of life. During February Moscheles was much occupied. April, May, and June were crowded with engagements, there was leisure in July and August for him to ask himself why he had not been crushed by the weight of private and public business which had pressed so heavily on him, why the avalanche of nine hours* lessons per diem did not sink him at once and for ever, and how he managed to survive at all. He had to keep up his social position too, to give and attend parties, to keep late hours incessantly, and play at his own and others* concerts ; always remem- bering that his reputation — perhaps his livelihood — depended on his playing up to a standard very difficult to maintain when the artist is jaded and worn. Coming home in the small hours of the night, he would find a heap of business letters, calling for an immediate an- swer, before he could retire to rest. Happy the man who, after three-and-twenty years of such a life, does not feel utter prostration. The real talisman against it is in a happy, cheerful home, and in a total surrender of professional business during the autumn months. Let him enjoy country air, in lieu of heated rooms and r 2 212 LIFE OF MOSCHELES. the gas of theatres ; salt waves instead of deluges of lessons, and the privacy of home for the rush of so- ciety. This is well enough in theory : it is a difficult matter to reduce to practice. There are tempting in- vitations for a professor to make a Continental tour, and lucrative offers from the managers of provincial festivals in England. Every watering-place has its quantum of fashionables, glad to find a musical celebrity for teach- ing their daughters or playing at their parties. If an artist is not firm as a rock against these varied solicitations, he will carry London with him, as the snail does her house, and come back from the country to re-open the campaign : his pockets full of money, but his body and soul unrefreshed. If, on the other hand, he will exorcise for awhile the spirit of money- getting, his muse will commune with him in his solitary walks, and, so far from forsaking him, remain his steady friend. When Moscheles returned from Scotland in February, he found a letter from his friend Peter Pixis, who wished to spend the next season in London, as Sontag*s accompanist. This lady was engaged at the Italian Opera, and Pixis was to act as her secretary and entrepreneur as well. She came to London on the 3rd of April, and was a constant visitor at Moscheles* house, where her beauty and fascinating gifts were a source of delight to her friends. Her simplicity was her great charm. “ Sitting with her/* says Moscheles, “ at our homely dinner, we entirely forgot the famous sontag’s FIRST APPEARANCE IN LONDON. 213 prima donna whose debut all London is awaiting with the greatest eagerness. “ She sang to us repeatedly in private, and with her splendid voice and gifts gave us a foretaste of that delight and fascination which was to keep her public audience spell- bound.” “To-day/* says Moscheies, “I was present at the dress rehearsal of the c Barbiere/ she enchanted every one with her Rosina. When the lovely girl appeared on the balcony, she was applauded to the echo, and the magic of her voice and style captivated us in the opening air, f Una voce poco fa/ Her representations in London were a continued series of triumphs. The pressure in the pit of the Opera House was so great that gentlemen, by the time they found their seats, were minus coat-tails, and ladies lost their head-dresses. We used to witness the rush from Mademoiselle Sontag’s own box, which was always at our service/* “ I can*t say/* says Moscheles, “ which of her characters I consider the most success- ful, for her vocalization is always enchanting ; if I feel the absence of grand dramatic effect, I am more than compensated by the beauty, natural grace, and the combined charm of her voice and person. Her variations on the f Schweizerbue * are absolutely perfect in their own way, and it never occurs to me to ask myself e How she can sing such trash ?* because she sings it so perfectly.** “ April 6th. — Making arrangements for my own and Soutag*s first concert. That wonderful creature 214 LIFE OF MOSCHELES. brought Pixis to dine with us. In the evening we had some friends who were in ecstasy at hearing the German Nightingale.” “ April 8th. — At a grand dinner given in Sontag's honour, by Prince Esterhazy, Prince and Princess Polignac, Baron Bulow, Count Bedern, the Marquis of Hertford, Lord and Lady Ellenborough, Lady Fitzroy Somerset, Countess St. Antonio, &c. &c., were present. Sontag sang exquisitely in the evening. Pixis and I played solos and duets.” “ No success is without its alloy, for some captious newspaper scribbler volunteered to inform the world that Sontag was unfit for the position of prima donna ; her success soon gave a contradiction to this libel.” On the 4th of May we read in' the diary, ec Busy with a musical work which brought back some painful recollections. I wrote for Willis, the publisher, an accompaniment to Weberns last composition — an English song, which he had written for Miss Stephens,* who had sung it at his last concert. Only the vocal part, and a few bars of the accompaniment, were sketched in his manuscript. I filled in what was wanting, carefully distinguishing my own writing from that of the composer, by using red ink.” On various occasions this summer, the* Moscheles, Pixis, and other German friends and acquaintance of Sontag, joined her in short excursions, as to Epsom * The present Dowager Countess of Essex. VELLUTI. SONTAG. 215 Races, Chiswick, &c. The prima donna was in great request socially. The Duke of Devonshire danced with her at his own ball., where her beauty and grace made a great sensation. The director of the Italian Opera had determined to allow his artists the privilege of engaging singers only on condition that the concert should be held in the hall adjoining the theatre ; he also stipulated for a share of the receipts. Pixis consented to this arrangement, and gave a concert, where Sontag sang and Moscheles played. “ July 8th. — -To-day we attended a fashionable fete at Vauxhall, given on behalf of the poor Spanish and Italian refugees. The ‘ Battle of Waterloo * was performed, and the. Duke saw himself admirably repre- sented. The evening concluded with a concert, in which both Pasta and Sontag sang.” “ j uly 19th. — VellutPs shrieks in the opera were absolutely unendurable ; his false intonation drove me wild. I may be severe upon him, but the wounds he inflicted were hardly to be cured by the flute-like voice of Sontag.” “ On one occasion (we quote Mrs. Moscheles* letter) we had the happiness of entertaining the famous Sontag at a large party at our own house — she was enchanting as usual. Sir Walter Scott, who happened to be in London, was present. He was delighted at meeting Sontag, whose introduction to Sir Walter, on the eve of her appearing in the ‘ Donna del Lago/ was singu- 216 LIFE OE MOSCHELES. larly well-timed. Lockhart, it is true, tells us in his biography that Sir Walter felt annoyed at being besieged by a crowd of flatterers and strangers, who made a pilgrimage to Abbotsford, and overwhelmed him with compliments, their knowledge of his works being based possibly on a single attendance at the * Donna del Lago/ at the Italian Opera ; but in the presence of Sontag, the great man was all ears, and eyes too, I think. When she questioned him about her costume as the Lady of the Lake, he described to her with the utmost minuteness every fold of the plaid, and was greatly pleased when I produced a genuine satin clan plaid, the present of Lady Sinclair, whilst in Edinburgh, the loan of which I was delighted to promise to Sontag. He showed her the particular way the brooch should be fastened at the shoulder, and would not allow any alteration. Henrietta had two worshippers that evening, the second being Clementi, who seemed as much fascinated as Scott. He got up from his chair and said, e To-night I should like to play also/ The proposition was received with acclamation/' “ He extemporized with all the freshness of youth," writes Moscheles, “ and we listened with intense delight, for Clementi very rarely played before company. You should have seen the ecstasy of the two old men, Scott and Clementi; they shook each other by the hand, took it in turns to flirt with Sontag, without seeming jealous of one another ; it was a pretty duet of joint admiration, of SONTAG. MARS. 217 course the poet, musician, and songstress were the ob- served of all observers.” On the 24th of July Sontag finished gloriously at the Opera, wfith the “ Amenaide.” Moscheles composed, during the season, for Cramer and his niece, a four-hand Rondo in E flat, “ La Belle Union,” performed at the annual benefit concert of “ Glorious John.” He also wrote his G major sonata for pianoforte and flute. “ I launched forth,” he says, “ my ‘ Gems ä la Sontag/ and it was immediately caught hold of by my numerous pupils, and afterwards by the whole tribe of would-be pianists, attracted by my close imitation of the roulades and cadenzas of the illustrious Sontag.” That delightful concert-singer Madame Stockhausen was, in this her second London season, a recognised favourite with the English public. She had now become completely mistress of the language, and was constantly heard in Handel's oratorios. The famous Mars, old in years, young in appearance and performance, still delighted every one with her acting. “ None that saw her in the part of Valerie, or in the * Ecole des Vieillards/ can ever forget her.” “ To-day a strange episode varied my daily duty of lesson-giving,” writes Moscheles ; “ I appeared in a small court, amongst a wretched crowd of men and women who were sued for small debts. I myself figured as defendant, having (as it was said) refused to pay for an advertisement of my own concert. Of 218 LIFE OF MOSCHELES. course the loss of time was more serious to me than paying at once the sum demanded, but I hate being cheated. I took up the matter more earnestly than the plaintiff reckoned on, but he was non-suited, as he could not even prove that he belonged to the news- paper which he pretended to represent.” Moscheles and his family passed the month of Sep- tember very pleasantly at Hastings, and composed there a light piece written to order — “ Strains of the Scotch Bards giving it some importance afterwards by a dedication to Sir Walter Scott, whose answer, upon being requested to accept it, ran thus : — • “My dear Sir, — I regret that my absence upon short journeys from home should have caused your obliging proposal to inscribe the music of { Donald Dhu 9 to me to remain some time unanswered. Be- lieve me, I feel obliged by the proposal, and will accept it with great pleasure. Tell my fair friend, Mrs. Moscheles, that I send my best compliments, and beg to retain a place in her recollection; and when you see the fine old gentleman Mr. Clementi, will you oblige me by remembering me to him ? “ I am always, dear Sir, “ Your obliged humble servant, “Walter Scott. “ Abbotsford, Melrose, October 18.” On his return to London, Moscheles began to write his long-meditated Symphony in C, which he finished MATHEWS. PRESENT FROM ERARD. 219 about the end of November. Mathews and Yates had taken a lease of the Adelphi Theatre. “ Mathews/* says Mosch eles, “ who is an immense favourite with the English public, delighted us with his inimi- table comic acting. The last piece — f London and Paris* — with the steamer crossing the Channel, was now and then rather too spicy, but we nearly died with laughing/* Moscheles plays at a concert in Brighton, but again complains of a wretched orchestra. In London, besides private teaching, he was fre- quently engaged as pianoforte instructor at the Royal Academy of Music, and attended the pupils* concerts in the Hanover Square Rooms. We read again : “Erard presented me to-day with a grand concert piano, of the value of 160 guineas. I certainly owe him my best thanks for such a pre- sent. Externally the instrument is all that can be wished for ; but the tone of the higher notes is some- what dry, and I find the touch still too heavy. My Clementi, therefore, still remains my favourite, although Erard*s instruments have begun steadily to make their way. Madame de Rothschild, now that she has heard my Erard, wants to invest in one.** Moscheles kept his Christmas in the good old German fashion ; for we find allusions to the Christmas tree — so suggestive of absent friends and home asso- ciations. CHAPTER XII. 1829 . MOSCHELES’ PRODUCTIONS— FUGITIVE PIECES — EXPENSE OF PRIVATE CONCERTS — DOMESTIC SORROWS — VISIT OF FELIX MENDELSSOHN - BARTHOLD Y — THE CHEVALIER NEUKOMM — A CINQUE-CENTO OF VOCALISTS — DE B^RIOT — “ TROUBADOURS ” AND “BOHEMIAN BRO- THERS” — ARTISTS’ CONCERTS — POWER OF THE ITALIAN OPERA — LAPORTE — HANDEL’S “ ACTS AND GALATEA ” — VISIT TO HAMBURG — REMINISCENCES OF A TOUR IN DENMARK AND SWEDEN. I N reading musical biographies, we often meet with elaborate dissertations on the works of composers, with an abstruse analysis of the writer's “ intentions." If we look for a parallel in the history of letters we find the commentators of Shakspeare ascribing to him intentions which do more credit to their ingenuity than to their judgment. Beethoven's works have un- dergone a similar ordeal. The great man wrote down simply what he thought and felt ; but since his death critics, in their fancied wisdom, have interpreted his works in all manner of ways. Of course the sentiment expressed in the “ Moonlight Sonata" affects most minds alike; the “Eroica" is always majestic, but such sonatas as “Les Adieux," “ L'Absence et le Retour," are open to different reading, according to MOSCIIELES’ COMPOSITIONS. 221 the feelings of the executant, and will make a different impression upon each individual listener. “ And so it should be,” Mendelssohn used to say ; “ if the composer can only move the imaginative power of his hearers, and call forth some one image, some one thought — it matters not what — he has attained his object.” In accordance with this view we purposely abstain from attempting a critical analysis of Moscheles^ compositions. Whatever their merits or defects, this is certain — that works which when first published made an impression, and are now listened to with delight and interest after a lapse of from thirty to forty and fifty years, must possess more than ephemeral value. Such com- positions are to be found in the G minor concerto (1820), the “Twenty-four Studies” (1825 and 1826), the “ Hommage ä Handel,” the Rondo in A, the E flat major Sonata, the “ Sonata Melancolique,” the “ Recollections of Ireland,” the three Allegri di Bravura, “ La Force,” “ La Legerete, “ Le Caprice,” and others. From about the year 1840 Moscheles* appearances in public were less frequent than formerly. His later concertos (in C major, the fantastique, pathetique, and pastorale) did not become so popular as his earlier compositions, the proper readings of which he himself made known to the public. He used frequently to complain that people only played his G minor con- certo, the other seven being noways inferior in his 222 LIFE OF MOSCHELES. estimation. He would have desired that his twelve grand characteristic studies, intended for practised artists, able to master their difficulties, should all have been played in turn, without exclusive pre- ference being given to the “ Nursery Tale.” Of these twelve studies, he thought the “ Dream,” “ Terpsichore,” and others more especially adapted to the concert-room. As to the light fugitive pieces which publishers from time to time demanded of him, he says : “ They are my poor-box ; with what they fetch I can sup- port many a poor devil in Germany who writes well and is ill-paid. I have raised the price to thirty guineas apiece, so that I may not be molested too frequently with such orders.” We see the rate of remuneration current in those days, by the following account of payments made to artists for private concerts. Moscheles writes, “ I had the management of Madame de Rothschild's con- certs, and paid on her account the following sums : — Madame Stockhausen, 35/. for two evenings; M. de Beriot, 5/. for one ; M. Mori (violin-player), 71 . for one ; Mile. Pisaroni, 20/. for one ; Donzelli, 10/. for one ; Curioni, 10/. for one ; Schütz and wife, 15/. for one ; De Begnis, 25/. for two ; myself, 40/. for two ; making in all 167/. — a pretty little sum according to our German notions.” In January Moscheles, when playing at a concert in Bath, says : “ Certainly I thought myself so much MENDELSSOHN S VISIT TO ENGLAND. 223 out of practice tliat I doubted my success ; the public, however, thought otherwise.” In the early spring of this year, Moscheles is deeply moved by domestic sorrow and anxiety. His eldest boy died on the 23rd of March, and the only remain- ing child was in delicate health during the whole winter. “ The poor mother,” he says in his diary, “ knows nothing but anxiety, sorrow, and sleepless nights. One of our darlings is in his grave ; with God's help she will be spared her one remaining treasure. As a man I have a load of sorrow to bear, as an artist I belong to the public.” Moscheles was spared the fresh sorrow that at one time seemed so imminent. Change of air and scene worked so bene- ficially on the child's health, that as early as June the parents were free from all anxiety, and able to enjoy the society of artistic friends who visited London in this year, and were carried off by Moscheles to spend their Sundays with him in the country. During this season Malibran reappeared, Pisaroni also was engaged at the Italian Opera, and Sontag earned fresh laurels ; but by far the most delightful and interesting visit of all was that of a young friend from Berlin — no other than Felix Mendelssohn-Bartholdy, at that time a youth of nineteen years of age. “ Felixes father,” says Moscheles, “ had asked me in a letter if I thought, and believed, and counselled that his son should visit London, bringing some of his compositions with him, amongst them the Midsummer Night's Dream 224 LIFE OF MOSCHELES. Overture. Well, I thought and believed that the young man was a genius, so I counselled that he should come to us at Easter, and I promised with all my heart to introduce him to the great London world.” Further on we read — I took for him a lodging in 203, Portland Street, and I have enjoyed the purest happiness in his friendly and musical inter- course. As a friend, he is of untold value ; cheerful, yet full of sympathy with us in our recent loss, and our anxiety for the frail treasure still left to us ; he is always ready to exchange the attractions of London for our rural solitude, where his society acts like healing balm on our wounded spirits. He seems to have set himself the task of compensating us for our sufferings. How delightful it is, when he brings some of his new compositions, and after playing them, waits with childlike modesty for an expres- sion of my opinion. Any other would long since have become aware that in him I recognise my own master, and that I am in raptures where he is expecting to be sharply criticised. Do what I will to give him a correct view and appreciation of our relative positions, he always insists on sub- ordinating himself to me as his teacher. The brilliant reception given to the public perfor- mance of his Midsummer NighPs Dream Overture did not dazzle him. c I must do better in every- thing/ was his motto ; and to my praises he merely MENDELSSOHN. — NEUKOMM. 225 answered: ‘Do you like it? Well, I am glad of that/ He showed me the manuscript of his sacred cantata on a chorale in A minor; an un- published chorus in sixteen parts, ‘ Jiora est and a stringed quartet in A minor. He was always fond of bending his genius to the composition of little pieces — vocal or instrumental — as presents to his friends.” In Moscheles’ album, for instance, he wrote a charming piece, entitled “ Perpetuum Mobile ” (in C major) ; and another day brought the pretty Miss C — an English ballad, written expressly for her, &c. &c. At the same time with Mendelssohn there ap- peared in England the Chevalier Neukomm, PXaydn^s pupil, a noble-minded and highly cultivated man, and the most loyal of friends; but, unfortunately, without artistic genius ; he was merely a solid, well- intentioned, and correct composer, “with a pitiful lack of Attic salt,” says Moscheles, His oratorios, the “ Ten Commandments ” and “ Christ,” were performed, and he had written some effective things, such as the “ Midnight Review,” for the favourite singers Braham and Phillips. At first these pieces roused the audience to enthusiasm ; but in the long run they failed to obtain for the composer the lasting recognition of an English public, which is, generally speaking, faithful in its devotion to artists. Mendelssohn and Neukomm, who often met in the quiet home of Moscheles, became very friendly ; their VOL. I. q 226 LIFE OF MOSCHELES. mutual appreciation, however, being confined to the social virtues of one another ; for Neukomm, a tame musician, found, by force of contrast, his friend Mendelssohn too impetuous, noisy, and lavish in the use of wind-instruments, too exaggerated in his Tempi, too restless in his playing ; whereas Men- delssohn would turn on his heel, exclaiming in a fit of youthful impatience, “ If only that excellent man Neukomm would write better music ! He speaks so ably, his language and letters are so choice, and yet his music — how commonplace \” Fetis, and his lectures upon music, were equally distasteful to Mendelssohn. “ What is the good of talking so much about it ? ” he says ; “ it is better to write well ; that is the chief matter. What is the good of this embodiment of ‘ la musique mise ä la portee de tout le monde/ lectured on in French to an English audience, who certainly understand only half of the technical expressions ; and perhaps do not realize for the lecturer one-half of the receipts he expects ? ” Fetis, at this time, joined Moscheles in sketching the plan for the cc Methode des Methodes/' in the joint publication of which, Fetish skill as a linguist was of the greatest service to Moscheles, as he translated into excellent French his friend's musical treatise on the study and higher branches of pianoforte playing. In the world of vocalists there was an “ absolute cinque-cento/' to quote Moscheles' own words, “ for DE BERJOT. — MADAME DÜLCKEN. 227 besides Malibran, Sontag, and Pisaroni, we have Madame Stockhausen, Camporese, Velluti, Donzelli, and other singers. In addition to these, a German opera company, under Schütz, he and his wife are excellent singers.” Söntag, always kind and charit- able, gave a u concert monstre ” on the 13th of July, for the benefit of the sufferers by the inundation in Silesia, and every one lent a helping hand. Men- delssohn's “ Overture to a Midsummer Night's Dream” was given for the second time, and more vehemently applauded than before. His double Concerto, too, in E major (manuscript), which Mosch eles played with him, was a great success. The receipts amounted to 500/. The favourite violinist of this season, beyond all question, was De Beriot — then at the very zenith of his power. His latest composition, the B minor Concerto, written after his marriage to the unrivalled Malibran, and possibly with her aid, was more in- teresting than his former bravura pieces. With regard to pianoforte players, the most important of the new- comers was Madame Dulcken, the highly-gifted and distinguished sister of Concert-meister Ferdinand David. She left Hamburg to settle in London, and was welcomed by all genuine artists and connoisseurs. The “ one-sliilling ” performances were represented by the so-called “ troubadours ” and “ Bohemian brothers/' the former French, the latter village musicians from Bohemia. These performers, common- er 228 LIFE OF MOSCHELES. place as they were, reaped a plentiful harvest for their employers, Messrs. Bochsa and Logan. “ We artists fare worse,” says Mosch eles, in noticing these exhibitions ; “ we look to something more than mere gain, regarding our concerts as the means of producing our newest works before large musical audiences, and subjecting them, year after year, to the ordeal of criticism at the hands of compe- tent judges. The speculation of Laporte, the Opera Director, places a great stumbling-block in our way.” The state of things was this. Those artists who had annual concerts were anxious to let their patrons hear the best dramatic singers, and accordingly often engaged them with a view of enhancing the attrac- tions of their programme. Laporte, who had become in 1828 the lessee of Her Majesty^s Theatre, was peremptory in his dealings with concert-givers, his dictum being : “ Hire my opera concert-hall, or you must do without my singers,” and the high price he put upon this arrangement made the acceptance a very difficult matter. The pill of course was sugared over with many honeyed French con- versational terms and phrases, but Bochsa, the “ managers manager,” knew how to translate them into good English, whilst negotiating with Moscheles behind the scenes during the opera performance — the only time one was tolerably sure of meeting with these gentlemen. Moscheles had several novelties ready for his concert, a Symphony, a Fantasia, “ Strains of the LAPORTE. — BOCHSA. — ZUCCHELLI. 2.29 Scotch Bards/' ’which, from being dedicated to SirWalter Scotty was sure to excite great interest ; “ and yet/' he says,, “ I was obliged, like the rest of us, to have Italian singers, and to experience all the endless worry of negotiating their costly services ; I hired Laporte's concert-room at great expense — not only this, I had to offer the owner of the Argyll Rooms, which I had already engaged, a forfeit of 10/. This he con- temptuously refused, and threatened me with a lawsuit ; I always had a wholesome dread of lawsuits, and so I consulted a legal friend, who at last persuaded the man to accept the 10 /." Laporte knew his advantages only too well ; he was master of the position, virtually monopolizing the services of Malibran and Sontag, the idols of the public. Indeed, the power of the Italian Opera was such that none of the national theatres could compete with it. We read on the 22nd of June : — “ One of the choicest entertainments this season was the dramatized representation of Handel's c Acis and Galatea/ per- formed at Bochsa's concert; the music allotted to the chief characters was admirably sung by Miss Paton and Braham; Zucchelli, with a gigantic eye in the middle of his forehead, was a very good Polyphemus. In spite of his Italian name, he is an Englishman by birth, and, loyal to his Handelian traditions, gave every word and note of that master’s music in the classical and orthodox manner. What else had we ? Next in order after HandePs music, the Grave- scene 230 LIFE or MOSCHELES. from c Romeo and Giulietta/ exquisitely sung in Italian, by Sontag and Malibran, and for a finale, that German trifle the f Pastoral Symphony •/ but that I missed, for an overdose of music is not good for the health.” On the 31st of July, when the Moscheles were free to embark from England for Hamburg, he ex- claims ; Who so happy as we ? — we leave the chronic miseries of concerts and the whole season behind us, and join our friends and relations, amongst whom, if sorrow for our recent loss be reawakened, we shall find comfort and sympathy.” Moscheles during this holiday planned several sketches for his later com- positions. Pressing offers were made to Moscheles to give concerts, but he refused them as being foreign to the purpose of his visit to Hamburg. The German theatre, however, now that he and his wife had become half Anglicized, offered much that was novel and attractive ; and they were enchanted with Auber*s “ Stumme von Portici,” the cast including Cornet and the younger Fräulein Schröder, the sister of Devrient. Moscheles travelled alone to Copenhagen ; and we insert some passages from letters written to his wife during his two months* absence. “ Schleswig, Sept. 27, 1829. The entire road hither is extremely like the Lüneburger heath. At times the carriage was all but upset, but I should only have landed on the sand. I have wandered through Schleswig, which in length and narrowness is MUSICAL PARTY AT COPENHAGEN. 231 only to be compared to miles of German sausages. Ahlefeld, the Kammerherr, was very friendly, but to give a concert here, and realize from sixty to seventy thalers, would be a ridiculous waste of time. So the horses are put to, and I shall drive on to Flensburg/' On the 29th of September he crosses the Little Belt, but, no steamer being ready, is forced to pass a long dull day (30th) at Nyborg. On the 2nd of October he passes the Great Belt, and after a night's journey reaches Copenhagen. After describing his delight with the beauties of the place and its art treasures, he observes : “ I heard for the first time Weyse, the musical theorist, and a perfect idol here, play an extempore fugue upon the organ in the Frauen Kirche. When it was over, I went home with him, and read several of his interesting works. I also made the acquaintance of Kuhlau, the clever composer. Both these artists amuse themselves by constructing musical canons in the shape of riddles, and by finding their solution. At a party given by Mr. W., I met not only these two men, but also the poet Oehlen- schläger, and all the connoisseurs and art critics of the place. Kuhlau and others played, and then came my solo. When urged to improvise, I begged to hear Weyse, who could not be prevailed upon, so to the piano I went, and found myself, as it were, fenced in by a wall of listeners, who were silent as death, whilst I was collecting my thoughts ; I would try to be learned as Kuhlau and Weyse, interesting 232 LIFE OF MOSCH ELES. in harmony, plaintive and sentimental, and I would wind np with a storm of bravura passages. I must have succeeded, for the burst of applause was uni- sono, and the astonishment on the faces of all was such as neither you nor I have ever witnessed. Old Professor Schall fell on my neck and kissed me for shame !* the English would say). Kuhlau and Weyse besieged me till I gasped for breath. For shame ! I say to myself, to be blowing my own trumpet in this way ; but for whom am I writing ? This success promises well for my concert ; but another fortnight must elapse before that can come off ; a second or a third is out of the question. I might have to wait till 1830. It can*t be done ! “ I had to play before the Court ; and here I give you the programme and all particulars When my solo and duet with Guillou were finished, and I was asked to improvise, the old Queen came up, and making a thousand excuses, hoping she would not be in the way, &c., sat by my side at the piano, where she was soon joined by the King. I let myself go like a racehorse — fire, passion, even coquettishness — I tried everything to act on the royal nerves. First of all, I Kossinified a little, for I knew that the Rossini fever rages at the Court here. Then I was a Dane, and worked up some national melodies. The shouts of applause made me desperately confident, and I wound up with the Danish ‘ God save the King* (' Kong Christian*). When I had finished I leave LETTER FROM GOTHENBÜRG. 233 you to imagine the rest, only it certainly was a novelty to see a King running about amongst the musical veterans present, to express his astonishment and hear them confirm it.” The next letter is from Helsingborg, on the way to Gothenburg, where Moscheles, instead of waiting at Copenhagen, wishes to give a concert. “ The passage from Copenhagen to Elsinore took six and a half hours, and three-quarters of an hour in the afternoon to cross the Sound. Here I was advised to hire a carriage, and a compound of coachman and servant, styled a e Husar/ for the journey to Gothenburg. * Glück- licher Prinz/ I can call myself as usual, for I have the most lovely weather.” From Gothenburg he writes : “ The day before yesterday, after despatching my few lines from Helsing- borg, I had a very successful although fatiguing journey. My hired carriage, as they called it, was nothing more than a small seat, attached to a four-wheeled car. My box and portmanteau I had between my legs. I was knocked and thumped about most unmercifully. I could not make out a word my talkati ve Husar said, but I could converse all the more freely with lovely nature, glorious in every climate and under every zone ; here on the shores of the Cattegat displaying an endless variety of romantic rocky scenery, interspersed with noble forests. Generally speaking, the roads were good ; a notice sent on twelve hours before insured us fresh relays of horses, but, alas ! we got the start at Kungsbacka, and found 234 LIFE OF MOSCHELES. out to our dismay that we had in consequence two hours to wait. The comforts of the hostelry consisted of a sort of measly-looking biscuit, and a tallow candle, at which I lighted my cigar, then on we went again in the dark aod rainy night. A halt at eleven o'clock, but not at Gothenburg, merely to fetch an extra horse, as we had a stiff mountain pass before us. At one o'clock, however, the welcome light greeted us from the lantern at the Gothenburg Custom House, more welcome than the police search I had to submit to on alighting. After tremendous knocking at c Blone's Hus,' we aroused a servant girl from her slumbers, but although my bed had been ordered beforehand, all I could get was a room on the topmost story, where my head touched the ceiling. To my question whether I could not have an empty room on the first story I was answered by a Swedish shrug of the shoulders, which was Greek to me. I had a fire lit in my garret, allowed the dense smoke to fill it, wrapped myself up in my furs, and went to bed. My bad temper vanished at the thought of you. Th. Hell's poem ‘ Macht der Frauen' (Woman's Power), which I lighted on acci- dentally, expressed sympathetically my own thoughts. This morning I got the identical rooms I saw last night, they had been bespoken for me. My concert is adver- tised and arranged for the 27th, three days hence, and immediately afterwards I go back again to Copenhagen. I am incessantly occupied with calculations about the Danish and Swedish postal arrangements, to see that A SWEDISH DINNER-PARTY. 235 our correspondence may not be interrupted. In a foreign town like this, I always mount the ramparts, from which I can command a view over the town : how awfully grand these precipices and torn fragments of rock around the harbour, and actually in it ! The winding river ‘Gota-Elf y reminded me of our Elbe, and I was no longer alone. . . . The city has spacious streets and squares, one of which really reminds one of the Linden. The weather is clear and beautiful.” He goes on to tell of two great families, who in all musical matters are the despots of the place, and of course rivals. “ One has a Clementi piano, and the other a Graf. Which shall I choose for my con- cert ? That is f the burning question/ and I answer it by playing on both. Before the concert I attended a real Swedish dinner. The host, a regular character, a fit subject for Hogarth, did the honours at his large dinner party in the queerest fashion, as you will see. First, I must tell you that, before the company sat down, schnaps and herring were relished by gentle- men, standing at a side table, only three glasses being allowed for twenty- five people. We had veal, pike, and soup to begin with, then roast goose, plum- pudding, and splendid fruit for dessert. My ‘ original y is a stumpy man, over sixty years of age, with spark- ling eyes peering out from under his greyish-brown wig, his upper teeth gone, four under teeth remain- ing as a sort of palisade to his enormous, pendent, moist under-lip. He starts every topic of conversation, 236 LIFE OF MOSCHELES. entirely regardless of all the notabilities present, whilst his wife must have signed a silence-clause in her marriage contract. Herr S. was so full of the great event of seeing Professor Moscheles in Gothenburg, and beneath his own roof, that he continued to shower down praises on the Professor in the most ridiculous style, tie too has travelled in foreign parts, there to learn (or unlearn) manners — his wanderings are ä la Wilhelm Meister, he is as sentimental as Sterne ; he has been in England, and feels bound to toast c the Professor/ I give you a slight sample, as faith- fully as I can, of his rigmarole nonsensical speech : ‘ Gentlemen, would it be bold, may I with some confidence use my privilege as master of the house, and make a speech ? Heaven defend that I enjoy the honour and the chance — you, my honoured friends, who know me as a plain honest man to speak — the chance, do I say ? What is chance ? Gothenburg enjoys the honour, &c/ Here followed the most silly compliments to myself, and then again, e Heaven defend, without trenching too near on the modesty of this man — all admiration set apart — will, no doubt, make a lasting impression. Long may he live, the master of music in the kingdom of the beautiful/ You can imagine my state of mind on hearing such a farrago of nonsense ; I had to bite my tongue to prevent myself from laughing. The Governor, the Path, the Commandant of the place, and the other guests, did not seem at all surprised ; AN AFTER-DINNER SPEECH. 237 they must know him. When he had finished his speech, a part song was performed by one amateur, c the refrain/ suggested by the occasion, always being the words : c Es lebe der Meister/ There was a jingling of glasses as I rose from my chair to return thanks, but hardly had I said that it was no accident that brought me there, but a wish on my part to be heard by the art-loving public in Gothenburg, when Herr S. cut me short by modestly interrupting me with : * Heaven defend that the Professor thinks that I think that accident (for everything in the world is accident) has given us, not him, the happiness of seeing a man in our walls whose modesty — Heaven defend — I should offend/ More trash followed. Then the ladies left us, and the gentlemen remained sitting round an enormous bowl of cold bishop. Our hosPs silly tongue never stopped wagging. Songs were sung, they did not much edify me ; as far as I could I remained a passive spectator. After leaving the spacious dining-hall, we passed through several elegant salons, to a room where the Clementi piano stood, and I was obliged to extemporize. This I did in a way to humour the particular kind of audience ; and you may easily guess the result. Schwartz, the pianoforte teacher, and Bärnroth, organist of the Cathedral, proposed that I should play on the organ. This I did the following afternoon, in the presence of the same company. I dashed into it, and worked away at the pedals as though I had Vestris's feet. 238 LIFE OF MOSCHELES. “ My concert was attended by every one with any real or fancied taste or ear for music, so that I had a brilliant and crowded audience. You will see the programme in the newspaper. In obedience to a challenge from the company, I improvised on Swedish airs, which were given to me in writing. I think I must have been pretty successful, for they cheered me lustily, and flocked round me on all sides. All invitations after the concert I firmly refused, for I want to get back as fast as I can. . . . To-night, in spite of all my hurry, I must remain in Helsingborg, where I am writing to you. I have sent you a short ex- tract from my last letter by another and a shorter route than usual, that I may insure your hearing from me.” Moscheles would not go to Stockholm, although he had half promised to play there ; travelling alone was not at all to his taste. From Copenhagen he afterwards writes : u I can*t think of a second concert here, as it would cost a whole fortnight of my time ; consequently there is a great rush to secure seats at my one public performance. “ I have seen the favourite Liederspiel c Elverlioy * (founded on an old Danish fable, with characteristic songs and choruses) and most tastefully arranged by Kuhlau. The overture, which is a compendium of all the music that follows, pleased me exceedingly. I have again paid a two hours* visit to Weyse, for I think him the most interesting person here ; he entertained YVEYSE. KUHLAU. 239 me with learned dissertations on art, considered tech- nically and aesthetically. His fugues are good, his enigma canons really masterly. To-morrow he comes to me, and we shall frequently exchange visits/” On the 10th of November he writes from Copen- hagen : “ Yesterday was a memorable day in my calendar. I was literally besieged from eight o^clock in the morning until six in the evening. People scrambled to get the most expensive boxes, and almost went on their knees for singly tickets ; many had to pocket their money again, for no more tickets were to be had, and I advertised to-day that no money would be taken at the doors. Everything has been sold at double prices ; the result is a net profit of 1500 thalers. Notwithstanding, I should lose too much time were 1 to give a second concert, as Guillou and Milder are fighting for the only possible nights. They both gave their first concerts at the usual prices, and had a good attendance. What can I say about my reception ? Nothing ; you can guess what it was like. Well, the applause grew louder and louder. In spite of my own disloyalty towards the Alexander Variations, I was obliged to play them, as you will see by the programme herein enclosed ; and the Improvisation — well, on that subject I cannot write. Guillou, wdio was going to give his second concert at the usual prices, offered me to join him, and we would have double prices. It only made three days difference to me, so I accepted the offer. 240 LIFE OF MOSCHELES. Well, these three days we can hear like the rest, can’t we ? The concert is announced in G.’s name, with my assistance/’ Later on he writes : “ The same scene enacted at my last concert has now repeated itself, and that too directly the first announcement appeared. Every- thing again sold off at double prices ; 641 thalers came to my share. Besides this, I shall turn snuff- taker, for His Majesty honoured me with the present of a gold enamelled box. Prince Christian sent me a diamond ring ; Frau a gold watch-chain ; I had besides all sorts of complimentary messages from the Court.” The month of December was spent in Hamburg, and at the close of the year we find Mosch eles in Paiis. 241 CHAPTER XIII. 1830 — 1831 . AN ACCIDENT — HUMMEL — MADAME MALIKRAN — MUSIC IN ENGLAND — FAILURE OF BEETHOVEN’S NINTH SYMPHONY — ERARD’s PIANOS — HENRY LITOLFF — NEUKOMM — PHILHARMONIC CONCERTS — FIRST RAILWAY JOURNEY — OPERATIC CELEBRITIES — FIELD’S RETURN TO LONDON — PAGANINI— PRODIGIES FROM THE CONTINENT — VISITS OF INTIMATE FRIENDS — THE REFORM AGITATION — A MUSICAL FESTIVAL — CELEBRATION OF CHRISTMAS. FTER the first six weeks, spent happily in Paris, .1_L the family returned to London. There Moscheles met with an accident. He was thrown from his carriage, but, however serious the accident at first ap- peared, fears of any permanent injury happily proved groundless. Scarcely was his wife relieved from anxiety on his account, when her serious illness (after the birth of a second daughter) weighed heavily on his mind for nearly three months. No wonder that in the diary there is a comparative scantiness of musical incident, when measured by the richer harvest of former years. “ Hummel is here, he intends giving a concert, and happily I can distribute many of his tickets amongst my pupils. I wish I could have talked him over, and VOL. I. K 242 LIFE OF MOSCHELES. prevented his appending so cnrions a notice to his advertisement ; it was to this effect : * People were not to suppose he would play at the Phil- harmonic Concert; only in case a very profitable engagement were offered him, could he be heard any- where except at his own concert/ He hoped by this announcement to undeceive the frequenters of the Philharmonic who might reckon on hearing him there, without going to his own concert. A few days later, at Malibran^s matinee, he made a mistake, in improvising on c God save the King/ for whilst George IV. was still lying dead and unburied, people hardly thought of William IV. For this he was taken to task ^y the public and the press, and, generally speak- ing, he added nothing to the well-deserved laurels he had gathered in Vienna. It was noticeable that he began to dislike trouble and exertion, for he possessed no longer the elasticity requisite for plunging suc- cessfully into the whirl and maze of London life ; besides that, England, proud of Cramer, discovered that his legato was equal to HummePs, and pre- ferred native to foreign talent. Hummel, annoyed possibly at seeing this view adopted by many of the newspapers, refused when asked by Cramer to play a duet with him at his concert, and this refusal created an unpleasant feeling against him. At that time Malibran’s genius and sad fate attracted the liveliest sympathy. Married in very early years to a husband who had been forced upon her, but liberated afterwards MALI BRAN. DE BERIOT. 243 by special favour of the Pope, she had clung to De Beriot with true devotion, and now appeared in London as his wife; but, in this marriage also, hers was the unselfish, self-sacrificing, part; for out of affection for her husband she not only sang in the opera, but, after the fatigues of performance at the theatre, appeared at private or public concerts, “ and,” says Moscheles, “ she always sings exquisitely, and with true inspira- tion ; she is never the mere vocalist, but a musical genius. If obliged to repeat a cavatina, as is gene- rally the case, she improvises new passages more beautiful and original than the first, unsurpassable as they seemed. Her very smile captivates the orchestra and conductor, and she kindles with a spark of her own spirit the most inanimate of orchestral players. Of this fire she has such a quantity in reserve, that she can scatter it about without harm to herself. Some of her lightnings she has darted upon De Beriot’s smooth, finished, but occasionally lukewarm performance, and I plainly enough see Madame in Monsieur’s ‘ B minor Concerto.’ ” In a season so beset with domestic anxieties, Mos- cheles could think of no serious original composi- tions, but was obliged in pursuance of a contract to finish some of his light fashionable pieces, such as the “ Gems ä la Malibran a light pot-pourri of her most popular songs, written in the closest possible imitation of her original € fioriture/ which Moscheles had committed to memory. On the eve of his cwn r 2 244 LIFE OF MOSCHELES. concert already advertised, and with a view of bring- ing out some novelty, he put together within a few days his “ Recollections of Denmark,” the echo of his travels in that country ; and these national melodies lost none of their effect by the composer’s treatment. We find constant complaints this year about the condition of music. “ It is a mistake to give at every Philharmonic Concert two symphonies and two over- tures, besides two grand instrumental and four vocal pieces. I never can enjoy more than half.” Another time we read : “ Beethoven’s Ninth Symphony failed ! What am I to think of this ? Must the fault be laid at the director’s door? Are the orchestral players or the public to blame? I do not know; but things shall not remain so.” And as a fact they did not re- main so, for when the Directors, after this and another abortive attempt in the year 1824, determined never to produce the work again, persuading themselves into the belief that the deaf composer had written some senseless trash because he never heard it, the German press beat the alarm so furiously and lashed so mercilessly the depreciators of this colossal work, that the production and proper appreciation of it in England was made a point of honour. It took several years to convey to the English public the correct perception and appreciation of this Symphony, and later on we shall see that the Philharmonic Society turned to Moscheles for directing the study and re- FAILURE OF BEETHOVEN^ NINTH SYMPHONY. 245 liearsals of the work, and making it accessible to the public. This once done, the Symphony maintained its place in the programmes of the Society. Looking further on in the diary, we find the follow- ing notice : — “ What musical follies are daily perpe- trated, for one shilling a head, in the Egyptian Hall ! Michael Boai, a German, who hits his chin with his fists, producing thereby sounds in which a tune is discernible and variations thereon, and an English- man who pretends he can produce two tones at once by humming like a clarionet and muttering a bass tone simultaneously. What rubbish all this ! Equally ineffective is a band of Russian horn-music, each member having a reed-pipe capable of producing but one note, which, in the performance of pieces, he brought in with unerring precision.” Important in the history of pianoforte-playing is the fact that Erard's pianos became very popular, having attained this year a great excellence. “ The touch in particular is vastly improved, I begin to revel in these instruments.” When the season was over the family went to Ryde, in the Isle of Wight, the Revolution in Paris inter- fering with their intended visit to that city. “Charles X. set aside for Louis Philippe, and now an exile with his family at Castle Lulworth. What a change ! ” At Ryde, where Moscheles revelled in his Erard piano, he composed the “ Recollections of England,” which he dedicated to Queen Adelaide, and the 246 LIFE OF MOSCHELES. C minor Trio, dedicated to Cherubini. In the latter half of the autumn Moscheles moved to 3, Chester Place, PegenPs Park, where he lived for more than sixteen years, before he finally quitted England and settled in Leipzig. At one of the first parties given in his new house, the new Trio was played, with Lindley and Cramer, before many enthusiastic friends, and Moscheles* home henceforth became a place where artists were always welcome. With so kind a host — himself free from envy and jealousy — they could forget all rivalry and meet on neutral ground. In January of 1831 Moscheles made a short pro- fessional tour to the provinces (York, Leeds, Derby), where he laboured to improve much that was defective in the condition of music. We have seen how Moscheles, starting as a bravura player, gradually took broader views of his art both as a composer and player. His powers steadily matured, and this year we find in his compositions and execution a depth of feeling and expression in advance of former years ; witness the adagio of his Concerto in C major, written about this time, and the new Trio, upon hearing which Hummel said that no modern pianoforte player but Moscheles could write such an adagio. It should, however, be stated here that this progress, although mainly originating with Moscheles himself, was greatly favoured by the improvements made in Erard*s pianos ; their organ-like tone and full resonant sounds gave Mos- HENRY LITOLEE. NEUKOMM. 24 ? clieles such pleasure that no doubt he had every in- centive to bring into relief these great excellences, and display them in his adagios. “ A very violon- cello,” he used to say, praising the tone, which he could prolong without using the pedals ; to the ex- cessive use of these he had a rooted aversion. “A good player,” he used to say, “ must only rarely use the assistance of either pedal, otherwise he misuses it.” Frequently he would listen to an excellent piano- forte player, praise him in many respects, adding, “ I wish he had not his feet so perpetually upon the pedals. All effects now it seems must be produced by the feet — what is the good of people having hands ? it is just as if a good rider wanted for ever to use spurs.” Amongst his pupils of those days was Henry Litolff, then a boy of ten years of age, who was in- troduced to him by his friend Collard as a poor, clever, but rather neglected child. Moscheles imme- diately recognised his talent. His father-— an Aisar tian, who with difficulty supported his large family by playing dance-music — was too poor to have a piano for his son Henry, who practised in Collard/s ware- house, and was so well prepared at every lesson that he delighted and surprised Moscheles with the playing of his Studies and Concertos. The leading musical star on the dreary horizon of this winter’s season in London was Neukomm. He had written for the impending Philharmonic Concerts a new Symphony in E flat major, which, according to 248 LIFE OE MOSCHELES. Moscheies, was “ lacking in Attic salt;” and yet in the course of this year he was destined to achieve great popularity, which he owed to some extent to some spirited verses by Barry Cornwall. “ David*s Lament for Absalom,” declaimed in deep tragic tones by Braham, and “ The Sea,” by Phillips, given with all the spirit due to a national song, were frequently items in the programme, but so powerful an im- pression was made by the “ Midnight Review,” that Moscheles was obliged to write a Fantasia upon it. This production, regarded by its author as a step- child, was called by his pupils “charming” and “delightful,” and was played by many a fair lady. About this time Neukomm’s more serious works were given, and his oratorio the “Ten Commandments” put into rehearsal for the musical festival at Derby in September, after having been given with the greatest applause by the Classical Harmonic Society in London. A performance of the work on a small scale was arranged at Mosch eles* house, with Madame Stockhausen and Clara Novello for the solo singers. Moscheles, who appreciated the high musical cultivation and artistic aims of his friend, says of him : “ I am sorry he writes such an inordinate quantity of music, and carries out the prin- ciple which he advocates : that one must be writing daily. What becomes then of inspiration, which alone shields one from vulgarity ?” NeukomnPs society was highly prized in Moscheles* household, where he went by the name of the “ Encyclopaedia FIRST RAILWAY JOURNEY. 249 for whoever wanted information on any subject w T as sure to get it from him. In criticising the Philharmonic Concerts of this year Mosch eles finds fault with the “ conductor still sitting at the piano, and turning over the leaves of his score ; without a baton of course he has no influence over the band, which is under the sole command of the first violin— a process leading to constant unsteadi- ness in the performance of large orchestral works. In the programmes the most heterogeneous things are often huddled together, orchestral works alter- nating with chamber music ; then again, we have the first part of Spohr's c Last Judgment * and a miscel- laneous second part by other composers. That doesn't suit a German ear ; what would Spohr say to it ?” In February Moscheles, on a professional tour in the north of England, speaks of his first railway journey. “ On the 18th I went by rail from Man- chester to Liverpool ; the fare was five shillings. At 1*30 I mounted one of the omnibuses, which carried all passengers gratis to the great building called the c station/ Eight to ten carriages, each about as long as an omnibus, are joined closely to one another; each carriage contains twelve places, with seats like comfortable arm-chairs ; at a given signal every traveller takes his place, which is marked with the number of his ticket, and the railway guards lock the carriages. Then, and not before, the engine is at- 250 LIFE OF MOSCHELES. tached to the foremost carriage ; the motion, although one seems to fly, is hardly perceptible, and the traveller is amazed when he looks out of the win- dow and observes at what incredible speed the train approaches the distant object and suddenly whirls by it. Words cannot describe the impression made on me by this steam excursion on the first railway made in England, and the transports I felt with an invention that seemed to me little short of magic. The famous engineer, Sir John Stephenson, has realized his project amidst untold struggles and diffi- culties.” Coming back to London, he reports of his visit to the theatre. “ A new opera by Pacini — f Pompeii / the beautiful scenery is the only part I cared for, the horrors of the night of the city’s destruction being represented in a masterly way.” Then again : “ Saw Kean as Richard the Third ; he makes one shiver in one’s shoes, but rants too much — perhaps because he is too old, and yet deter- mined to make his points.” He is enthusiastic on the subject of Pasta and her magnificent acting. “ The voice, at first veiled, comes out triumphantly at a later stage, like the sun breaking through the mist. “ Lablache, with the grandest of all voices — the ‘ voce sul labbro’ — his drollery, especially in the ‘Bar- biere/ and his deaf old man in the Matrimonio Segreto, can never be surpassed. Rubini, too, is TAGLIONI. — FIELD. 251 exquisite ; the ballet of c Kenilworth/ representing the whole of Scott’s romance, is beautifully put upon the stage. Taglioni, in every ballet in which she appears, is as ladylike as she is graceful, a danseuse quite unique and enslaving every one/’ Moscheles says of Field, who after a twenty-five years’ absence appeared once more in London : “ His legato playing delights me, but his compositions are not at all to my taste ; nothing can afford a more glaring contrast than a Field’s ' Nocturne ’ and a Field’s manners, which are often of the cynical order. There was such a commotion yesterday amongst the ladies, when at a party he drew from his pocket a minia- ture portrait of his wife, and loudly proclaimed the fact that she had been his pupil, and that he had only married her because she never paid for her lessons, and he knew she never would. He also bragged of going to sleep whilst giving lessons to the ladies of St. Petersburg, adding that they would often rouse him with the ques- tion, ‘ What does one pay twenty roubles an hour for, if you go to sleep ?’ He played to us a good deal in the evening ; the delicacy and elegance, as well as the beauty of his touch, are admirable, but he lacks spirit and accent, as well as light and shade, and has no depth of feeling.” At evening parties Moscheles had to endure a great deal of amateur music, and often played as a matter of self- protection, where otherwise he would have declined. On the other hand he never wearied of 252 LIFE OF MOSCHELES. making music with his brother artists. At his annual concert, which was densely crowded, he introduced the “Recollections of Denmark/'’ with their original northern melodies, and, for the first time on such an occasion, used an Erard in preference to a Clementi piano. Paganini made his appearance in London, and public attention was concentrated on him. All sorts of scandalous stories about him had already circulated in England, as well as upon the Continent. He was sup- posed to have murdered his own wife, and during the years of his imprisonment to have taught himself upon the single G string which remained to his violin those “ tours de force ” with which he astonished foreigners first, and the English afterwards. Then his avarice was supposed to border on the fabulous, and his appearance reminded one of an apparition from the realm of ghosts. Mr. Embden (Mrs. Moscheles' father), a great lover of music, had, previous to Paganini's visit to England, rendered him substantial service by securing him an engagement of a most lucrative kind, which but for such timely aid, he would never have succeeded in obtaining. “ On his first visit to us, his gratitude found vent in such exaggerated expressions as are known only to an Italian vocabulary ; we were the children of his ‘ onoratissimo, &c./ and he took down from the mantelpiece a miniature portrait of his bene- factor, covered it with kisses, and addressed it with the most high-flown epithets. Meantime, we had leisure to paganini’s first visit to England. 253 study those olive-tinted, sharply defined features, the glowing eyes, the scanty but long black hair, and the thin, gaunt figure, upon which the clothes hung loosely, the deep sunken cheeks, and those long bony fingers. Our study and his deluge of compliments both well over, we began to discuss Paganinis plans, the first of which, that of playing at double prices in the Italian Opera House, had come to nothing, owing, it is said, to the opposition of the Duke of Devonshire. Suffice it to say that only two boxes were sold, and the concert had to be given up. This induced him to play in the Opera House at the usual prices." We read later on : “ My assistance is of use to him here, and I am paid with quite as many honeyed epithets as my father-in- law received. This face of mine is as much kissed as my father-in-law^s painted one. Paganini often comes to us. We receive him well, although I suspect he is rather too sweet to be genuine." The impression made by Paganini at his first concert w'as overwhelming. “ The crowd in the Opera House was wild with excitement. He had to play nearly everything twice over, and was not only greeted with vehement clapping of hands, but every lady leaned forward out of her box to wave her handkerchief at him ; people in the pit stood up on the benches, shout- ing c Hurrah ! Bravo ! 9 Neither Sontag nor Pasta made such an impression here, much less any other artist." Moscheles complains in his diary of his utter inability 254 LIFE OF MOSCHELES. to find language capable of conveying a description of Paganini’s wonderful performance. “ Had that long- drawn, soul-searching tone lost for a single second its balance, it would have lapsed into a discordant cat’s-mew; but it never did so, and Paganini’s tone was always his own, and unique of its kind. The thin strings of his instrument, on which alone it was possible to conjure forth those myriads of notes and trills and cadenzas, would have been fatal in the hands of any other violin player, but with him they were indispensable adjuncts, and lastly, his compositions were so ultra original, so completely in harmony with the weird and strange figure of the man, that, if wanting in depth and earnestness, the deficiency never betrayed itself during the author’s dazzling display of power.” The fever of enthusiasm continued, and to enable Paganini to understand the rapturous phrases in the newspapers, Mrs. Moscheles translated them into Italian for him ; these encomiums, high-flown as they were, were outdone by Paganini’s own letters of gra- titude. Paganini is frequently at friends’ houses, where he plays both violin and tenor alternately in his own quartets. Mori commissions Moscheles to write for him a piece, “ Gems ä la Paganini,” but takes the precaution of first securing Paganini’s consent. A day and a half suffice to complete this composition, and then Mori and Moscheles go together to the wily Italian. Moscheles plays to him his “ Musical Portrait,” a piece written in close imitation of MOSCHELES’ OPINION OF PAGANINl’s PLAYING. 255 Paganinis roulades and cadenzas. Paganini falls on his neck and smothers him with compliments. “ This wonderful imitation, this manner, this accurate render- ing of his cadenzas, he found r stupendous/ ” At that moment of course there was but one Moscheles. What was Hummel in comparison ? Hummel and others had also written Fantasias “ ä la Paganini,” but they had displeased him ; he had protested against them. This arrangement was the only right one, a real honour to him,” &c. &c. He went on in this strain : but we shall see further on what amount of sincerity and truth lay beneath it. Of course Moscheles heard him frequently, in order to study his manner and style more accurately. After the sixth concert he makes the following admission: “ My mind is peculiarly vacillating about this artist. First of all, nothing could exceed my surprise and ad- miration ; his constant and venturesome flights, his newly discovered source of flageolet tones, his gift of fusing and beautifying subjects of the most hetero- geneous kind ; all these phases of genius so completely bewildered my musical perceptions, that for several days afterwards my head seemed on fire and my brain reeled. I never wearied of the intense expression, soft and melting like that of an Italian singer, which he could draw from his violin, and dazzled as I was, I could not quarrel with him for adopting the c maniera del gatto/ a term of opprobrium, showing how averse the Italians are to this style, which I dis- 256 LIFE OF MOSCHELES. like so intensely that I should only like to hear it once in every leap year. Suffice it to say, my admira- tion of this phenomenon, equally endowed by nature and art, was boundless. Now, however, after hearing him frequently, all this is changed ; in every one of his compositions I discover the same effects, which betrays a poverty of invention ; I also find both his style and manner of playing monotonous. His con- certos are beautiful, and have even their grand mo- ments ; but they remind me of a brilliant firework on a summer’s eve, one flash succeeding the other— effec- tive, admirable — but always the same. His e Sonate Militaire/ and other pieces, have a southern glow about them, but this hero of the violin cannot dispense with the roll of the drum ; and completely as he mav annihilate his less showy colleagues, I long for a little of Spohr’s earnestness, BailloPs power, and even Mayseder’s piquancy. It may possibly be that the man, who grows more and more f antipatico* to me every day, prejudices my judgment of the artist. He is so disgracefully mean. I cam’t vouch for the truth of the story, that he gave his servant a gallery ticket on the condition of his serving him gratuitously for one day, but this at all events is certain, that Lablache offered him 100/. to play at his benefit, but Paganini refused, and the great singer had to allow him one-third of the receipts of his concert. When the Opera concerts, thirteen in number, ceased to command full attendances, he began a series PAGANINI THREATENS A LAWSUIT. 257 in the London Tavern, in the City. This was thought unworthy of a great artist ; but it was all one to him, for he makes money there.” The letter which supplies these extracts was written in July. A few weeks later, immediately after the publication of the second and the third book of the u Gems,” Paganini made a legal protest, declaring the w r ork a musical piracy. Of course this was a question concerning the publisher. Moscheles however went to Paganini and asked him : “ Why, didn't you give me your permission ?” Answer ; “ Yes, for the first book, but not the second and the third.” The conversation led to nothing ; Paganini went to Scotland, and the lawsuit continued. On his return, Paganini visited Moscheles, and, after a great deal of circumlocution, offered him the free sale of the three books of “ Gems,” if he would consent to make a pianoforte accompani- ment for twelve small violin pieces of his own. Mos- cheles gave a rather unwilling consent ; refusing, how- ever, Paganini's further demand that he should put his name to the title-page. This point Paganini gave up, and then a discussion ensued about the law costs. At last Mori was glad to be moderately victimized, Paganini having at first talked about no less than 500/. damages, and Moscheles rejoiced “ at being quit of an episode so little worthy of an artist, and having done with those dreadful lawyers.” This business over, Moscheles applied with fresh zest to his peaceful studies, but the following note VOL. I. s 258 LIFE OF MOSCHELES. proves how often they were interrupted. “ All the would-be prodigies from the Continent visit me, and I have had such heaps of them lately, that I could almost fill an orchestra with the new arrivals/' 7 On the other hand, he had the pleasure this year of seeing many intimate friends ; Paul Mendelssohn (Felix's brother), Professor Fritz Rosen, and Klinge- mann. To these must be added the names of Professor Grahl, a portrait-painter, and a young phrenologist, of the name of Holm, who was indebted to Neukomm for an introduction to Moscheles. That fearful scourge, the Asiatic cholera, made Mos- cheles deeply anxious about his friends and relatives abroad, and we find him writing to them : “ True, when thinking of you we have many an anxious hour, but my art, as well as my trust in God's mercy, must help us to tide over our anxiety." Fortunately none of his friends at Hamburg or Vienna were attacked. The great political reform at that time agitating England is frequently alluded to in Moscheles’s letters. It was after the rejection of the Reform Bill and the dissolution of Parliament that he happened to go to a ball in Camberwell. “ The most interesting part of it was the driving there and back. You know, from tbe newspapers, that many people illuminated in honour of the dissolution. Many, however, refused to do so, and fared badly, for the mob smashed their windows. The whole way to Camberwell, seven English miles MUSICAL FESTIVAL AT DERBY. 259 in length, nearly every house was illuminated, and many transparencies bore the most ludicrous inscrip- tions. * The Bill ! the whole Bill ! and nothing but the Bill P A patriotic butcher flaunted the following sentiment : ‘ The enemies of Reform, to be sent to the dominions of Don Miguel/ c William the Restorer P and * William the Patriot King P were to be read a hundred times over, but the owners of some houses obstinately refused to illuminate. The principal streets were besieged by an enormous crowd which stopped all traffic in the thoroughfares/' At this period Moscheles seems to have been ubiquitous. He was present at the opening of the new London Bridge, and saw a splendid pageant upon the Thames. King and Queen, with Lord Mayor and Aldermen in their mediaeval dresses, servants and retinue, made up a picture of costume that took the spectator back to the days of the Tudors. After a few quiet days at Richmond, Moscheles went to Derby, to attend a musical festival, where Neukomm' s oratorio, “ The Prophecy of Babylon," and his most popular songs were performed. “ The mixture of sacred and secular music was rather too much for me, but I was compensated by hearing Handel's c Messiah/ Amongst the singers were Madame Stockhausen, Miss Masson, and Phillips — always first-rate/' “ Derby. — The Committee is hardly satisfied with the pecuniary results of the Festival, two hundred s 2 260 LIFE OE MOSCH ELES. tickets at a guinea each, two hundred at twelve shil- lings, and two hundred at seven shillings, being all that were sold” On Christmas Eve the Moscheles, after the good old German fashion, have their gorgeous Christmas tree, and Barry Cornwall and Neukomm add to the children's merriment— the former writing a poem, the latter setting it to music, with an obligato ac- companiment of “ Mirlitons ” Judging by the encores, which were no less than five, the piece, w 7 ith its chorus of sighs and the children's laughter, must have been a grand success. 261 CHAPTER XIY. 1832. MOSCHELES AS AN ORCHESTRAL WRITER — DEATH OF CLEMENTI— * GERMAN OPERA IN LONDON — THE ITALIAN OPERA — “ ROBERT LE DIABLO’ — CENTENARY OF HAYDN’S BIRTH — THE ELDER MATHEWS — PIANISTSAND PRIME DONNE — LITERARY AND ARTISTIC FRIENDS— Mendelssohn’s “lieder ohne worte’’ — art congress — ANECDOTE OF SCHRÖDER — MOSCHELES* BIRTHDAY — PAGANINI — VISIT TO BERLIN — INTERCOURSE WITH THE MENDELSSOHNS LEIPZIG AND WEIMAR — SOUVENIR OF GOETHE — AT THE PAVILION, Brighton — Beethoven’s “messe solennelle.” RITING about the Philharmonic Society, Mos- ▼ t cheles says : “ I had the honour of being made a Director, and I was elected, they tell me, without a single black ball ; there are seven of us, however, six of whom agree in their views; they are the con- servatives, whilst I alone advocate musical reform. Several matters are uncongenial to me — but I am out-voted. Grand orchestral works and quartet music are played at one and the same concert, third- rate singers are engaged; the antiquated Trio by Corelli is to be heard year after year, played by those old campaigners — F. Cramer, Lindley, and Dragonetti, radiant with complacent smiles and triumphant airs. Lindley, with his inevitable Cadenza, seems to lead up to a. happy close, but it is only to 262 LIFE OF MOSCHELES. return to his everlasting arpeggios and flageolet tones. It reminds me of the fly which will come back to the sugar on the plate. And yet this has its charms for a certain class of subscribers. No wonder they donT venture on Beethovem’s last quartets. Moscheles gave his new Symphony, and played his new C major Concerto. “ I donT set much store,” he says, “ upon the praise bestowed, on my new things, for this audience applauds even common-place music.” The Symphony was repeated several times, but Mos- cheles (who was always a severe critic of his own playing and compositions) soon discovered his in- feriority as an orchestral writer to many of his con- temporaries, and acknowledged that his beloved Mendelssohn had already far outstripped him. The instrumentation of Moscheles'’ G minor Concerto, which to this very day is so effective, warranted people in expecting that the composer, who was very young at the time, would further distinguish himself as an orchestral writer, and the ballet “ Les Deux Portraits,” composed in his earliest days at Vienna, had won for him the favourable suffrages of competent art ’judges ; but Moscheles, although he made some attempts later on in life, saw clearly that the piano was always his peculiar and legitimate field — that in composing for that instrument he could benefit and delight others. He therefore confined him- self chiefly to pianoforte compositions, and not un- frequently introduced into these great orchestral effects. DEATH OE CLEMENTI. SCHRÖDER, 263 In the early part of this year Clementi died, at the age of eighty- four years, and was followed to his grave in Westminster Abbey by many of his brother- artists. The Philharmonic Society, wishing to honour his memory, gave a performance of Mozart's “ Requiem ,” but that noble work was utterly out of place in the midst of all sorts of secular music. Cinti on the same evening created a “ furore ” with the cavatina from the “ Barbiere,” whilst no one seemed to understand Mendelssohn's “ Hebrides Overture,” which was coldly received. Here was a commemorative festival, which did no honour to Clementi nor to those who survived him ! The melodrama “ Rob Roy” — founded on Walter Scott's romance — was successful, and at a time when the poet, alas ! lay dangerously ill in a London hotel. Braham, in spite of his advanced years, was still admirable in “ Fra Diavolo and the inimitable Mars as great as ever in the part of Valerie. The German opera, with Schröder- De vrient, Haizinger, Hauser, etc., had a long run of unbroken successes. Schroder's Fidelio, always grand, need only be alluded to in these pages, which frequently record her triumphs. The charming artiste used to sing in Moscheles' house, to the delight of her host and hostess, and when they thanked her she would reply, “ It's a pleasure, children, to sing for you ; here I can do as I like, but oh ! the horror of a stiff English soiree, where the ladies stare at me, and quiz my behaviour.'’ 264 LIFE OF MOSCHEJ.FS. The new director of the Italian Opera was Monk Mason. He had bought the score of “ Robert le Diable ” for England, but the pianoforte edition had only just been published, when the English theatrical managers laid violent hands upon it, having it scored by English composers and sung by English singers. “ I attended,” says Moscheles, “ one such mongrel representation, and found in that piece of patchwork, ‘ The Demon/ Meyerbeer’s best intentions utterly destroyed ; fine scenery and ignorant listeners could alone save this performance from complete failure. Drury Lane, in rivalry with Covent Garden, wanted to produce another version, and having better singers partially succeeded ; still there was no Meyerbeer in it.” On the 31st of March, the centenary of Haydn's birth was celebrated by a banquet, which is alluded to in the diary. “ Ninety-two of us musical men attended the dinner ; the ladies occupied the gallery. Barry Cornwall wrote a song in praise of the great musician, and Neukomm introduced into his com- memorative ode a number of his old master's most beautiful airs. Field, Bohrer, and I played ; we had choruses out of the ‘ Creation,' and the music was worthy of the occasion, but the endless toasts spoilt everything. Not only did we drink to the memory of the ‘ immortal Haydn,' but all musical celebrities, living and dead, absent and present, were toasted ; the consequence was that some of the executants' fingers CENTENARY OE HAYDN'S BIRTH. MATHEWS. 265 were rather heavy when it came to the second part of the music. We Germans on this occasion had clearly the best of it.” We again find allusions to formal and distasteful musical soirees ; but on the other hand Moscheles speaks with delight of Mathews, the famous comedian, who at a private party improvised scenes illustrating the recent opening of the new London Bridge. “ His changes of voice and exquisite drollery belonged to a high order of wit.” On the 14th of April we read : “ Yesterday, the Reform Bill was passed, and to-day, at a dinner party, we heard interesting discussions on this subject ; but, alas ! a great musical soiree followed, attended by the whole Tory party, the Duke of Wellington at the head. One cannot play one's best in the presence of these great men, who concentrate all their attention upon an Italian prima donna ; it doesn't matter whether I or any other artist plays the piano, they don't care about it, their applause on these occasions, I regard as an expression of delight that they have got rid of me. My wife and I sacrifice as short a time as possible to such soirees, and hurry home again, as soon as good manners will allow us.” In the quiet of his own home, Moscheles found his real element of happiness, brightened as it was by the faces of many dear and distinguished friends. More than one is still amongst us to remember that home where social intercourse and the cultivation of art for 266 LIFE OF MOSCHELES. its own sake were so happily blended, and will recall to mind the image of Moscheles as he would alternately play, listen, or converse, or as he would sit correcting proof sheets, not only of his own works, but of those of friends who frequently delegated such duties to him. Chorley, the well-known art-critic of the Athenäum who now settled in London, soon became intimate with the Moscheles, and was for many years their highly-esteemed, generous, and often indispensable friend. The respected authoress, Mrs. Bowdich Lee, whom Cuvier complimented as a first-rate naturalist, was not only a constant visitor at Chester Place, and a keen enthusiast for good music, but she took pleasure in instructing and amusing the children. We read in the diary of Meyerbeer's arrival, and of many interesting meetings with that amiable and gifted artist, who, as an old friend, soon felt himself at home under Moscheles' roof, but the crowning joy of all was the arrival of Mendelssohn, who, to the delight of Moscheles, appeared in London on the 23rd of April. “ We had been long expecting him, but a slight attack of cholera detained him in Paris. He now swum back to us islanders laden with his precious cargo of new compositions ; now the glorious days return again." To illustrate the great intimacy existing between Mendelssohn and Moscheles, we need only let the diary, the record, as it is, of an almost daily meeting of the two friends, speak for itself: — MENDELSSOHN IN LONDON. 267 On the 24th of April, the day after his arrival, Mendelssohn, after dinner, played to Moscheles for the first time his so-called “ Instrumental Lieder für Clavier," now the famous “ Lieder ohne Worte,"* and his “ Capriccio in B minor “ all his music breathes spirit and life, the Lieder are full of deep feeling and tenderness, and his ‘ Capriccio* is suited to the concert room. He was particularly pleased with the Adagio in my new C major Concerto." “April 25th. — Mendelssohn, Klingemann, Meyer- beer, and Madame Schröder-Devrient dined with us. Felix and I played his Symphony ; he made me repeat my Concerto, and Schröder delighted us with her singing/* “ April 28th. — Rehearsal of the Philharmonic Con- cert, where a regular Art Congress assembled, includ- ing Mendelssohn, Lablache, Field, and J. B. Cramer; in the evening we joined Meyerbeer in his box at the Opera, and saw ‘ II Barbiere* with Cinti and Lablache ; it was a first-rate performance.** “ April 30th. — To-day Mendelssohn played us his Cantata ‘Die Erste Walpurgisnacht,* which I had heard and admired in former days in Berlin. Now that he has completely re-written it, I admire it still * In the original MS. in my possession the title-page, in Mendels- sohn’s handwriting shows that he first named these “Six Songs for the Pianoforte alone,” which he corrected to “Melodies for the Pianoforte,” composed by Felix Mendelssohn-Bartholdy. London : published (for the author) by Novello, 67, Frith Street, Soho. Bonn, by N. Simrock. Paris, by Maurice Schlesinger. — F. Moscheles. 268 LIFE OF MOSCHELES. more. He also played me that charming Liederspiel, c The Son and Stranger/ written for the silver wedding of his parents, and lastly his overture to the ‘ Hebrides/ My wife’s invitation for this evening he answered in the following way, c I thank Mr. Moscheles ex- ceedingly for wishing to see something of my new compositions, and if he promises to tell me when he has had too much of me, I will bring a whole cab- load of manuscripts to your house, and play every one of you to sleep/ ” “May 1st (Sunday). — Mendelssohn and Klinge- mann came to the children’s one o’clock dinner. The former gave me the score of his overture to the * Hebrides,’ which he had finished in Rome on the 16th of December, 1830, but afterwards altered for publication. I often thought the first sketch of his compositions so beautiful and complete in form that I could not think any alteration advisable, and during our stroll in the Park we discussed this point again to-day. Mendelssohn, however, firmly adhered to his principle of revision.” Madame Moscheles writes : — “Our interesting guests at dinner were the Haizingers; he the admirable tenor singer of whom the German opera company here may well be proud, she pretty and agreeable as ever ; we had too our great Schröder, and our still greater Mendels- sohn. The conversation of course was animated, and the two ladies were in such spirits that they not only told anecdotes, but accompanied them with dramatic PERFORMANCE OF ec FIDELIO." 269 gestures. Schröder, when telling us f how he drew his sword/ flourished her knife in a threatening manner towards Haizinger, and Mendelssohn whispered to me, r I wonder what John (the footman) thinks of such un-English vivacity ? To see the brandishing of knives, and not to know what it is all about ! Only think ! ' We had the most beautiful music in the evening, one artist surpassing the other/' “ May 7th. —To-day with Mendelssohn at a dinner party, where he would not play, and Field was a poor substitute." “ May 8th. — A charming, homely evening with Mendelssohn and Klingemann; we cut a thousand jokes, whilst planning our programme for our evenmg party on the 10th of May." “ May 9th. — In Meyerbeer's box to see the first German representation in the Italian Opera-house. c Der Freischütz,' was given, with Madame Meric, Maschinka, Schneider, Haizinger, and Hauser the chief singers, Chelard conductor. Everything went well ; the public called for the singers repeatedly, and cheered them enthusiastically." “ May 10th. — Our grand soiree ; we had a happy union of German and English music." Between the 11th and 16th of May, the friends met every evening. “May 18th. — First representation of 'Fidelio' for the debut of Schröder-Devrient ; she and Haizinger inimitable, and the public so enthusiastic during the 270 LIFE OF MOSCHELES. whole evening, that the ‘ Overture/ the c Canon/ the c Prisoners' Chorus/ and the whole c Finale ' were encored." The following comic episode will perhaps he new to some of our readers : — “ In that deeply tragic scene where Madame Schroder (Fidelio) has to give Haizinger (Florestan) a piece of bread which she has kept hidden for three days for him in the folds of her dress, he does not respond to the offer ; she in rather strong language whispers to him, with a coarse epithet ; ‘ Why don't you take it ? Do you want it buttered ?' All this time, the audience, ignorant of the by-play, was intent solely on the pathetic situation." “ May 20th. — Mendelssohn breakfasted with me, ana we began the day with music, and afterwards strolled into the Park. In the evening Haizinger came, and I tried with him a new variation which he is to sing at my concert, in the f Abschied des Trouba- dours.' " “ May 21st. — With Mendelssohn, at John Cramer's concert." “May 24th. — Second representation of ‘ Fidelio/ if possible, finer than the first. But is it credible that the Directors made Lee, the able violoncello-player from Hamburg, play some variations after the opera was finished, and had an act of { Otello' to wind up with? We could not stay out such a tasteless exhibition." “ May 25th.— After giving my inevitable nine lessons Mendelssohn’s g minor concerto. 271 I was permitted to enjoy Mendelssohn's society at dinner. In the evening he played his charming c Capriccio in B minor/ at Mori’s concert/'’ “ May 28th. — Rehearsed for my concert f Mozart's Concerto for Two Pianos/ with Mendelssohn at Erard's. Felix dined with us, and in the evening we went to- gether to the Philharmonic Concert ; he won a genuine triumph by the performance of his new * G minor Concerto/ Invention, form, instrumentation, and playing : everything gave me perfect satisfaction. The piece sparkles with genius/' “ May 29th. — My wife had prepared a pleasant surprise for me. Mendelssohn and the German artists came to dine with us on the eve of my birthday. Madame Haizinger recited a Prologue by Klinge- mann, explaining that to-morrow being a busy day, they had anticipated the celebration. A packet was then handed to me, containing a sheet of paper on which Mendelssohn had transcribed a regular catalogue of the themes of my works, illustrating them with humorous drawings in the margin. I was, however, allowed no time to study the interesting present, for a four-part song broke in upon us ; then Schröder, the Haizingers, and Hause, sang a Canon by Mendelssohn, upon four lines of a stanza written for the occasion by Klingemann ; the music founded on the motivo of my { C major Concerto/ It was a charming fete for me, as an artist and a man." “ May 30th. — Mendelssohn, Klingemann, and our 272 LIFE OF MOSCHELES. mutual friend, Dr. Fritz Rosen, Professor of Sanscrit in the University of London, at dinner.” In the month of June we find Mendelssohn playing with Moseheles at his own concert, besides giving a masterly performance of fugues in St. Paul's Cathedral, and playing at the Philharmonic Concerts, where he is obliged to repeat, amid salvos of applause, the whole of his “ G minor Concerto.” “ The quiet evenings,” observes Moseheles, “ when we chat and make music together, are incomparably delightful. To-day we went carefully through his pianoforte duet arrangement of the r Midsummer Night's Dream •/ this is just about to appear in print. The dinnerparty to-day at Sir George Smart's — the first since his marriage with the charming Miss Hope — was very agreeable ; the music was worthy of the occasion.” Further on Moseheles writes : “ Mendelssohn and I admire Horsley’s glee f Cold is Cadwallo’s Tongue/ The death of the Celtic hero could not have been be- wailed in more tragic tones than in this glee Again we agree about Paganini ; he has just returned to London and played in public, but no longer exercised the old charm over us. That eternal mawkish- ness becomes at last too much of a good thing.” On the 22nd of June Mendelssohn comes to take leave. “We were in high spirits, talked in riddles; but when the parting moment came, it was a melan- choly business.” As late as the 24th of June we still find Moseheles VISIT TO MENDELSSOHN. 273 busy. ce I slept for once up to eight o'clock. This morning I listened, as I was dressing, to little Litolff, who had come for his promised lesson. Then a hasty breakfast, but whilst I was sipping my first cup of coffee, in came the Ladies B who stayed so long that I had to make up my mind to give Litolff his lesson in their presence. Next in turn was a Viennese pianist, who brought a Rondo, the chief feature of which was a r Crescendo ä la Rossini.' Close on his heels came the two Eichhorn boys, who had to wait whilst I saw the doctor. No sooner had he gone than I had the exquisite treat of hearing the boys play, and as a finale : — enter a musical friend, with an insatiable appetite for my performances." The month of July, allowing for business “ poco a poco decrescendo," differs very slightly from its pre- decessor, but the hour of release is at hand, and on the 14th of August Moscheles gets away for his quiet holiday-time with his relatives in Hamburg. His ideas of happiness consisted, as we know, in composing and playing ; and this he did privately with the best artists of the town, publicly for charitable objects. On the 4th of October the family went to Berlin to meet Moscheles' mother, who for the first time enjoyed the happiness of seeing her grandchildren. Of course the great centre of attraction was Felix Mendelssohn, and the house of his parents. The father was Moscheles' confidential adviser in matters of business, and . as to music, Moscheles says : u I VOL. I. T 274 LIFE OF MOSCHELES. practise daily on Felix's magnificent Erard, and lie is going to lend it to me for the concert ; we often extem- porize together, each of ns trying to dart quick as lightning on the suggestions implied by each other's harmonies, and to construct others upon them. Then Felix, whenever I introduce any motive out of his own works, breaks in and cuts me short by playing a subject from one of my compositions, on which I retort, and then he, and so on ad infinitum. It's a sort of musical blindman's-buff, where the blindfolded now and then run against each other's heads." On the 11th of October Mosch eles was present at a delightful performance of the “ Walpurgis Night," given at the house of Felix's parents ; the solos were performed by Mantius, the Devrients, and Frau Thür- schmidt. Beethoven's Polonaise and Moscheles' Sonata in E flat were played by him and Felix, and Mantius and Devrient sang from the Liederspiel, “ The Son and the Stranger." It was a charming evening. A similar party is alluded to on the 14th of October. “ Neukomm's arrival in Berlin was generally wel- come. Felix and I heard his oratorio, the ‘ Ten Com- mandments' in the Academy, as well as the ' Crociato,' given for the first time on the birthday of the Crown Prince. Unfortunately the Crociato himself was quite hoarse, but Frau Kraus Wranitzky was excellent as Palmyra — the men nothing to speak of ; choruses and scenery splendid." The Moscheles admired in the Exhibition just opened, “ Die Trauernden Juden," a MOSCHELES CONCERT AT BERLIN. 275 picture by Edward Bendemann, a youth of twenty-one years of age, whose great reputation dated from the production of this work. Moscheles says again : “ I enjoyed the privilege, but only once during my short stay in Berlin, of hearing Schleiermacher preach.” On the 17th of this month Moscheles' crowded concert was given at the Opera House. He says : “ My third of the receipts amounts to 301 thalers net. Graf Redern, Intendant of the Royal Opera, met me in a very friendly manner, and the public so heartily applauded my C major Concerto, the Danish Fantasia, and an improvisation upon ‘ Che faro/ * Yoi ehe sapete/ and ‘ Namenlose Freude/ that I was in great delight, especially as my mother and my wife were both present at my triumph. Felix supped with us at c J agor's.' He was in high spirits.” On the following day, the last that Moscheles spent in Berlin, there was a matinee at Mendelssohn's. Felix played, with the violinist Ries, Beethoven's C minor Sonata, and Moscheles his Trio, the scherzo of which he was obliged to repeat. At dinner the whole family begged him to play once more at the Opera House, and Felix jumped up from table to ask Redern if a concert could be arranged by Sunday. The answer was that it could not be done before Wednes- day, and this confirmed Moscheles in his resolve to leave Berlin immediately, but not before he got from Felix a promise, with reference to an expected event, t 2 276 LIFE OF MOSCHELES. that he would come to London and be sponsor to a child, which, if a boy, was to bear the name of Felix. On arriving at Leipzig, Moscheles found two hundred subscribers' names down for his concert ; the instrument to be used was lent by Wieck, “ whose dear little clever daughter played to me." The arrival at Weimar, and a visit to Hummel, are next recorded, and Moscheles, speaking of a dejeuner at Frau von Goethe's, says : “ There were plenty of titled people who made a great deal of me and my playing, but my wife and I thought sorrowfully of Goethe, the great genius of the place, who had died some months since. We were in his house, but were not even allowed to see his own rooms, as everything in them w r as still disarranged. Frau von Goethe gave us, as souvenirs, a few fac-similes of the great man's handwriting, the last medal that was struck of him, and a lock of his hair. The ladies of the Court were of opinion that the Grand Duchess would keep Sunday disengaged for my concert ; she was very gracious and well-disposed towards me. There was an obstacle how- ever, for the Grand Duke had to receive two foreign ambassadors on that day; I played but once before the Court, was treated with marked kindness, and presented with a diamond ring." “ October 26 th. — Dined at Hummel's. We extempo- rized on the pianoforte, and delighted our audience. Hummel, however, I felt, was no Felix. We were soon in our travelling dress, and drove on to Erfurt." THE ROYAL CONCERT AT BRIGHTON. 277 On arriving at Frankfort, he writes : “ Hofrath Andre, in Offenbach, showed me an unfinished Opera, by Mozart, ‘ Bettulia Liberata.’ The printed Li- bretto shows that the composer, Gassman, wrote the music to it in 1786. Andre undertook to complete Mozart’s work, and showed me the score of his overture. I played it, and think it has merit.” On the 7th of November Mosch eles gives a success- ful concert at Frankfort, and after fulfilling an engage- ment at Cologne hurries back to London. Once at Chester Place, he records in his diary his delight at finding himself home again, and the success of this winter campaign, adding : “ To-day, the first after my return, I gave a lesson to a pupil who had been waiting many anxious weeks.” On the 30th : “ True to my habit of composing something new on my wife’s birth- day, I began, this year, not as hitherto, a mere trifle, but a Septet, which I am commissioned to write for the Philharmonic Society. It is to be their exclusive property for two years, after which I may publish it.” As he worked at the Septet steadily every evening, a royal command to play before the Court at Brighton was an unwelcome interruption, but being assured by a friend that he would play immediately after his arrival, he started on the evening of the 11th of December. “All alone in the Brighton Coach with Goethe’s ‘ Götz ’ as my companion. Arrived at two o’clock, gave 278 LIFE OF MOSCHELES. my letter, but didn’t meet a soul. Great crowds in the street on account of the impending elections. The two candidates paraded the streets with bands of music and the shouts of their partisans. Theatre deserted, empty and cold, the farce of ‘ Harvest Home’ was a dreary Ballet, but Mr. and Mrs. Keeley in c Master’s Rival’ were excellent.” “ December 12th. — Matters did not go as smoothly as I had been led to anticipate, and from the difficulty I had in procuring a personal interview with Sir Andrew Barnard, for the purpose of talking over tlie necessary arrangements for my appearance at the Pavilion this evening, I feared that there was truth in the report that he was prejudiced against German art, and reserved his courtesies for the Italians. When at last he did condescend to admit me to his presence, he apologized for having kept me waiting, and, after a few polite phrases, asked me if I would try the Erard in the Pavilion. I found the instrument stiff and unmanageable from having stood so long in a cold room, but I was obliged to get my hand in somehow, and had not a single moment to spare for rehearsal with the King’s band. We met in the evening in the fantastically decorated and beautifully lighted music- room attached to the Pavilion. The scene was a brilliant one. King William IV., Queen Adelaide, and their suite, sat at the farthest corner of the room. The guests were a long way from the piano, and I was not presented. I played my new * Fantasia upon PERFORMANCE AT THE PAVILION. 279 English National Songs/ which was dedicated to the Queen. During my performance the King alone ap- proached me, and seemed to be listening ; he bowed condescendingly when I rose, but did not say a syllable ; the company talked loudly. Sir Andrew asked me to play on the organ, and later in the evening I had to accompany eight imperfectly trained performers, in some selections from Haydn's f Crea- tion/ Only the Princess Augusta and the Marchioness of Cornwallis took any interest in my f Alexander Variations' and extempore playing, and that in spite of the general buzz of conversation. Some numbers of c Robert le Diable' were given by the band, and the performance finished with c God save the King/ The Court withdrew after Sir Andrew had handed to the Queen a copy of my c English Fantasia/ an honour I myself had solicited, but been refused. Sir Andrew dismissed me as before with a few polite courtly phrases about the satisfaction felt by their Majesties, but none of the company exchanged a word with me/' No wonder that Moscheles left Brighton in a bad humour, and was only too glad to get home again after this cold reception, if only to forget the un- pleasant impressions he brought away with him. Mr. Grimal, a great musical enthusiast, brought him Beet- hoven's Mass in D (op. 123), a work hitherto unknown and unheard in London, requesting him to conduct it at the house of Mr. Alsager, the contributor of the City article to the Times , and a complete fanatic in his 280 LIFE OE MOSCHELES. Beethoven worship. In his large mnsic room Beet- hoven^ works were given with full orchestral accom- paniments. On the 23rd of December, Moscheles first acted there as conductor of a most efficient band; although consisting partly of amateurs, and subsequently his services as conductor were repeatedly called for. “ I had/” writes Moscheles, “ become by dint of study, completely absorbed in that colossal work (the Messe Solenn eile). Occasionally isolated phrases seemed un< equal to the elevation of Church music, but these, compared with the work in its entirety, are as the details of a broadly conceived picture. The enthusiasm of my English friends also fired my zeal to give an interpretation worthy of the great work. Miss Novello and Miss H. Cawse did their best. The f Benedictus/ with the heavenly violin solo (Mori), enchanted us all.” After Christmas, Moscheles finished his sketch of the Adagio of the Septet, devoted a few days to copy- ing the parts and arranging the music for the orchestra, and then had the satisfaction of successfully rehearsing his music on the 31st of December before some musical friends. CHAPTER XY. 1833. CONCERTS IN THE NORTH OF ENGLAND — BIRTH OF A SON — CON- GRATULATORY LETTER FROM FELIX MENDELSSOHN— JOHN PARRY — HERZ— HANDEL’S MESSIAH —PASTA — MADAME MALIBRAN — CHOPIN’S “STUDIES” — MENDELSSOHN IN LONDON — ILLNESS OF MENDELS- SOHN’S FATHER — COLERIDGE — MOORE — LOCKHART — SEASIDE MUSIC — LESSONS GIVEN DURING THE YEAR. HE Septet, begun in the old year and finished in the new, became a special favourite with Mos- cheles, and with Mendelssohn too, who asked in his child-like modest way, “ Will you allow me to arrange it as a duet for the piano ?” And later on, when engaged on the work, “ Do you like it ? — I am certain you would have done it better yourself.” We used to smile at such speeches as these, and call them his “ culpable modesty ” (frevelhafte Bescheidenheit), but were for all that quite satisfied that the great artist, underrating his own value, was thoroughly sincere in what he said. The following extracts from letters to his wife, refer to concerts in the north of England. “York, February 4th, 11.30 a.m. — The concert is over. I may say, without self-assertion, that I was the only one applauded at all this evening; we had but one solo- singer, a few glees, some miserable overtures, 282 LIFE OF MOSCHELES. in which the flute was the sole support of the harmonies. 0 misery ! Anyone less thick-skinned than I am, would have died straight off, but I could listen without as much as a fainting fit. I assure you I was obliged to nerve myself, as I should have to do if I were attending an execution. I was not only enthusiastically received, but forced to improvise twice. The singer, Mr. W., wanted to have c The Midnight Review/ accompanied by the orchestra, and at the rehearsal I took all possible pains to make the thing go, but there was no more life or spirit to be got out of the band than from stones or pebbles. I advised him to give up the band, and offered my services to save a catastrophe, by accompanying the cantata myself. At six in the morning I start in the mail-coach for Sheffield, and as 1 have to pack up, I must finish. “ Sheffield, February 5th, 11 o'clock. — The concert is over. To-day was a busy one, and whilst writing to you I feel like a stage-coach horse just arrived, and steaming after his work is over. I was up at 5, started at 6, here by 3.30. Immediately went off to rehearsal ; then dinner and concert. They wanted the c Fall of Paris * again, but I only played the finale twice, and escaped a threatened encore of my extempore playing 9 by bowing my acknowledgments." On the very day of his return to London, his son was born. Great was the joy in the house of Moscheles, who writes : “ I sat up half the night writing the happy news to relations, and the expectant LETTER FROM MENDELSSOHN. 283 godfather, Felix Mendelssohn, expressing to the latter a hope that he would come, and hold the child in his own hands at the font/’ The following letter, with the annexed pen and ink sketch, came by return of post, in answer to Moscheles* letter : — “ Dear Moscheles, — Here they are, wind instru- ments and fiddles, for the son and heir must not be kept waiting till I come ; he must have a cradle-song, with drums and trumpets, and J anissary music ; the fiddles alone are not near joyous enough. May every happiness and joy and blessing attend the little stranger ; may he be prosperous ; may he do well whatever he does ;* and may it fare well with him in this world ! So he is to be called Felix, is he ? How nice and kind of you to let him become my godchild in forma, and the first present his godfather makes him is the above entire orchestra ; it is to accompany him all through life : the trumpets when he wants to become famous, the flutes when he falls in love, the cymbals* when he gets a beard ; the pianoforte explains itself, and should people ever play him false, as they will do to the best of us, there stand the kettledrums, and the big drums in the background. Dear me! forgive this rubbish, but I am ever so happy when I think of your happiness, and of the time when I shall have my full share of it. By the end of April at the latest * The German word ‘ ‘ Becken” has the double meaning of cymbals and bason. 284 LIFE OF MOSCHELES. Facsimile of the Sketch referred to in Mendelssohn's Letter of Feb. 27, 1833. MENDELSSOHN S LETTER 285 I intend to be in London, and then we will give the boy a regular name and introduction to the big world. It will be grand ! “ To your Septet I look forward with no small pleasure. Klingemann has written out eleven notes of it for me, and those I like ever so much ; I can quite imagine what a bright lively Finale they would make. He has also described and analysed for me the Andante in B flat major, but after all it will be better to hear it. Don't expect too much from the com- positions I shall bring with me. You are sure to find frequent traces of a moodiness which I can only shake off slowly and by dint of an effort. I often feel as if I had never composed at all, and had to begin and learn everything over again ; now, however, I have got into better trim, and my last things will sound better. “ Nice it was, too, that your letter really found me, as you said it should, alone and in the quiet of my own room, composing to my heart's content, and now I only wish my letter may find you some quiet evening at home, with your dear ones well and happy around you. We will see whether I am as lucky at wishing as you were. I am in a hurry, and must end. I had 286 LIFE OF MOSCHELES. but half an hour to write to you in, and that beautiful bit of art has taken up all my time ; besides, I have nothing further to say but this : I wish you joy, now and hereafter, and may we soon meet again. My friends here send their kindest remembrances and congratulations, and are w r ell ; all but my father, who suffers constantly from his eyes, and is in consequence much depressed. This re- acts upon us, and we pray that there may soon be a change for the better. My sister and I just now do a great deal of music ; every Sunday morning we have stringed accompaniments, and I have just received from the bookbinder a big grass-green volume of f Moscheles/ for next time we are going to play your Trio. Farewell, farewell, and remain happy. “ Yours, “ Felix Mendelssohn-Bartholdy.” “Berlin, 27 Feb. 1833. “ Dear Mrs. Moscheles, — To-day, although I can write but a few lines, I must send you my best con- gratulations, and tell you how I can enter heart and soul into your happiness. How delightful it is, but I shall soon make the personal acquaintance of the new arrival, and how delightful that he is to be called after me ; mind you wait, please, till I am there, so that I may really avail myself of the old invitation to the christening ; I will come with all possible haste, and be in London as early as I can. Fm glad it's a Mendelssohn’s letter to mrs. moscheles. 287 boy; he must become a musician, and what we all would fain do, and cannot, may it be his destiny to achieve, or if not, it matters little, for a good man he will become, and that’s the great point. To be sure, I see it plainly, that the two grown-up sisters, Misses Emily and Serena, will tyrannize over him; by the time he is fourteen he will have to suffer from many a side-glance at his too long arms, and his too short coat, and his bad voice ; but by-and-by he will become a man, and protect them in their turn, and do them all manner of services, and he will have to go through the boredom of many a soiree as their cha- peron. I am sure you are a little, perhaps very, angry with me as being so lazy a correspondent, but only pardon me, and I promise to amend, more particularly so when I am once in London, and can myself carry and improvise my answers and questions ; but I will improve even before that. My sisters send you heaps of good wishes and congratulations ; so do my parents, and we all heartily rejoice in the event of your first- born son. I must now begin the last movement of my Symphony, which, lying as it does on the tips of my fingers, spoils my style and robs me of my time. Pardon these hurried lines ; you know how they are meant. “ Your devoted “ Felix Mendelssohn.” The question of shifting the place of their meetings 288 LIFE OF MOSCHELES. gave rise this winter to violent discussions amongst the members of the Philharmonic Society. In the Argyll Rooms there were boxes for the more fashionable members amongst the subscribers, in the Hanover Square Rooms there was but one large box (called the Royal Box from being reserved for the Court) ; the proposal to have stalls was hotly contested, but not carried. The orchestra was differently arranged in the new room, the basses being separated and placed more in the background than hitherto, and on trying the overture to the “ Zauberflöte " the new arrangement proved effective. The programmes in- cluded amongst the works of the great masters — Mendelssohn's Symphony in A major, performed with great applause on the 13th of May, and on the same evening Mendelssohn played Mozart's Concerto in D in a masterly style. Hummel also was heard in his new Concerto in F major, and Moscheles in his new Septet written for the Society, accompanied by Dragonetti, Lindley, Mori, and others. At the conclusion of this season's concerts there was a first performance of Mendelssohn's Overture to “ Ruy Bias the unrivalled Malibran appeared again, and Moscheles was re-elected a Director of the Philharmonic. Moscheles found an opportunity of introducing at Mr. Alsager's meetings Beethoven's Sonatas, op. 109 and 111, and remarks : “ I found some of my hearers listening with deep devotion, whilst at my own house OLD PARRY. — “PRECIOSa” VARIATIONS. 289 artists seem comparatively indifferent ; some certainly are moved, while others are scared by the extrava- gancies of the master, and do not recover their equa- nimity until I favour them with the more intelligible D minor Sonata.” At a concert given by the Royal Society of Musi- cians “ there was an amusing performance, for old Parry, dressed in the costume of a Welsh bard, carry- ing his harp, sang his national melodies. He is a favourite with us musicians, who gave him a compli- mentary dinner and a present of silver plate, in recognition of his many years* services as one of our guild, and in token of his efforts on behalf of poor musicians. His gratitude and emotion were very touching.** The influenza, w r hich first appeared in a virulent form in London this spring, attacked Moscheles and his household severely. We read: ^ We are now in the middle of April ; my annual concert is announced for the 1st of May, and the indispensable novelty (with which alone I can meet my public with a good con- science) has still to be composed. How can I tell whether my fingers will be fit for action, and whether I should not act wisely in giving up this concert ?** Mendelssohn came to London ; his visit seems to have acted on Moscheles like a panacea, and the joy of seeing Felix once again to have contributed to his recovery, for a few days later, Moscheles, resolving to venture on his concert, the two friends determined to VOL. i. u 290 LIFE OE MOSCHELES. write and play together a piece for two pianos. They agreed on the necessity of a brilliant piece, bnt were at a loss to select one out of a number of popular subjects. Several were proposed ; at last the Gipsy March out of Weber’s “Preciosa” was chosen. “I will make a variation in minor, which shall growl below in the bass,” exclaimed Pelix ; “ will you do a brilliant one in major in the treble?” And so it was settled that the Introduction as well as the first and second variations should fall to the lot of Mendelssohn, the third and fourth, with the connecting Tutti, to that of Moscheles. a We wished to share in the Finale ; so he began with the Allegro movement, which I broke in upon with a f piii lento/ ” In two days the music was written, and they went from the Philharmonic at a late hour to Erard’s, to have their first rehearsal. “We found two pianos ready, and our hasty patchwork delighted my wife, our solitary listener. If this midnight pianoforte rehearsal was a hurried affair, the orchestral one on the morning of the 30th of April was still more so ; we had only half a band, in consequence of the long rehearsal at the Opera, and only a few over-tired players arrived, and hastily ran through the new piece.” In spite of all these obstacles the Concert on the 1st of May was a real success. Not a soul observed that the duet had been merely sketched, and that each of us was allowed to improvise in his own solo, until at certain passages agreed on, we met again in due Mendelssohn’s present to his godchild. 291 harmony. The scheme, which seemed so very hazard- ous, ended triumphantly, and was received with applause. Mendelssohn, having undertaken the conductorship of the Düsseldorf musical festival, was for a short time withdrawn from his friends in London, but soon re- turned, and this time accompanied by his excellent father. The two friends were rejoiced to meet again, and, at the christening of little Felix, Mendelssohn presented his godchild with an album, which, in spite of the repeated calls on his time in London, he had inaugurated with two sketches and a piece of music. “ One of these drawings is a view of our own house, and the other a charming view in the Regent's Park. The composition is the ' cradle song/ with Klingemann's words, now so well known as ‘ Slumber and Dream/ There probably never was a happier christening fete than that of to-day. Our friends Neukomm and Barry Cornwall celebrated it with music and poetry." We find several notes which illustrate the constant intercourse between Moscheles and Mendelssohn. On one occasion the latter answers an invitation thus : “ Alas ! we cannot ! To-day we have a dinner party of our own. I have just ordered salmon and lobster sauce for five people, so I must f present my regrets/ Seriously speaking, Rosen, Henzler, and Klingemann have promised to spend the evening with us, and there- fore, alas ! we cannot come to you. My father hopes to see you this morning to thank you." Here is a u 2 292 LIFE OF MOSCHELES. note of Mendelssohn to Mrs. Moscheles : “ Dear Mrs. Moscheles, — It is two o' clock, I am just back from the country and have received your note. At ten o'clock I ought to have been in Grosvenor Place. I should like to have done what you wanted ; but you must own that the fates wont allow either of my appear- ing to be, or really being fashionable. Lately you were kind enough to say to me that we might all three come to dine to-day (for Dr. Franck has actually arrived), but now I should like to know if you mean this in earnest, or if you do not , or if we may come. Please send by bearer a verbal decision !" The answer was of course in the affirmative. On the 6th of May Moscheles complains ; “ How deadly slow and monotonous was H. in his Fantasia this evening at our house ; Mendelssohn yawned an obligato accompaniment. When we were once more alone, Felix and I had some glorious extempore playing together." H. Herz, the brilliant player, suddenly appeared on the musical horizon. His rapidity of finger, his marked accent, as well as his light, melodious, and easily intelligible music produced a great effect. We read in the diary, “ H. Herz completely drowned me with his furious bass, in the duet on subjects out of Auber's ‘ Philtre/ which I played, as a favour, with him at his own concert." This duet, however, ultimately became a favourite. HERZ. CRAMER. HUMMEL. 293 Very comical was the contrast when J. B. Cramer consented to play, as a pianoforte duet, with Herz at his concert, the brilliant ‘ Polonaise J of Beethoven. Moscheles compares Herz to a “ young frisky colt,” and Cramer to a “ well-fed, cream-coloured state- horse, harnessed on great occasions to the royal carriage.” Cramer and Hummel played in this same Concert Mozart’s Fantasia in F minor, and that was far more effective. The concerts now follow closely on one another ; in that given by young Schulz, Moscheles took part, as one of six pianoforte players of the “ Zauberflöte” overture. At Mori’s he played with Mendelssohn the new piece on the “ Preciosa” march. On the 10th of July all the musicians gave a grand concert for the benefit of a poor artist’s family; and Mendelssohn and Moscheles were two of the players in a piece written by Czerny for four pianos. On the 12th of July, Mr. Hope, owner of the famous picture-gallery, lends his house for a concert given for the benefit of the Hospital for Sick Children. “ The music, to which I contributed my mite, was per- formed in the room of the masters of the Italian school ; if inclined to migrate, one could enjoy a stroll in a room full of Dutch pictures, but as Malibran and Paganini were amongst the performers, every one was satisfied to stop and listen.” On one oc- casion, when Paganini ventured upon Beethoven’s “Kreutzer Sonata, ’’Moscheles called it “a desecration.” 294 LIFE OF MOSCHELES. Incidentally, we read of a performance of Handel's “ Messiah." “ I swallowed my dinner hastily, so as not to miss a note of this masterpiece, but, after listening with close attention for some time, I was mortified at finding that the small amount of vigour left to me after the rough-and-tumble of the season, was not enough to enable me to take in and digest such a colossal work. Such considerations always lead me back again to the thought of enjoying hereafter in Germany the fruits of my independence, won by my active exertions in England. What a melancholy evening last Thurs- day, when I heard Pasta's c Romeo ;' she sang terribly out of tune. This great artiste, long past her prime, has lost her voice, and actually consents to barter her reputation for a heap of guineas ; it shocks me." The first performance of “Euryanthe," on the 29th of June, in Covent Garden Theatre, and the admirable singing of Schröder and Haitzinger, were some com- pensation for Pasta's shortcomings. At Drury Lane the sparkling, and in the vocal and histrionic way unique Malibran made a “furore" in the “ Devil's Bridge" and “ Sonnambula" set to English words. She was thoroughly realistic, and in her dress and movements despised everything conventional. Thus, in the sleep-walking scene, unlike other great representatives of the part, whose muslin neglige would have suited any lady, she adopted the bona-fide night-cap of the peasant girl, and the loose garment of a sleeper ; her “ tricot" stockings were so transparent CHOPIN. MENDELSSOH N. 295 as to veil her feet but imperfectly. Her acting in this opera was exquisitely touching, her outburst of sorrow so natural that she enlisted the sympathy of her audience from beginning to end of the piece. Moscheles studies of Chopin’s music led him to make the following observation : “ I gladly pass some of my leisure hours of an evening in cultivating an acquaintance with Chopin’s Studies and his other com- positions. I am charmed with their originality, and the national colouring of his subjects. My thoughts, however, and through them my fingers, stumble at certain hard, inartistic, and to me inconceivable modu- lations. On the whole I find his music often too sweet, not manly enough, and hardly the work of a profound musician.” Again we find Mendelssohn mentioned in a letter ; “ What endless music we have made together ! I made him play over and over again his own things, which I followed in the score. He would on these occasions imitate some one wind-instrument, or take up a point in a chorus with his clear tenor voice. Whenever he has arranged one of his overtures as a pianoforte duet, we try it over together, until we find it perfectly suitable for the piano.” They often play to one another Beethoven’s Sonatas, which not unfrequently diverge into joint improvisa- tions of the maddest kind, and musical caricatures. On one occasion the nursery song, “ Polly put the kettle on,” is chosen for a subject on purpose to please 296 LIFE OF MOSCHELES. the two little girls, with whom Felix liked to laugh and play ; in a jovial mood he would often take them to the Zoological Gardens, and amuse them with all kinds of jokes. Amongst the many kind friends who visited at Chester Place, the children had the discrimination to fix on Mendelssohn as prime favourite. He and Moscheles were mutually attracted to one another as much by kindred tastes and sympathies as by music. Moscheles admired his friends genius, and watched, without a particle of envy, the steadily increasing fame of the young composer, his former pupil ; Mendelssohn, on the other hand, was all de- votion, all gratitude for the rich treasure of ex- perience which the older master had stored up in his pianoforte works. They loved and esteemed each other, these feelings were reciprocated mutually in the two families, and the strength of this friendship was proved when the days of sorrow came. Mendelssohn, hearing of the death of his old master Zelter, goes off in haste at an early hour in the morning to Moscheles, announcing himself in such words as : “ I cannot work, I should like to spend the day here.” On one occasion, Mrs. Moscheles being too unwell to accompany her husband away from home, Felix goes to spend the evening with her, and she records his conversation in letters to her father. If Felix came to her complaining of weariness, she used to make him sit down quietly on the sofa in a dark corner; there he would rest for a few MENDELSSOHN. 297 minutes whilst the children would stop their game and keep perfect silence. Then, after taking some slight refreshment, he would rouse himself and discuss with his usual animation some severe musical rehearsal, a morning concert, or a political meeting, where he was constantly to be found. She could venture to lecture him on his yesterday's visit, to tell him that he had fidgeted and been fretful and impatient, in fact thoroughly unamiable, whereupon he would say, “ Yes, but why does that person come just at that particular moment when I should have so enjoyed making music with Moscheles." Whenever about to leave England, he asks her to write. She is to tell him of this, that, and the other, for Moscheles has so little time ; she promises this, adding, “ But don't answer ; you are a celebrated man, you have something better to do," — a thing he would never allow. In his letters he frequently sends Serena messages about the carnation, his and her favourite flower. In the midst of the worries incidental to a musical festival, or on the journeys which Moscheles and he take together, he would add some words or pen-and-ink sketches to the letters of his friend, and when abroad send a first copy of his later published “ Lieder," neatly written in the letter, immediately after they were composed, to Mrs. Moscheles. “ A little song has just come into my head or, “ Here is a song ; unfortunately it does not suit your voice (referring to the tenor song ‘ Leucht' heller als die 298 LIFE OF MOSCHELES. Sonne^) ; I send it, however. Moscheles, perhaps, will hum it." . . . Pages such as these are care- fully preserved amongst the family treasures. During this visit to London, the elder Mendels- sohn was laid up for weeks by a tedious illness, and the family were very anxious about him. His weakened sight made constant reading impossible, so his friends, Mrs. Moscheles in particular, spent all their spare time with him. She writes to her father, “ I read him the Times aloud, as I did to you, and he gives me very sound views about the education of children. I hope they will benefit my own, but whatever amount of time I am in his company, the hours fly rapidly, his conversation is so agreeable." On one occasion during this illness, Felix sends the following note to Mrs. Moscheles ; — “ My father begs to say that he cannot accept the offer of your carriage to-day ; the Miss Alexanders have sent him theirs ; but, that if you can make him a present of your time, you will oblige him by walking over with it to his house. This is expressed in very bad style; but anyhow iPs not your Platt-Deutsch, but rather my Berlinese — no offence — yours, “ Felix Mendelssohn-Bartholdy. “ P.S. — Yesterday the doctors were very hopeful. Brodie does not want to come again. Second post- script (the chief point) : How are you ?” MOORE COLERIDGE. 299 Felix did not recover his good spirits and capa- city for work nntil his father had been completely restored to health, and the departure of their two friends on the 4th of August was a melancholy event to the Moscheles family. Amongst a number of commonplace and tedious soirees mentioned in the diary, Moscheles makes an exception in favour of one at the Lockharts. “ His wife, Sir Walter Scott’s eldest daughter, has all her father’s amiabi- lity. We saw there for the first time Thomas Moore, the poet, a little lively sparkling Irishman, who, on the strength of his passion for music, immediately made ac- quaintance with me. He sang his own poems, adapted to certain Irish melodies, harmonized and accompanied by himself on the guitar. ‘ Le genre est petit/ thought I, but the novelty made it interesting to us. The poet Coleridge was there too, still bright and cheerful, although looking an old man. Of authoresses we had the Ladies Stepney and Charlotte Bury. After Moore had given us his Irish melodies, I was obliged to go to the piano, and share with the poet the exaggerated compliments paid us by the company.” In August Moscheles and his family went to Hast- ings. “ What a pity,” writes Moscheles, “ that a bevy of lady-lodgers in the house spoil, by their strumming, all my musical enjoyment, not to mention my musical thoughts. They play on the piano and guitar, c La ci darem/ as a presto, and Reissiger’s Waltz as a sen- timental Andante.” To bear this for any length of / 300 LIFE OF MOSCHELES. time was intolerable ; and, finding no suitable lodgings in Hastings, the Moscheles withdrew to St. Leonards. On returning to London, we read of visits to both Houses of Parliament, an interesting debate in the Commons, when O’Connell spoke, and of a four hours’ discussion on “ Captain Napier’s victory on behalf of Don Pedro.” On the 11th of November Moscheles writes : “ Yes- terday at the performance of ‘ Hamlet,’ at Drury Lane, I was forcibly reminded by a celebrated passage of what 1 am always preaching to my pupils, c Self- command in the midst of a difficult performance, and a quiet mastery over oneself.’ The great poet makes Hamlet say, ‘Do not saw the air too much with your hand thus, but use all gently, for in the very torrent, tempest, and, I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.’ ” With regard to the first performance of Auber’s “ Bal-masque,” we read ; “ The music is often deafening, but often piquant, the ball wonderfully brilliant.” Moscheles’ chief employment this winter was com- posing during his evenings at home the B major Concerto (fantastique). Besides this he wrote the Impromptu in E flat major and the more common- place Divertimento, “ Operatic Beminiscences.” His well-known good nature was put to the test by frequent interruptions of these labours. “ A friend,” he says, “ brings me his ‘ Swiss Divertimento’ for BARON RATHEN. 301 revision. I deal with it as Kotzebue makes his amanuensis do, who only leaves the words, ‘My dear friend/ standing at the top of the page, and adds the rest. Adding, the rest cost me two quiet evenings. A third I was forced to sacrifice to the Hungarian Baron Rathen, who wanted to play over to me from beginning to end his c musical love-scene interrupted by a storm/ On his English card he calls himself c Teacher of the Organ, Piano, and Doro- Bass (thorough-bass)/' On the 31st of December, Moscheles writes in his Diary, “ On reckoning I find I have given this year 1457 lessons, of which 1328 were paid, and 129 gratis. Of the latter class, those I gave to Litolff, who is making rapid strides, were the most interesting/' / 802 CHAPTER XYI. 1834. STARS OP THE ITALIAN OPERA— GRISI, RUBINI, AND TAMBURINI — DE VRTJGT — VIEUXTEMPS — LADY VIOLIN -PLAYERS — FESTIVAL IN WESTMINSTER ABBEY — DISTRIBUTION OP THE CHORUS— COM- PARISON OP THE TWO FESTIVALS IN 1784-1834 — SOLO- SINGERS — TENORS AND SOPRANOS — 6 ‘ ISRAEL IN EGYPT” — THE “ MESSIAH” — DEMEANOUR OP THE AUDIENCE— FESTIVAL AT BIR- MINGHAM — OVERTURE TO “ JOAN OP ARC” — BYRON’S “ MANFRED’ ’ AT COVENT-GARDEN. OSCHELES writes at tlie beginning of the i_¥JL year, “ We are in January, and already the chief topic of conversation is the grand music festival to be given next June in Westminster Abbey. It is the musical event of the year.” Before that takes place we should record the sensa- tion created by the stars of the Italian Opera, Grisi, Bubini, and Tamburini. Grisi, although in- ferior as an actress to Pasta, as a musician to Malibran, and lacking the charm and loveliness of Sontag, still captivated her listeners by her youth, beauty, and the freshness and glory of her voice. Bubini maintained his long-recognised position as a master of his art, and Tamburini, with his classical profile and fine mellow voice, contributed his full share to the triumph of this world-renowned trio. TERRY JUST, GRI Broker Lifetime Member Million Dollar Club OVERTURE TO “ MELUSINE.” 303 Ivanhoff, an Italianized Russian, attracted the public by his great flexibility of voice, but displeased my German ear by using his head voice too frequently, particularly when singing Schuberth “ Serenade.” His sickly sentimental style became so wearisome, that some wag circulated a joke about him, declaring his real name was, “ I’ve enough.” Moscheles played his new Concerto Pathetique at the Philharmonic, and directed on the same occasion Mendelssohn^ still unknown overture to “ Melusine both novelties were received coldly. Mrs. Moscheles writes an account of the concert to Mendelssohn, whose characteristic answer we commend to our readers : “ So the people at the Philharmonic did not like my c Melusine ’ ? Heigh-ho ! The news wont kill me. I certainly was sorry when I got your letter, and I played off my overture right through, to see if I too dislike it now ; but it does give me pleasure, so there’s not much harm done, or would you have me believe that you would receive me in a less friendly way at my next visit ? That would be a pity, that would distress me very much. But I hope not, and perhaps it may please somewhere else, or if not I will write something else, and that may please better. But after all, my chief delight is in the fact that such a thing exists in writing; and if besides that, such kind words are bestowed on it as you and Moscheles send me, it has been well received, and I can quietly go on working. I utterly fail to understand what you 304 LIFE OF MOSCHELES. tell me in your letter, of the cold reception given to Moscheles' new Concerto. I should have thought it as clear as noonday that that must please them, and still more so when he plays it to them. But when will it be published ? I am longing to attack it.” We find Moscheles less inclined than ever to come to terms with the Manager of the Italian Opera. He writes : a Now I will see if I am not able to be quit of an extortionate impressario, and to fill my room without the assistance of his Italian singers. If I don't succeed, so much the more shame for me, and 1 must hang up c my harp and music on the willow-tree/ '' He did succeed however, some artists supported him, amongst them a new tenor just arrived from Holland, De Yrugt, who soon made himself a name; he engaged Madame Stockhausen — the room was full, and the audience enthusiastic. At the beginning of the season, a host of artists put in an appearance ; amongst them Yieuxtemps, a wonderful boy, who attracted great attention by his fine violin-playing. There were two lady violin-players as well, Filiepowitz and Paravicini, who were much talked about. Mrs. Anderson, the favourite English pianiste, had been selected by the Duchess of Kent to teach the Princess Victoria. Her concert this year, patronized and attended by these Royal ladies, was one of the most brilliant of this season. With regard to the festival in Westminster Abbey, it is owing to Moscheles' scrupulous care in arranging HANDEL FESTIVAL. 305 and preserving the accounts written at the time, that we are enabled, after a lapse of eight-and-thirty years, to give an accurate and faithful description of. all that took place. “ Handel/* observes a writer of the day, “ introduced the oratorio into England : no wonder the festival named after him should be held in Westminster Abbey, where he lies buried/* Ac- cording to the paper we quote from, the proceeds of a series of Festivals between the years 1784 and 1791 amounted in all to 50,000/., and were entirely devoted to charitable purposes. It mentions, too, the legacy left by Handel to the u Society of Decayed Musicians and their Families/* and eulogizes King William IV. and Queen Adelaide, who, after a lapse of fifty years* zealously promoted this new festival, devoted to the same charitable objects, and for which the sympathies and aid of the English nobility were called forth by the generous support of the Royal patrons. With regard to the festival itself, Moscheles writes to his relatives : “ The festival took place in the nave,, which was covered over with stout deal boards ; at one end of the Abbey was seen the Royal box, with its heavy red satin curtains, rich ornaments, and luxu- rious velvet carpets and cushions, and adorned with the Royal Arms artistically carved. The Directors of the festival sat immediately under the Royal box, with a canopy above them. The public, on this occasion, as in 1784, occupied seats arranged in the style of an amphi- theatre, and reaching as high as the capitals of the pillars. VOL. i. x 306 LIFE OF MOSCHELES. 2700 persons found accommodation; the best seats cost two, and the others one guinea each. These seats, covered with red cloth and gold ornaments, contrasted tastefully with the white and gold lyres on red draperies, which were hung upon the walls. The orchestra, on this, as on the former occasion, was erected opposite the Hoyal box, and in the following fashion. In front were the solo singers, then the small chorus, 40 strong ; close to this chorus, at a piano, sat Sir George Smart, the director of the music ; behind him, the band, ranged in tiers ; the cellos on either side, the violins in the centre, then the wind-instruments ; above all, the magnificent organ, built by Gray for the occasion, and adorned with a richly carved Gothic fajade ; by a clever arrangement the player was made to face the Director instead of the organ. The distribution of the vocalists forming the grand chorus greatly prejudiced the effect of the music with numbers who were packed closely in the side aisles and niches of the Abbey; in fact, the choral music to a part of the audience sounded as though it were smothered by the orchestra ; in other parts of the Abbey the effect was reversed, and the performance as a whole could only be enjoyed in a small part of the vast building.” We give a list of the executants as represented on the occasion of the two Music Festivals in 1784 and 1834 (the list of the first is copied from Dr. Burney's Musical History) : — HANDEL FESTIVALS: 1784 AND 1834. 307 Instrumental. 1834. ^ 1 s Vocal. 1834. 1784. Violins .... . 80 .. 95 Sopranos .... 113 . .. 11 Tenors .... . 32 .. 26 Sopranos (boys) 32 . .. 47 Violoncellos . . . 18 .. 21 Altos 74 . .. 48 Double Basses . . . 18 .. 15 Tenors .... 70 . .. 83 Elutes .... . 10 . .. 6 Basses 103 . .. 84 -Oboes .... . 12 . .. 26 Solo-Singers . . . 5 . .. 2 Clarinets . . . . 8 . The above Instru- Bassoons . . . 12 . .. 27 ments .... 223 . .. 250 Horns .... . 10 . .. 12 — ■ Trumpets . . . . 8 . .. 12 Total 620 525 Trombones . . . . 8 . .. 6 Ophicleides . . . . 2 . Serpents . . . . 2 . Kettle-drums . . . 3 . .. 4 223 250 We quote from the diary : “ On the 20th of June at twelve o'clock in the forenoon. Sir George Smart for the first time raised his baton, and Handel's Coronation Anthem, performed by such a host, in such a place, was so grand that none present are likely to forget it ; the newspapers talked of several ladies weeping, and some actually fainting. I was deeply moved by these sounds, and must confess I never heard such an effect produced before. We had the whole of the * Creation/ and a part of c Samson/ The solo singers were old Bellamy, who had sung in 1784, E. Seguin, a young pupil of the Royal Academy of Music, and the admirable Phillips ; the tenors were represented by Hobbs and the inimitable Braham ; Miss Stevens and Madame Caradori Allan, both excel- lent, sang the soprano parts. The chorus and orchestra x 2 308 LIFE OF MOSCHELES. were first rate, and the first day might deserve to be called a perfect success.” The second day was opened by another Coronation Anthem by Handel ; and the “ Hallelujah” electrified the audience. * Then with a view of producing certain effects in preference to giving any one work in its entirety, a selection had been made of sacred pieces, in which singers, as well as wind-instrument players, could have an opportunity of display. Everybody was to have his or her chance, Rubini, Zucchelli, with Lindley’s violoncello, and Braham, with Harpers trumpet-obligato. Phillips had a song with a bassoon accompaniment, Miss Stevens and Grisi also had parts assigned them in this selection. Then followed the finest perhaps of all HandePs oratorios, u Israel in Egypt,” which was splendidly performed. The newspapers were rapturous on the subject. With reference to the closing numbers of that Oratorio, the Athenceum said, “ One feels so elevated by this music that we seem to live in those great days when the Lord went before His people in the cloud or pillar of fire. But once let the celestial strains end, and we wake again to the pale reality of our shadow-like everyday existence.” “ My own impression,” adds Moscheles, “ far exceeded all that I ever dreamt of realizing, and I believe my feelings were in unison with nearly all of those who were present.” On the 3rd day, unfortunately, a medley of airs, choruses, and en- sembles was again given ; a programme with abrupt PERFORMANCE OE THE “ MESSIAH. 5 ’ 309 transitions from ancient to modern compositions. Eoi the 4th day the Queen, following the precedent of Queen Charlotte, had commanded the “ Messiah.” To a German musician it seems but natural that the chief interest should be concentrated on this majestic work. The tickets for admission to the performance, as well as for the rehearsals, were soon bought up, and the public, unable to procure any at the regular prices, was forced to pay exorbitantly. Every nook and corner of the Abbey was occupied, and a truly de- votional spirit seemed to prevail. The Times , which during the previous days had never resented the want of taste shown in giving disjointed works, found room in its columns, when the festival was over, for imparting as a piece of advice : “ The effect of such performances would be enhanced, if the oratorios were given, not piecemeal, but in their entirety, just as the composer intended they should be given.” Moscheles writes on this subject : — “ The advice on this point came certainly too late— of course to a German musician, much of the arrangement of these programmes was an offence, and yet the general effect was so grand that it would be thankless to point out the obvious anomalies. The veneration with which the English traditionally regard their noble abbey, found expression in the dignified attitude and frame of mind observable in the audience, which crowded within the sacred walls, and the thrill of awe which penetrated these large masses spoke more eloquently than any cheers or clapping of hands. The 310 LIFE OF MOSCHELES. King and Queen, who attended daily, were regarded as the patrons of a great and beneficent work, that was fittingly supported by the whole nation. Such are my feelings — you may call them fanciful if you please, but they were suggested to me by the bearing and demeanour of the crowd that was present.” Mosch eles had only just returned from thö sea- side, where he had gone for fresh air and change, when he found himself once more obliged to prepare for a grand musical festival at Birmingham ; there he performed his “ Alexander Variations” and the “ Recollections of Ireland.” The powerful tones of the Erard were heard all over the colossal and crowded hall, which was not intended for solo instruments ; and the Spectator went so far as to say that a large crowd outside enjoyed the performance. The pro- ceeds of the whole festival realized 14,000/. “ 16th October. — I was hard at work with my overture to ' Joan of Arc/ ” Moscheles writes, “ when the fearful news reached me that the House of Lords was on fire. The fact was only too soon confirmed by flames appearing on the horizon.” .... When the overture was finished and arranged as a pianoforte duet, he substituted for the brilliant and noisy finale a soft pathetic strain, which he thought more suitable to Johanna’s death. On this subject we read in a letter of Moscheles : “ In this overture I have aimed at elevation, harmony, and unity of ideas. Assuming I BYRONS “ MANFRED. 5 ’ 311 have the proper audience, the work might please ; but whoever looks for trivial, easy, Italian sing-song, will find nothing in it ; nor will those be pleased who think a minute working out of individual parts, or the introduction of unexpected harmonies, too learned. These just give the keenest relish to those initiated in the secrets of counterpoint. I hold that the treatment of a melody, and clearness as well as unity and an interesting fusion of the leading subjects, are the most important ingredients in a composition, and shall always strive to attain these objects Mendelssohn's Octet, in which you complain of an absence of melody, has a tendency to the elaborate (künstlich), and yet the frequent hearing of that admirable work, and that, too, in a spirit of careful analysis, is well worth the trouble, if it leads to the proper appreciation of an originality which never degenerates into anything extravagant There is not much sympathy here with Spohr's € Weihe der Töne/ Haslinger offered through me to the Philharmonic Society the copyright of the work for two or three years, but the Society refused/' “ This winter Byron's c Manfred,' with choruses set by Bishop, was given as a novelty in Covent Garden Theatre. There was an immense outlay in scenery and decorations, the music was not much more enjoyable than that of the f Bravo,' by Marliani ; a melange made up of the well-worn phrases of Rossini, Pacini, and Mercadante. The beauty of the mise-en - 312 LIFE OF MOSCHELES. scene would have done equally well, apart from the ear-torture.” “ My wife,” writes Moscheles, “ who reads aloud to me whilst I correct my work, happened at this time to select 6 Uhland's Poems/ This suggested to me vocal settings of c Der Schmidt/ * Das Reh/ and c Das Gärtnerslied/ ” Towards the end of the year he was busy with preparations for a private performance of the “ Israel in Egypt.” Some chorister boys from the Westminster Abbey Choir, and some well-trained amateurs, were asked to joim The chief supporters, however, were Madame Caradori- Allan, Rockel, and Taylor. This performance was a worthy finale for the year 1834. 313 CHAPTEK XYII. 1835. “TRIAL NtGHT” OF THE PHILHARMONIC SOCIETY — AN UNMANNERLY NOBLEMAN — LITOLFF’s COMPOSITIONS — BERLIOZ* “ SYMPHONIE FANTASTIQUE” — MUSICAL PAINS AND PLEASURES — JULIUS BENEDICT — cramer’s retirement — visit to Germany— Leipzig — inter- course WITH MUSICAL ARTISTS — FELIX MENDELSSOHN— LETTERS TO MADAME MOSCHELES — CONCERT — BERLIN — A FAMILY FETE — MUSICAL ABSURDITIES — A PAINFUL AFFAIR — DEATH OF MENDELS- SOHN’S FATHER— HOLLAND AND BELGIUM. T the beginning of this year, the Philharmonic JL jL Society held its first “ Trial Night." for new compositions, when Spohr's “ Weihe der Töne" was con- ducted by Sir George Smart. “ This able conductor," says Moscheles, “ succeeded at this first rehearsal in carrying the band through the whole of the work correctly, although of course without that delicacy, light, and shade requisite for so intricate a work, the Andante of which, with its 3-8 and 9-16 time, con- stituted in itself a considerable difficulty. I followed the performance with the score, and was delighted with the solidity of the entire work, as well as the beauty of its details ; still, the too great predominance of Spohrish colour and form to some extent quenched my enthusiasm. Nothing but genius and wealth of invention can kindle me into rapture." When Moscheles conducted, there was a successful 314 LIFE OF MOSCHELES. performance of his overture to “ J oan of Arc,” and the youthful Sterndale Bennett, a pupil of Cipriani Potter, played a pianoforte concerto of his own com- position; Moscheles thought highly of the performer, his playing, and the concerto as well. Moscheles^ services as a public performer and teacher were in constant requisition at this time in Bath, Man- chester, and other places. In the midst of all his nume- rous engagements, he never neglected his habit of writing daily to his wife, but his letters at this period, being for the most part of a domestic character, are omitted. When once back in London business engagements accumulate, and Moscheles might exclaim with Figaro in the “ Barbiere di Siviglia,” “ Tutti mi chiedono, tutti mi vogliono.” To one treated, as we have seen, with marked courtesy by all with whom he came in contact, the following episode must have been eminently distasteful. “ I had,” he says, “ during the last season given lessons to two young ladies, the daughters of Lord . The treatment I experienced in this household, where even the servants were disrespectful, was only to be met by the inde- pendent airs I was forced to assume, to assert my rights as a gentleman. Although not offered a chair, I sat down in presence of the lady, and insisted on walking up the principal staircase, although I was shown the back one. After waiting in vain for nearly nine months for 35/. due to me, a steward appeared at my house, and, finding only my wife at home, pro- duced my account, on which the noble lord had MENDELSSOHN S ORGAN FUGUES. 315 written — • Pay this man 15/. on account.’ My wife remonstrated, whereupon the steward answered in a sympathizing tone, f Well, Ma’am, I advise you to take it while you can get it.’ It then occurred to her that, the family being reported somewhat impe- cunious, she had better accept the man’s advice. Soon afterwards my lady sent to beg I would again resume my lessons with her daughters. I refused. Then came an exceedingly polite question from my lord, asking the reasons of my refusal, and would I state them verbally? &c. I did so. Lord and Lady overloaded me with civility, and I agreed once more to give four lessons a week. Such people should be taught manners as well as music.” Moscheles says of himself in a letter : “ I am always longing to compose, but how am I to find time ? To be sure I have published two little Lieder ; one a setting of Byron’s ‘ There be none of Beauty’s daughters,’ and c Im Herbste,’ by Uhland. Owing to interruptions, I have not succeeded in finishing my c Concerto Pathetique ;’ besides these, I should like to write a new Introduction to my ‘ Hommage ä Handel,’ which I composed in the year 1822.” This intention he carried out at this period, and the work in its entirety has frequently been performed in public. Later on we read : “ To-day Klingemann brought us two organ fugues, arranged as duets by Mendels- sohn. My wife and I attacked them instantly ; they are admirable, like everything else that he presents to the musical world.” 316 LIFE OF MOSCHELES. Just at this time Litolff published many of his early and very promising compositions, and at the same time Chopin's graceful “ Scherzo " and “ Grand Studies" appeared. “ I am a sincere admirer of his originality/' says Moscheles ; “ he has given piano- forte-players all that is newest and most attractive. Personally, I dislike his artificial and forced modula- tion. My fingers struggle and tumble over such passages ; practise them as I will, I never can do them smoothly." With regard to Berlioz' “ Symphonie Eantastique," which the publishers sent him in a pianoforte edition, he observes : “ I can hardly form an opinion of the work before I know the score, but I cannot reconcile myself to the eternal unisons, octave passages, and tremolandos. I do not find a healthy sequence of harmonic progressions. His c Dies Irse' and the r Witches' Sabbath' seem to me indicative of a diseased fancy; and the development oi figures heaped one on another often ends in a tight Gordian knot — who will cut it asunder ? The young man, however, has warmth and poetic feeling, and certain isolated passages remind me in their grandeur of an ancient Torso." Moscheles is amused and displeased alternately with his strange experiences during the London season. “ If called on to reckon up our musical pains as well as pleasures, I must compare the swarm of foreign musicians who obscure the horizon, to the locusts which darkened the Egyptian sky. One of our visitors ARRIVAL OF BENEDICT. 317 carries the German simplicity to such an extent as to speak no other language hut his owi; ; yet he travels hither on purpose to be recognised by the English. In language and conduct he is an exact counterpart of Dominie Sampson, and insists on bringing with him each time his pupil — a tiresome young Dutch- man. Yesterday they both met with that strange fellow H •, with his odd medley of French and German ; the party were joined by a regular John Bull, who speaks and composes only in his own language. The result of these compounds is a strange medley of discords. At dinner, the German takes kindly to everything on the table ; but the Frenchman turns up his nose at every little grain of pepper, and the Englishman, before he touches anything, covers the rim of his plate with mustard, cayenne, and spices, so that it looks like a painters palette. Having to do the part of interpreters, we didn't get much dinner, and it was all we could do to smother our laughter ; for at last, in despair of communicating with one another, the German and the Englishman talked Latin, but were out in their reckoning — for each one pronounced it in a different way, and confusion became worse confounded.” In this year Julius Benedict first became a member of the great musical guild in London, and asserted his position at once as an excellent musician and piano- forte player. His long residence in Italy made him peculiarly fitted as an accompanist to the Italian 318 LIFE OF MOSCHELES. singers; and in Moscheles’ house he was heartily welcomed as a distinguished compatriot. J. B. Cramer, wishing in his old age to retire to Munich, gave a farewell concert, and was invited by his friends to a musical banquet. “ We pianoforte players/” says Moscheles, “ had selected Cramer’s compositions for our performance ; he himself played with much grace and delicacy Mozart’s Concerto in D. Lastly, when called on to extemporize, I selected themes out of his works ; this delighted and affected him also.” Cramer did not long remain in Munich, but chose to end his days in strict retirement in England. In July, Moscheles writes : man. MOSCHELES IN BERLIN. 327 “ Afternoon. — I have just come from a very pleasant dinner at Kistner’s. Hauser, Dr. Schleinitz, Weise, Fink, and others were there, and I write you a few lines before I dress for the concert. Felix had just heard that his youngest sister had arrived ; his parents write, asking me to take her on to Berlin, and stay with them ; Felix begs me to do this, but I don't know if I can spare the time. Before dinner Felix and I went to my mother's house, where he played a great deal to her. Adieu ! An revoir !" The next letter is dated from Berlin : “ 14th October. I received your letter, with which I was delighted, on Monday, at Leipzig. After my mother's departure it came like soothing balsam." cc Monday. — Now that you had encouraged me so heartily, I felt inclined to allow myself the trip to Berlin. You set all my doubts at rest. Felix and I accompanied his sister hither. Monday night we were up till twelve o’clock at a party given by Härtel, where I played solos and duets with Felix ; then I packed my things from one to two, and by six a.m. we were seated in the carriage. We had plenty of cheerful and delightful talk — you were a constant topic. Felix, whose sister is a very nice, amiable creature, had sent a letter to his parents, giving them notice of our intended arrival, but the letter miscarried, for, when we came after midnight, not a soul was stirring. The servants had to prepare our beds as best they could. 328 LT FE OE MOSCHELES. There was nothing to eat, and we were all ravenous, so a great slice of my cake, brought by my mother from Prague, did excellent service. The meeting of the aged parents and their children next morning was a family fete, and gave me, a mere spectator, feelings of indescribable delight. This was enhanced by the fact of my being received and welcomed as affec- tionately as if I were a son. I see I shall be besieged on all sides, to abandon my purpose of starting off again this evening, and that it will end in my leaving Berlin twenty-four hours later. My nights, which have been broken into, my happy time here, and your words of encouragement, will, I suppose, make me fix on to-morrow.” Felix adds : — “ If you want to be angry at Moscheles* staying away from you a few days longer, you must be wroth w r ith the whole of No. 3, Leipziger Strasse ; they are all guilty. He wanted to go away, although he only came yesterday (or rather to-day) at half-past one in the morning ; but we humbly memorialized him and would have called in the police to detain him ; besides, you will have him again in Hamburg, and Holland, and London, whereas we must separate to-morrow, and shall not exchange words for a long time to come. In short, I entreated him, as fervently as I could, and hope you will put yourself in my position, for then I am sure you would have done just the same thing ; when you meet, Moscheles will bring THE MENDELSSOHN FAMILY. 329 you all my and our greetings. The post is just going, so farewell, and don't be angry with “ Your sincere friend, “ F. Mendelssohn-Bartholdy." In addition to this, Felix's father had dictated to him the following lines. “ I must add my best remem- brances, and in telling you of my delight in the unex- pected visit of our excellent friend brought here by Felix, express my regret at the shortness of his stay. Pray accept my thanks for prevailing on him to give us this real pleasure. I hope you will thank me too for having induced Moscheles, after travelling all night, not to start off again this evening in a f Beiwagen,' whereas to-morrow evening he will have a place in the ‘ Postwagen.' Farewell, and remember me kindly, &c., &c." During this short visit Moscheles was an eye-witness of Felix's child -like sunny cheerfulness and perfect happiness in the bosom of his family. In a letter which Moscheles wrote to his wife late one evening, he says : "We have had a regular day of it. First of all I played with Felix Mozart's ‘ Duet in D,' for two pianofortes ; and my f Hommage ä Handel.' We then allowed ourselves all manner of musical extravagances; extemporized jointly and alternately on two pianos — an intellectual sort of tournament. I played Felix's ‘ Rondo Brillant in E flat,' and my ‘ Concerto Fan- tastique,' he supplying a substitute for an orchestral 330 LIFE OF MOSCHELES. accompaniment on a second piano. We played by turns his c Lieder ohne Worte/ and then perpetrated all sorts of musical absurdities. Fanny Hensel pleased me immensely by the playing of her own compositions ; Felix and I had a good hunt in his collection of old music. Suffice it to say, I shall never forget the hours I passed here, and I unwillingly part from my delightful hosts, but I must pay a visit here and there before I leave." During this short stay in Berlin, curiously enough, the theft practised on Moscheles in the year 1823, and mentioned in page 80 of this volume, was once more brought under Moscheles 5 notice. He knew well enough who had defrauded him, but the young man’s confession and repeated promises to restore the property, induced Moscheles to abandon all idea of going to law. On the eve of Moscheles 5 departure from Berlin, the young man writes that he has met and recognised him in the streets, invokes on him all kinds of blessings for his forbearance, and, after informing him how he has hitherto subsisted as a lite- rary man, ends by saying that he is unable at present to compensate Moscheles for his loss, offering however to give him a written acknowledgment of the debt. Moscheles declines this as an unnecessary formality, but on being told, by Felix’s father, that the young man belongs to a respectable family in Berlin, requests the elder Mendelssohn to act on his behalf, and obtain, through some other member of the family, a restitution LETTER FROM MENDELSSOHN^ FATHER. 331 of the property. Several letters during the next few days pass on the subject, when on the 29th of October he hears of the young man’s sudden death. Mr. Mendelssohn then offers to proceed in the matter, and writes : — “ The whole history, told in your simple language, is certainly a wonderful one, and illustrating, as it does, your discretion, kindness, and forethought, reminds me of Schiller’s golden words, * Und die Tugend, sie ist kein leerer Schall V (And virtue is no hollow sound). Unhappily the poor young man had no opportunity of redeeming himself ; after making so many false steps, one would have hoped he had just begun to improve — that again reminds me of the golden rule of the Rabbis : c Bessere dich eine Stunde vor deinem Tod (Try to improve an hour before your death).’ Further, it shows how talent and the best education are mere delusions, which lead their possessor to certain destruction, if the true inner light, character, and conscience do not sustain him in the right path. It shows, moreover, that all sin avenges itself in this world. Well, ‘ Requiescat in pace.’ “ Always yours, “ A. Mendelssohn Bartholdy.” The sequel of this episode was as melancholy as it was unexpected. Felix’s honoured father, Mos- cheles’ faithful friend, died on the 19th of November in the same year, and the blow so prostrated Mos- cheles as to make him utterly indifferent to take 332 LIFE OF MOSCHELES. any further action. To institute legal proceedings was utterly distasteful to him. He remained a con- siderable loser ; the family of the young man ; although reputed wealthy, having never thought it worth the trouble to clear the memory of their relative. After a short stay at Hamburg with his relatives, the last two months of the year were devoted by Mos- cheles to the pains and pleasures of concert- giving in Belgium and Holland. Writing from Amsterdam, he observes : “ I canT complain of the phlegmatic Dutch. In the year 1820, I enjoyed the hospitality of my friends the Königs w r arters, and there wrote my Concerto in G minor, which w 7 as received as warmly as my subsequent compositions are now. I must play everywhere, and the pecuniary results are very gratifying.” “ But,” adds Mrs. Moscheles, “ in spite of all the musical honours heaped on my husband, we find some odd customs here. At the Subscription Concert, the first part is scarcely finished w r hen all the gentlemen vanish. Where are they? My olfac- tory nerves soon answer the question, as the tobacco fumes issue from the adjoining room. The ladies meanw 7 hile drink chocolate and lemonade, and I, in my solitude, found time for studying the bareness of the four whitewashed walls of the concert room.” Moscheles, here as elsewhere, complains of the bad orchestra. “ The Directors take every imaginable pains. I myself seldom sit at the piano, when I rehearse a concerto, but run about between the leading violin CONCERTS IN HOLLAND. 333 and double drum, up and down, whispering the note into the ear of every player; after all my trouble, the music will not ‘ go/ I often omit a difficult Adagio, and in Rotterdam, where I had a very poor instru- ment to play upon, extemporized on Mozart’s air, ‘ I can do nought but pity you/ and applied the words to myself. In spite of a violent attempt to encore me, I would not a second time face a struggle with the refractory keys of the pianoforte.” The troubles of concert-giving in the Belgian towns are largely compensated for by visits to the galleries, churches, and museums. Once returned to England, Moscheles can look back upon Holland as a store- house of happy memories for future years. END OF VOL. I. LONDON : SAVILL, EDWARDS, AND CO., PRINTERS, CHANDOS STREET, COVENT GARDEN. f * -