My Life, Volume I Read online

  Soon afterwards I wrote three overtures which all met with his entire approval. In the following winter (1831-1832) I succeeded in getting the first of them, in D minor, performed at one of the Gewandhaus concerts.

  At that time a very simple and homely tone reigned supreme in this institution. The instrumental works were not conducted by what we call 'a conductor of the orchestra,' but were simply played to the audience by the leader of the orchestra. As soon as the singing began, Pohlenz took his place at the conductor's desk; he belonged to the type of fat and pleasant musical directors, and was a great favourite with the Leipzig public. He used to come on the platform with a very important-looking blue baton in his hand.

  One of the strangest events which occurred at that time was the yearly production of the Ninth Symphony of Beethoven; after the first three movements had been played straight through like a Haydn symphony, as well as the orchestra could manage it, Pohlenz, instead of having to conduct a vocal quartette, a cantata, or an Italian aria, took his place at the desk to undertake this highly complicated instrumental work, with its particularly enigmatical and incoherent opening, one of the most difficult tasks that could possibly be found for a musical conductor. I shall never forget the impression produced upon me at the first rehearsal by the anxiously and carefully played 3/4 time, and the way in which the wild shrieks of the trumpet (with which this movement begins) resulted in the most extraordinary confusion of sound.

  He had evidently chosen this tempo in order, in some way, to manage the recitative of the double basses; but it was utterly hopeless. Pohlenz was in a bath of perspiration, the recitative did not come off, and I really began to think that Beethoven must have written nonsense; the double bass player, Temmler, a faithful veteran of the orchestra, prevailed upon Pohlenz at last, in rather coarse and energetic language, to put down the baton, and in this way the recitative really proceeded properly. All the same, I felt at this time that I had come to the humble conclusion, in a way I can hardly explain, that this extraordinary work was still beyond my comprehension. For a long time I gave up brooding over this composition, and I turned my thoughts with simple longing towards a clearer and calmer musical form.

  My study of counterpoint had taught me to appreciate, above all, Mozart's light and flowing treatment of the most difficult technical problems, and the last movement of his great Symphony in C major in particular served me as example for my own work. My D minor Overture, which clearly showed the influence of Beethoven's Coriolanus Overture, had been favourably received by the public; my mother began to have faith in me again, and I started at once on a second overture (in C major), which really ended with a 'Fugato' that did more credit to my new model than I had ever hoped to accomplish.

  This overture, also, was soon afterwards performed at a recital given by the favourite singer, Mlle. Palazzesi (of the Dresden Italian Opera). Before this I had already introduced it at a concert given by a private musical society called 'Euterpe', when I had conducted it myself.

  I remember the strange impression I received from a remark that my mother made on that occasion; as a matter of fact this work, which was written in a counterpoint style, without any real passion or emotion, had produced a strange effect upon her. She gave vent to her astonishment by warmly praising the Egmont Overture, which was played at the same concert, maintaining that 'this kind of music was after all more fascinating than any stupid fugue.'

  At this time I also wrote (as my third opus) an overture to Raupach's drama, Konig Enzio, in which again Beethoven's influence made itself even more strongly felt. My sister Rosalie succeeded in getting it performed at the theatre before the play; for the sake of prudence they did not announce it on the programme the first time. Dorn conducted it, and as the performance went off all right, and the public showed no dissatisfaction, my overture was played with my full name on the programme several times during the run of the above-mentioned drama.

  After this I tried my hand at a big Symphony (in C major); in this work I showed what I had learnt by using the influence of my study of Beethoven and Mozart towards the achievement of a really pleasant and intelligible work, in which the fugue was again present at the end, while the themes of the various movements were so constructed that they could be played consecutively.

  Nevertheless, the passionate and bold element of the Sinfonia Eroica was distinctly discernible, especially in the first movement. The slow movement, on the contrary, contained reminiscences of my former musical mysticism. A kind of repeated interrogative exclamation of the minor third merging into the fifth connected in my mind this work (which I had finished with the utmost effort at clearness) with my very earliest period of boyish sentimentality.

  When, in the following year, I called on Friedrich Rochlitz, at that time the 'Nestor' of the musical aesthetes in Leipzig, and president of the Gewandhaus, I prevailed upon him to promise me a performance of my work. As he had been given my score for perusal before seeing me, he was quite astonished to find that I was a very young man, for the character of my music had prepared him to see a much older and more experienced musician. Before this performance took place many things happened which I must first mention, as they were of great importance to my life.

  My short and stormy career as a student had drowned in me not only all longing for further development, but also all interest in intellectual and spiritual pursuits. Although, as I have pointed out, I had never alienated myself entirely from music, my revived interest in politics aroused my first real disgust for my senseless student's life, which soon left no deeper traces on my mind than the remembrance of a terrible nightmare.

  The Polish War of Independence against Russian supremacy filled me with growing enthusiasm. The victories which the Poles obtained for a short period during May, 1831, aroused my enthusiastic admiration: it seemed to me as though the world had, by some miracle, been created anew. As a contrast to this, the news of the battle of Ostrolenka made it appear as if the end of the world had come. To my astonishment, my boon companions scoffed at me when I commented upon some of these events; the terrible lack of all fellow-feeling and comradeship amongst the students struck me very forcibly. Any kind of enthusiasm had to be smothered or turned into pedantic bravado, which showed itself in the form of affectation and indifference. To get drunk with deliberate cold-bloodedness, without even a glimpse of humour, was reckoned almost as brave a feat as duelling. Not until much later did I understand the far nobler spirit which animated the lower classes in Germany in comparison with the sadly degenerate state of the University students. In those days I felt terribly indignant at the insulting remarks which I brought upon myself when I deplored the battle of Ostrolenka.

  To my honour be it said, that these and similar impressions helped to make me give up my low associates. During my studies with Weinlich the only little dissipation I allowed myself was my daily evening visit to Kintschy, the confectioner in the Klostergasse, where I passionately devoured the latest newspapers. Here I found many men who held the same political views as myself, and I specially loved to listen to the eager political discussions of some of the old men who frequented the place. The literary journals, too, began to interest me; I read a great deal, but was not very particular in my choice. Nevertheless, I now began to appreciate intelligence and wit, whereas before only the grotesque and the fantastic had had any attraction for me.

  My interest in the issue of the Polish war, however, remained paramount. I felt the siege and capture of Warsaw as a personal calamity. My excitement when the remains of the Polish army began to pass through Leipzig on their way to France was indescribable, and I shall never forget the impression produced upon me by the first batch of these unfortunate soldiers on the occasion of their being quartered at the Green Shield, a public-house in the Meat Market. Much as this depressed me, I was soon roused to a high pitch of enthusiasm, for in the lounge of the Leipzig Gewandhaus, where that night Beethoven's C minor Symphony was being played, a group of heroic figures, the principal le
aders of the Polish revolution, excited my admiration. I felt more particularly attracted by Count Vincenz Tyszkiewitcz, a man of exceptionally powerful physique and noble appearance, who impressed me by his dignified and aristocratic manner and his quiet self-reliance-qualities with which I had not met before. When I saw a man of such kingly bearing in a tight-fitting coat and red velvet cap, I at once realised my foolishness in ever having worshipped the ludicrously dressed up little heroes of our students' world. I was delighted to meet this gentleman again at the house of my brother-in-law, Friedrich Brockhaus, where I saw him frequently.

  My brother-in-law had the greatest pity and sympathy for the Polish rebels, and was the president of a committee whose task it was to look after their interests, and for a long time he made many personal sacrifices for their cause.

  The Brockhaus establishment now became tremendously attractive to me. Around Count Vincenz Tyszkiewitcz, who remained the lodestar of this small Polish world, gathered a great many other wealthy exiles, amongst whom I chiefly remember a cavalry captain of the name of Bansemer, a man of unlimited kindness, but of a rather frivolous nature; he possessed a marvellous team of four horses which he drove at such breakneck speed as to cause great annoyance to the people of Leipzig. Another man of importance with whom I remember dining was General Bem, whose artillery had made such a gallant stand at Ostrolenka.

  Many other exiles passed through this hospitable house, some of whom impressed us by their melancholy, warlike bearing, others by their refined behaviour. Vincenz Tyszkiewitcz, however, remained my ideal of a true man, and I loved him with a profound adoration. He, too, began to be interested in me; I used to call upon him nearly every day, and was sometimes present at a sort of martial feast, from which he often withdrew in order to be able to open his heart to me about the anxieties which oppressed him. He had, in fact, received absolutely no news of the whereabouts of his wife and little son since they separated at Volhynien. Besides this, he was under the shadow of a great sorrow which drew all sympathetic natures to him. To my sister Louise he had confided the terrible calamity that had once befallen him. He had been married before, and while staying with his wife in one of his lonely castles, in the dead of night he had seen a ghostly apparition at the window of his bedroom. Hearing his name called several times, he had taken up a revolver to protect himself from possible danger, and had shot his own wife, who had had the eccentric idea of teasing him by pretending to be a ghost. I had the pleasure of sharing his joy on hearing that his family was safe. His wife joined him in Leipzig with their beautiful boy, Janusz. I felt sorry not to be able to feel the same sympathy for this lady as I did for her husband; perhaps one of the reasons of my antipathy was the obvious and conspicuous way in which she made herself up, by means of which the poor woman probably tried to hide how much her beauty had suffered through the terrible strain of the past events. She soon went back to Galicia to try and save what she could of their property, and also to provide her husband with a pass from the Austrian Government, by means of which he could follow her.

  Then came the third of May. Eighteen of the Poles who were still in Leipzig met together at a festive dinner in a hotel outside the town; on this day was to be celebrated the first anniversary of the third of May, so dear to the memory of the Poles. Only the chiefs of the Leipzig Polish Committee received invitations, and as a special favour I also was asked. I shall never forget that occasion. The dinner became an orgy; throughout the evening a brass band from the town played Polish folksongs, and these were sung by the whole company, led by a Lithuanian called Zan, in a manner now triumphant and now mournful. The beautiful 'Third of May' song more particularly drew forth a positive uproar of enthusiasm. Tears and shouts of joy grew into a terrible tumult; the excited men grouped themselves on the grass swearing eternal friendship in the most extravagant terms, for which the word 'Oiczisna' (Fatherland) provided the principal theme, until at last night threw her veil over this wild debauch.

  That evening afterwards served me as the theme for an orchestral composition (in the form of an overture) named Polonia; I shall recount the fate of this work later on. My friend Tyszkiewitcz's passport now arrived, and he made up his mind to go back to Galicia via Brunn, although his friends considered it was very rash of him to do so. I very much wanted to see something of the world, and Tyszkiewitcz's offer to take me with him, induced my mother to consent to my going to Vienna, a place that I had long wished to visit. I took with me the scores of my three overtures which had already been performed, and also that of my great symphony as yet unproduced, and had a grand time with my Polish patron, who took me in his luxurious travelling-coach as far as the capital of Moravia. During a short stop at Dresden the exiles of all classes gave our beloved Count a friendly farewell dinner in Pirna, at which the champagne flowed freely, while the health was drunk of the future 'Dictator of Poland.'

  At last we separated at Brunn, from which place I continued my journey to Vienna by coach. During the afternoon and night, which I was obliged to spend in Brunn by myself, I went through terrible agonies from fear of the cholera which, as I unexpectedly heard, had broken out in this place. There I was all alone in a strange place, my faithful friend just departed, and on hearing of the epidemic I felt as if a malicious demon had caught me in his snare in order to annihilate me. I did not betray my terror to the people in the hotel, but when I was shown into a very lonely wing of the house and left by myself in this wilderness, I hid myself in bed with my clothes on, and lived once again through all the horrors of ghost stories as I had done in my boyhood. The cholera stood before me like a living thing; I could see and touch it; it lay in my bed and embraced me. My limbs turned to ice, I felt frozen to the very marrow. Whether I was awake or asleep I never knew; I only remember how astonished I was when, on awakening, I felt thoroughly well and healthy.

  At last I arrived in Vienna, where I escaped the epidemic which had penetrated as far as that town. It was midsummer of the year 1832. Owing to the introductions I had with me, I found myself very much at home in this lively city, in which I made a pleasant stay of six weeks. As my sojourn, however, had no really practical purpose, my mother looked upon the cost of this holiday, short as it seemed, as an unnecessary extravagance on my part. I visited the theatres, heard Strauss, made excursions, and altogether had a very good time. I am afraid I contracted a few debts as well, which I paid off later on when I was conductor of the Dresden orchestra. I had received very pleasant impressions of musical and theatrical life, and for a long time Vienna lived in my memory as the acme of that extraordinarily productive spirit peculiar to its people. I enjoyed most of all the performances at the Theater an der Wien, at which they were acting a grotesque fairy play called Die Abenteuer Fortunat's zu Wasser und zu Land, in which a cab was called on the shores of the Black Sea and which made a tremendous impression on me. About the music I was more doubtful. A young friend of mine took me with immense pride to a performance of Gluck's Iphigenia in Tauris, which was made doubly attractive by a first-rate cast including Wild, Staudigl and Binder: I must confess that on the whole I was bored by this work, but I did not dare say so. My ideas of Gluck had attained gigantic proportions from my reading of Hoffmann's well-known Phantasies; my anticipation of this work therefore, which I had not studied yet, had led me to expect a treatment full of overpowering dramatic force. It is possible that Schroder-Devrient's acting in Fidelio had taught me to judge everything by her exalted standard.

  With the greatest trouble I worked myself up to some kind of enthusiasm for the great scene between Orestes and the Furies. I hoped against hope that I should be able to admire the remainder of the opera. I began to understand the Viennese taste, however, when I saw how great a favourite the opera Zampa became with the public, both at the Karnthner Thor and at the Josephstadt. Both theatres competed vigorously in the production of this popular work, and although the public had seemed mad about Iphigenia, nothing equalled their enthusiasm for Zampa. No sooner had they left the Josephs
tadt Theatre in the greatest ecstasies about Zampa than they proceeded to the public-house called the Strausslein. Here they were immediately greeted by the strains of selections from Zampa which drove the audience to feverish excitement. I shall never forget the extraordinary playing of Johann Strauss, who put equal enthusiasm into everything he played, and very often made the audience almost frantic with delight.

  At the beginning of a new waltz this demon of the Viennese musical spirit shook like a Pythian priestess on the tripod, and veritable groans of ecstasy (which, without doubt, were more due to his music than to the drinks in which the audience had indulged) raised their worship for the magic violinist to almost bewildering heights of frenzy.

  The hot summer air of Vienna was absolutely impregnated with Zampa and Strauss. A very poor students' rehearsal at the Conservatoire, at which they performed a Mass by Cherubini, seemed to me like an alms paid begrudgingly to the study of classical music. At the same rehearsal one of the professors, to whom I was introduced, tried to make the students play my Overture in D minor (the one already performed in Leipzig). I do not know what his opinion was, nor that of the students, with regard to this attempt; I only know they soon gave it up.

  On the whole I had wandered into doubtful musical bypaths; and I now withdrew from this first educational visit to a great European art centre in order to start on a cheap, but long and monotonous return journey to Bohemia, by stage-coach. My next move was a visit to the house of Count Pachta, of whom I had pleasant recollections from my boyhood days. His estate, Pravonin, was about eight miles from Prague. Received in the kindest possible way by the old gentleman and his beautiful daughters, I enjoyed his delightful hospitality until late into the autumn. A youth of nineteen, as I then was, with a fast- growing beard (for which my sisters had already prepared the young ladies by letter), the continual and close intimacy with such kind and pretty girls could hardly fail to make a strong impression on my imagination. Jenny, the elder of the two, was slim, with black hair, blue eyes, and wonderfully noble features; the younger one, Auguste, was a little smaller, and stouter, with a magnificent complexion, fair hair, and brown eyes. The natural and sisterly manner with which both girls treated me and conversed with me did not blind me to the fact that I was expected to fall in love with one or the other of them. It amused them to see how embarrassed I got in my efforts to choose between them, and consequently they teased me tremendously.