André-Ewald—Bürger's Leonore.
I lived, at the house of John André, and since I am here forced to mention this man, who afterwards made himself well enough known, I must indulge in a short digression, in order to give some idea of the state of the Opera at that time.
In Frankfort, Marchand was director of the theatre, and exerted himself in his own person to do all that was possible. In his best years he had been a fine, large well-made man, the easy and gentle qualities appeared to predominate in his character; his presence on the stage, therefore, was agreeable enough. He had perhaps as much voice as was required for the execution of any of the musical works of that day; accordingly he endeavoured to adapt to our stage the large and smaller French operas.
The part of the father in Gretry's opera of "Beauty and the Beast," particularly suited him and his acting was quite expressive in the scene of the Vision which was contrived at the back of the stage.
This opera, successful in its way, approached, however the lofty style, and was calculated to excite the tenderest feelings. On the other hand a Demon of Realism had got possession of the opera-house; operas founded upon different crafts and classes were brought out. The Huntsmen, the Coopers, and I know not what else, were produced; André chose the Potter. He had written the words himself, and upon that part of the text which belonged to him, had lavished his whole musical talent.
I was lodging with him, and will only say so much as occasion demands of this ever ready poet and composer.
He was a man of an innate lively talent and was settled at Offenbach, where he properly carried on a mechanical business and manufacture; he floated between the chapel-master (or Precentor) and the dilettante. In the hope of meriting the former title, he toiled very earnestly to gain a thorough knowledge of the science of music; in the latter character he was inclined to repeat his own compositions without end.
Among the persons who at this time were most active in filling and enlivening our circle, the pastor Ewald must be first named. In society an intellectual agreeable companion, he still carried on in private quietly and diligently the studies of his profession, and in fact afterwards honourably distinguished himself in the province of theology. Ewald in short was an indispensable member of our circle, being quick alike of comprehension and reply.
Lili's pianoforte-playing completely fettered our good André to our society; what with instructing, conducting, and executing, there were few hours of the day or night in which he was not either in the family circle or at our social parties.
Bürger's "Leonore," then but just published, and received with enthusiasm by the Germans, had been set to music by by him; this piece he was always forward to execute however often it might be encored.