[12] According to the ancient legend, the belief in which was once popular throughout Germany; Frederick Barbarossa, seated at a stone table in the vaulted tower of the Imperial Castle of the Kyffhäuser, awaits since 600 years the hour of Germany’s regeneration, in order to reappear once more in the vigour of life, prepared for new works and achievements for the glory and well being of a united Germany. The red beard of the Emperor grows round the table of stone in front of him, and so soon as it has wholly grown round it for the third time, Frederick will awake. His first act will then produce a symbol of his further mission. He will hang his shield upon a withered tree, which will then suddenly shoot out its buds and leaves again, till it is covered anew with verdant life and beauty! Such is the legend, the origin of which dates far back into the middle ages, and must be considered as a long subsisting expression of that yearning of the popular mind in Germany which under long enduring circumstances of political oppression looked towards the future with hopes of enfranchisement and relief, and which associated those hopes and aspirations with the memory of an honoured name.
(Note of Translator.)
[13] This must have been the 6. (Op. 28).
[14] “The glorious moment.”
[15] A selection from the pages of this album will be found in the appendix.
[16] One Carolin = 20 s, 4 d English.
[17] From the leader of the Orchestra an employé in the manufactory, I then made the acquisition of a Violin by Lupot of Paris. I was so much struck with the full and powerful tone of this Instrument, which was then only thirty years old, that I immediately proposed an exchange for an Italian Violin, which I had purchased in Brunswick, and played upon in my first journey; the possessor of the Lupot willingly acceded to my desire. I soon got so fond of this Violin, that I preferred it to my hitherto Concert-Violin, an old german by Buchstetter, and from this time I played on it in all my travels.—————
It was not till the year 1822, when my artistic tours as Violinist had ceased, that I bought of Madame Schlick in Gotha my present instrument, a Stradivari, and yielded to Concert-master Matthaei of Leipsic at his urgent entreaty this Violin of Lupot, which in the course of years had become very good and had acquired a great reputation. Matthaei played on it till his death, when it came into the possession of Concert-master Ulrich.
[18] Unhappily she died young and before her full development.
[19] Edward Henke, previously adverted to, my mother’s youngest brother, then Professor at the University of Bern; and afterwards of Halle.