I now sold the whole of the returned manuscripts to two Vienna publishers, and from their having acquired a great celebrity by their frequent performance, I received a considerable sum for them.
At the commencement of the year 1815, I wrote another Quartett, in C-major (No. 2 of the op. 29) and a new violin Concerto (the seventh, op. 38) as also Variations, which remained unpublished, for use upon the coming journey; the two last of these compositions I played at my farewell-Concert on the 19. February 1815. Respecting this last concert I gave in Vienna, the Musical journal spoke very favourably. Of the newest violin concerto (E-minor, C-major, E-major) it says: “Very difficult for the solo player as well as for those who accompany. A splendid, perfect composition; a fine flowing cantabile; striking modulations, replete with bold canonic imitations, an ever new, charming and happily calculated instrumentation. The melting adagio is especially captivating.” In conclusion it says: “As to the merits of this masterly artist, both here and throughout Germany there is but one opinion. We yet remember with lively satisfaction the triumph, which he achieved two years ago over his rival, the great Rode. He is now about to leave us upon a grand artistic tour. He first proceeds to Prague, where his new opera “Faust” is now being studied.... May he, who by his talent and his open, manly character has left an honourable memorial of his worth in our hearts, meet always, and every where with success!”
I at that time really had the intention of going first to Prague, to be present at the production of my opera, which was being studied under Carl Maria von Weber. But I afterwards abandoned that plan. I had in fact received a letter from my former Intendant Baron von Reibnitz at Breslau, wherein in the name of a family of his acquaintance that of Prince von Caroluth, he asked me if I would feel disposed to pass the summer months with them at their seat, Caroluth, in Silesia? The Princess was very desirous, that her two daughters, one of whom played the harp, the other the pianoforte, should receive instruction in music from my wife. They would endeavour to make the stay of myself and family at their charming castle as agreable as possible. He, the Baron had been invited also, and would be extremely pleased if I would accept the invitation, so that he might again pass some time with me.
As the spring and summer were any way but little favourable seasons of the year to give concerts, and that Dorette and the children anticipated much pleasure from the stay at Carolath, I readily assented. I therefore hastened the preparations for our journey, in order to avail ourselves of the opportunity to give a few concerts at Breslau and in its neighbourhood, before the fine season had set in. The next thing was to effect the sale of our furniture and household chattels, which was very speedily done, for immediately upon the announcement of the sale, a host of purchasers presented themselves. As our furniture was very elegant, and withal nearly new, the purchasers bid warmly against each other, and we therefore realised a sum far beyond our expectation. This as well as my Vienna savings, which were still in paper currency, I now took to a banker’s and changed for gold. Scarcely had I done this when all Vienna was alarmed by the intelligence that Napoleon had escaped from Elba, landed in France, and been hailed with the greatest joy. The rate of exchange fell suddenly so low, that if I had delayed the conversion of my paper into specie but one day more, I should have suffered a loss of more than fifty ducats.
When first contemplating my grand tour through Europe, the idea struck me, also, of commencing an album, in which I purposed making a collection of the compositions of all the artists whose acquaintance I might make. I began immediately with the Viennese, and received from all the resident composers of my acquaintance, short, autographic works written for the most part expressly for my album. The most valuable contribution to me, is that of Beethoven. It is a Canon for three voices to the words from Schiller’s “Jungfrau von Orleans”: “Kurz ist der Schmerz, und ewig währt die Freude.” It is worthy of remark, in the first place, that Beethoven whose handwriting, notes as well as text, were usually almost illegible, must have written this page with particular patience; for it is unblotted from beginning to end, which is the more remarkable, since he even drew the lines without the aid of a ruler; secondly, that after the falling in of the third voice a bar is wanting, which I was obliged to complete. The pages concluded with the wish:
May you dear Spohr where ever you find real art, and real artists, think with pleasure of me, Your friend.
Ludwig van Beethoven.
Vienna March 3. 1815.
Upon all my subsequent travels I received contributions to this album, and possess therefore a highly interesting collection of short compositions from German, Italian, French, English and Dutch artists.[15]