Music appears very little cultivated in the ancient Imperial city, for the orchestra here is remarkably bad. At our concert yesterday, there was it is true both a numerous audience and no want of applause of our performance, but every thing accompanied by the orchestra was totally spoiled by it.
To render my diary complete, I must here add that, in Nürnberg, young Molique, then about fourteen years of age introduced himself to me, and requested me to give him instruction in music during my stay in Nürnberg; this I readily assented to, for the lad already then gave evidence of very uncommon talent for his years. As Molique, since that time, by an assiduous study of my violin-compositions formed himself more and more upon my model in style of play, and therefore called himself Spohr’s pupil. I have mentioned this circumstance in a supplementary manner.
Munich, Dec., 12. 1815.
Our stay here afforded us much artistic enjoyment. Already on the day after our arrival we were present at an interesting concert, the first of the twelve winter-concerts given every year by the royal orchestra upon their own account. These concerts are very numerously attended, and merit it in a high degree. The orchestra consists of the simple harmony, twelve first, twelve second-violins, eight viols, ten violincelli and six double-basses. The violins and basses are excellent, and the wind instruments, also, up to the horns. At every concert, a whole Symphony is performed; (which is the more praiseworthy, from its becoming unfortunately daily more rare, and that the public for that reason are losing more and more the taste for that noble kind of instrumental-music); then an overture, two vocal, and two concert pieces. As the Court-orchestra of Munich still maintains its ancient repute as one of the first in the world, my expectation was greatly on the stretch; yet was it far exceeded by the execution of Beethoven’s Symphony in C-Minor, with which this first concert was opened. It is scarcely possible, that it could have been performed with more spirit, more power, and at the same time with greater delicacy, as also, throughout, with a closer observance of all the shades of forte and piano! It produced therefore a greater effect, also, than I had beleived it capable of, although I had already frequently heard it, and even under the direction of the composer himself in Vienna. Nevertheless, I found no reason to retract my former opinion respecting it. Though with many individual beauties, yet it does not constitute a classical whole. For instance, the introductory theme of the very first passage is wanting in that dignity which according to my feeling the commencement of a Symphony should of a necessity possess. Setting this aside, the short and easily comprehended theme, certainly permits of being carried out very thematically, and is combined also by the composer with the other principal ideas of the first subject in an ingenious and effective manner. The Adagio in as is in part very fine, yet the same passages and modulations repeat themselves much too frequently, and although always with richer ornamentation, become in the end wearisome. The Scherzo, is highly original, and of real romantic colouring, but the Trio with the noisy running bass is to my taste much too rough. The concluding passage with its unmeaning noise, is the least satisfactory; nevertheless the return to the Scherzo at this part is so happy an idea, that the composer may be envied for it. Its effect is most captivating! But what a pity that this impression is so soon obliterated by the returning noise!
In this first concert we heard also Herr Rovelli, a young and but recently engaged violinist, in a Concerto in C-Minor by Lafond which is excellent, and was executed to the satisfaction of all. This young artist, a pupil of Kreutzer, combines with the chief excellencies of the Parisian school that which is usually wanting with pupils, viz, feeling and peculiar taste. The chief points of excellence in that school consist in a careful study and development of the Technics of the instrument, in which, however, the real cultivation of art is very frequently neglected. This, nevertheless, is not the case with Herr Rovelli; for he reads well from the sheet, and knows how to accompany, as I afterwards had an opportunity of proving when playing my quartetts.
Madame Bamberger from Würzburg, of whose fine second-tenor voice and good school, I had there already heard spoken of in such praise, sang in the concert, but appeared nervous, which was probably the reason why she took breath so frequently, and rendered the tones so imperfectly.
In the second subscription-concert, we heard Herr Flad, who performed an hautboy-concerto in a very brilliant manner. He has a very fine tone, and a very tasteful execution. Herr Legrand, on the other hand, who played Romberg’s violincello-concerto in E-Minor, seems to me to be already going down hill, for his play is wanting both in power of endurance, and in sure, and pure intonation. An overture from the Romeo and Juliet by Steibelt, does not reach beyond common-place.
In the third subscription-concert, my Symphony in E-Major was exceedingly well performed under the spirited yet circumspect direction of Herr Concertmaster Maralt, and made more effect here than in Frankenhausen, where I had heard it for the first time four years ago. Herr Franzl director of music, played his old violin-concerto in C-Major with Turkish-music. Its composition is in the namby-pamby taste of Pleyel’s time, and will never suit the taste of the present day. His play is just as antiquated, and retains of its former excellence nothing but its vigour, but which now carries him frequently away into an indistinctness and want of purity in intonation. Although this was the case to-day, also, yet he was applauded like mad. This might have impressed a stranger with an unfavourable opinion of the taste of the people of Munich, had it not been evident, how well a small party of his personal friends knew to carry away the public by an uproarious clapping of hands, and a vigorous shouting of bravo. Though it certainly may be conceded to an artist who excelled in former times, that he should still meet with applause in later years, yet this may readily mislead him to overstep the period when he should cease to appear in public.
In the fourth subscription-concert, I played with Herr Rovelli, my Concertante, in satisfaction of the expectation that every foreign artist who desires to be supported in his own concerts by the royal orchestra, is in duty bound to play in one of the subscription-concerts. I never heard my Concertante to better advantage. Herr Rovelli had practised his part with the greatest attention and played in a masterly manner. The accompaniment was equally good. The Adagio with the three violincelli-obligati had a particularly fine effect.
Vogler’s celebrated overture to “Castor and Pollux” did not come up with my expectations. It begins in a spirited and powerful manner it is true, but becomes lame towards the end, and the commencement itself derives its effect only from the noise of the brass instruments.