"Soon after the dinner-music," continues our writer, "the play began. It was the opera, 'King Theodor,' music by Paisiello. The part of Theodor was sung by Herr Nüdler, a powerful singer in tragic scenes, and a good actor. Achmet was given by Herr Spitzeder,—a good bass singer, but with too little action, and not always quite true,—in short, too cold. The inn-keeper was Herr Lux, a very good bass, and the best actor,—a man created for the comic. The part of Lizette was taken by Demoiselle Willmann. She sings in excellent taste, has very great power of expression, and a lively, captivating action. Herr Mändel, in Sandrino, proved himself also a very fine and pleasing singer. The orchestra was surpassingly good,—especially in its piano and forte, and its careful crescendo. Herr Ries, that remarkable reader of scores, that great player, directed with his violin. He is a man who may well be placed beside Cannabich, and by his powerful and certain tones he gave life and soul to the whole….
"The next morning, (October 12,) at ten o'clock, the rehearsal for the concert began, which was to be given at court at six in the afternoon. Herr Welsch (oboist) had the politeness to invite me to be present. I was held at the lodgings of Herr Ries, who received me with a hearty shake of the hand. Here I was an eye-witness of the gentlemanly bearing of the members of the Chapel toward each other. One heart, one mind rules them. 'We know nothing of the cabals and chicanery so common; among us the most perfect unanimity prevails; we, as members of one company, cherish for each other a fraternal affection,' said Simrock to me.
"Here also I was an eye-witness to the esteem and respect in which this chapel stands with the Elector. Just as the rehearsal was to begin, Ries was sent for by the prince, and upon his return brought a bag of gold. 'Gentlemen,' said he, 'this being the Elector's name-day, he sends you a present of a thousand thalers.'
"And again I was eye-witness of this orchestra's surpassing excellence. Herr Winneberger, Kapellmeister at Wallenstein, laid before it a symphony of his own composition, which was by no means easy of execution, especially for the wind instruments, which had several solos concertante. It went finely, however, at the first trial, to the great surprise of the composer.
"An hour after the dinner-music, the concert began. It was opened with a symphony of Mozart; then followed a recitative and air, sung by Simonetti; next a violincello concerto, played by Herr Romberger (Bernhard Romberg); fourthly, a symphony, by Pleyel; fifthly, an air by Righini, sung by Simonette; sixthly, a double concerto for violin and violoncello, played by the two Rombergs; and the closing piece was the symphony by Winneberger, which had very many brilliant passages. The opinion already expressed as to the performance of this orchestra was confirmed. It was not possible to attain a higher degree of exactness. Such perfection in the pianos, fortes, rinforzandos,—such a swelling and gradual increase of tone, and then such an almost imperceptible dying away, from the most powerful to the lightest accents,—all this was formerly to be heard only at Mannheim. It would be difficult to find another orchestra in which the violins and basses are throughout in such excellent hands."
We pass over Junker's enthusiastic description of the two Rombergs, merely remarking, that every word in his account of them is fully confirmed by the musical periodical press of Europe during the entire periods of thirty and fifty years of their respective lives after the date of the letter before us,—and that their playing was undoubtedly the standard Beethoven had in view, when afterward writing passages for bowed instruments, which so often proved stumbling-blocks to orchestras of no small pretensions. What Junker himself saw of the harmony and brotherly love which marked the social intercourse of the members of the Chapel was confirmed to him by the statements of others. He adds, respecting their personal bearing towards others,—"The demeanor of these gentlemen is very fine and unexceptionable. They are all people of great elegance of manner and of blameless lives. Greater discretion of conduct can nowhere be found. At the concert, the ill-starred performers were so crowded, so incommoded by the multitude of auditors, so surrounded and pressed upon, as hardly to have room to move their arms, and the sweat rolled down their faces in great drops. But they bore all this calmly and with good-humor; not an ill-natured face was visible among them. At the court of some little prince, we should have seen, under the circumstances, folly heaped upon folly.
"The members of the Chapel, almost without exception, are in their best years, glowing with health, men of culture and fine personal appearance. They form truly a fine sight, when one adds the splendid uniform in which the Elector has clothed them,—red, and richly trimmed with gold."
And now for the impression which Beethoven, just completing his twenty-first year, made upon him.
"I heard also one of the greatest of pianists,—the dear, good Beethoven, some compositions by whom appeared in the Spires 'Blumenlese' in 1783, written in his eleventh year. True, he did not perform in public, probably because the instrument here was not to his mind. It is one of Spath's make, and at Bonn he plays upon one by Steiner. But, what was infinitely preferable to me, I heard him extemporize in private; yes, I was even invited to propose a theme for him to vary. The greatness of this amiable, light-hearted man, as a virtuoso, may, in my opinion, be safely estimated from his almost inexhaustible wealth of ideas, the altogether characteristic style of expression in his playing, and the great execution which he displays. I know, therefore, no one thing which he lacks, that conduces to the greatness of an artist. I have heard Vogler upon the piano-forte,—of his organ-playing I say nothing, not having heard him upon that instrument,—have often heard him, heard him by the hour together, and never failed to wonder at his astonishing execution; but Beethoven, in addition to the execution, has greater clearness and weight of idea, and more expression,—in short, he is more for the heart,—equally great, therefore, as an adagio or allegro player. Even the members of this remarkable orchestra are, without exception, his admirers, and all ear whenever he plays. Yet he is exceedingly modest and free from all pretension. He, however, acknowledged to me, that, upon the journeys which the Elector had enabled him to make, he had seldom found in the playing of the most distinguished virtuosos that excellence which he supposed he had a right to expect. His style of treating his instrument is so different from that usually adopted, that it impresses one with the idea, that by a path of his own discovery he has attained that height of excellence whereon he now stands.
"Had I acceded to the pressing entreaties of my friend Beethoven, to which Herr Winneberger added his own, and remained another day in Mergentheim, I have no doubt he would have played to me hours; and the day, thus spent in the society of these two great artists, would have been transformed into a day of the highest bliss."