From Biedermeier : The Par they Diaries Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 Excerpts in Translation, with Commentary and Annotation

DAVID L. MONTGOMERY

N recent years a revival of interest in the late classical-early I romantic era (including the so-called "Biedermeier" period) in north Germany has produced a welcome spate of new studies and recordings of music by a long-neglected circle of composers. Of course, scholars have always attended to the stars of early romanticism in north Germany—Jakob Beer (Meyerbeer) in his youth, , Hensel, and, slight- ly later, Robert Schumann. But even the less prodigious musical talents of northern Germany now attract more attention—for example, Carl Friedrich Fasch, Johann Friedrich Reichardt, Carl Friedrich Zelter, E. T. A. Hoffmann, , Louise Reichardt, Karl Rungenhagen, Georg Abraham Schneider, Prince Louis Ferdinand, Franz Lauska, Friedrich and Johann Schneider, Bernhard Klein, , and Carl Loewe. Born over a span of 60 years, these composers begin to mean something to us beyond a mere recognition of their obligatory niche in history. But the time is not far past when histories made only a passing mention of some in this group, and no mention whatsoever of others. Except for Schumann, every composer listed above appears in the personal diaries of Lili Parthey (1800-1829), singer, grand- daughter of Christoph Friedrich Nicolai,1 and wife of Bernhard

1 Christoph Friedrich Nicolai (1733-1811), friend of Moses Mendelssohn and influential bookseller in Berlin. Author of the novel Sebaldus Nothanker (1773), a critique of orthodoxy; Beuhmbung dner Rase dutch Deutsdiland und die Schwdz (1783), eventually in 12 volumes; friend of Lessing and coauthor with same of the journal Briefe, die neuate IMUratur betrtffend (1759); Rettungen (1753-54), on theological subjects. His establishment and home were in the Bruderstrasse, No. 13. 197 198 The Musical Quarterly

Fig. 1. Wilhelm Schadow, oil painting, 1823, Lili Parthey, from the collection of Frau Dora Lepsius, DarmstadL All illustrations are from Tagebucher aus der Berliner Biedermeieneit, ed. Bernhard Lepsius (Leipzig: Kohler & Amelans, 1928). Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 The Parthey Diaries 199

Klein. In their rather fortunate social and cultural position, the Partheys,1 like the Mendelssohns, interacted with scores of fascinating and important figures in Berlin. Lili herself met and came to know an astonishing variety of people—from the philosopher Georg Friedrich Hegel and the theologian Friedrich Schleiermacher to Wolfgang Amadeus Mozart (the composer's son), Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 the painter Louise Seidler, the diva Anna Milder, and the gifted sisters Auguste and Amalie Sebald (the latter once thought possibly to have been Beethoven's "unstcrbUche Geliebte"). No less impressive was Lili's friendly relationship with Berlin's influential salon society, such as the Varnhagens,* the Herzes/ the Beers,5 the Mendelssohns,

* Lili's father, Hofrat Friedrich Parthey (1745-1822), was the successor to Christoph Friedrich Nicolai (n. 1). He married Wilhelmine Nicolai (1767-1803), with whom he had two children—lili (Elizabeth) and her brother Gustav (1798-1872). Three years after Friedrich Parthey lost his wife, Wilhelmine, he married his brother-in-law's widow, Charlotte Nicolai, nee Eichmann (1779-1861). It is she who is the "mother" in Lili's diary. The family occupied a house in Berlin's Blumenstrasse, adjacent to the Nicolai home. The latter must have remained the true center of things, for, although Lili was bom in the Blumenstrasse home, in her last letter to her brother she writes him a poem wishing that she could magically transport Nicolai's Bruderstrasse house (and all its memories) to Italy. Friedrich Parthey himself had been a musician. In fact, early in life he had been employed by the Medem family to teach music to the children, Dorothea (later the Duchess von Kurland) and Charlotte (later Elisa von der Recke—the lifelong friend of the poet Tiedge, and duenna to Amalie von Sebald on the trip where they met Beethoven). Parthey accompanied the brother, Friedrich von Medem, to his studies in Strassburg—also the seat of the von Kurland family learning. The friendship between Dorothea and Elisa lasted all of Parthey's life, and lili thus grew up as an intimate of the von Kurlands. 1 Karl August Vamhagen von Ense (1785-1858) was a diplomat, author, biographer (a friend of Beethoven's), a general man-about-Europe. His wife, Rahel Frederike Varnhagen (nee Levin, 1771—1833), was among the most famous salon personages and hostesses in Berlin. Her letters (first published by her husband shortly after her death) provide an in- depth look at Berlin in the first years of the century. The \frrnhagens were close friends of the Abraham Mendelssohn family. * Henriette Herz (nee de Lemos, 1764-1847), wife of the physician and natural scientist Marcus Hera (d. 1803). Her salon was well known and perhaps even more musically oriented than Rahel Varnhagen's. Her memoirs are interesting sources of information concerning Berlin's cultural life. ' Jakob Herz Beer and his wife, Amalie, were not only great patrons of the arts, but produced two sons of significant talent for the theater—Michael and Jakob (later Giacomo Meyerbeer). Like the Varnhagens and Herzes, the family had close ties with the Mendelssohns. The younger, Michael Beer (1800-1833), died early but made his mark as a playwright fQytemmstra (1819), DerParia (a piece against intolerance, 1823), and Struensee (1827, incidental music by Meyerbeer). Jakob Beer, along with Carl Maria von Weber, studied music with the Abbe Vogler, and later (under the name Giacomo Meyerbeer) became one of the most famous opera composers of the nineteenth century. In his youth in Berlin he was a celebrated pianist and wrote some instrumental music, including a concerto for and orchestra. 200 The Musical Quarterly and the von Kurlands.6 hi their homes, as well as in her own, she met teachers, businessmen, poets, composers, sculptors, painters, statesmen, scientists, philosophers, physicians, and even princes of the realm. Because she regularly recorded her impressions of these people, her diaries are bursting with information essential to the study of north Germany from a variety of cultural perspectives. Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 The diaries were published in 1928 as a series of excerpts from the original writings of both Lili Parthey and her brother Gustav, plus letters between Lili and her husband Bernhard Klein, edited with extensive commentary by a family descendant, Bernhard Lepsius.7 Gustav's memoirs, from which his part was taken, is extant. But according to Ludwig Berger's biographer, Dieter Siebenkas, the original manuscripts of Lili's Tagebucher (the proper- ty of the Lepsius family until 1945) were destroyed in the aftermath of World War II.8 No description is currently available, and it is now impossible even to determine the original extent of Lili Parthey's writings. As to the accuracy of the printed version, one must rely entirely upon Lepsius's sense of historical responsibility. Because Lili's part of the book reveals a culture recorded in statu quo, as opposed to the Jugenderinnerungen that form Gustav's part, it carries far more weight than do most other available descriptions of Berlin life in the early nineteenth century. With a remarkable display of interest in the routine of daily life (given that her daily life was not an unpleasant one), Lili provides many and varied accounts of upper-class music making in Berlin—as in the following excerpts from her twentieth year: 1820 29.1. The Princess,' to my vexation, came to my singing lesson. With Brassier101

' By the end of the eighteenth century, the von Kurland family was headed by Peter von Bixon, Duke of Kurland (1724-1800), whose father had strong ties to Russia. In 1774 he married his third wife, the Countess Eudoxia, nee Medem (1765-1821), who in 1796 inherited the Landgut of Lobichau—a favorite summer haunt of Lili and Gustav Parthey (see connection in n. 2). The von Kurland Palace in Berlin was at No. 7 Unter den Linden. ' Lili Parthey (1800-1829), Tagebucher aus der Berliner Biedermeiencit, ed. Bernhard Lepsius (Leipzig: Kohler & Amelans, 1928). 450 pp., 29 plates: genealogical tables, portraits, 23 cm. Family trees: Nicolai-Parthey-Lepsius-Kurland; bibliography, index. ' Dieter Siebenkas, Ludwig Bergtr. Sein Leben und Seine Werke (Berlin: Merseburger, 1963), p. 231. • The distinction between Furstin (used here), Prinzcssin, and Herzogin (sometimes translated as "Duchess") is not always clear. This could be Princess Luise Radzhvill, but could also be Dorothea von Kurland. * Joseph von Brassier, de St. Simon-Vallendar (Vallade?), grandson of the Herzogin von The Parthey Diaries 201 had to sing a beloved Lobichauer song. After tea, everyone made music. With Ritschl" and Brassier I opened the proceedings with a trio from Armide, then came a new duet from Figaro. Then the Princess was besieged and begged, and finally she sang "Can pupille" with me and "Caro per te quest' anima" with Brassier. There followed various duets, trios, and quartets from Don Juan. So went the evening, and at the end everyone went into the dining room. At the table ensued strenuous debates on religious topics. Marheineke," the Princess, Tieck—and Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 Ritschl wove himself splendidly in between. About 11:30 everything began again. The Princess bade me sing something else and then said goodnight But it was not long until she reappeared, and then things really began. We sang into the late night, finally creating such a travesty that the dogs woke up and began to howl along. Then she said that it was time we quit! About 1:30 into bed. [134] 31.1. It was incredibly full at the Liedertafel; one-half of Berlin. The Schadows" with Klein, we with the Korners,14 Hoffmann, Mozart [son], Zelter. They sang very beautiful songs. "Bliuher" by Klein; "Der SandwhLh von Passeyer" by Berger. It lasted quite long; we were the first to leave and did not arrive home until 12:30. [134] 22.2. Klein came punctually. I am plagued with the difficulty of his sonata." [135] 2.4. Sunday. First day of Easter. Luckily I still had permission to go hear Schleiermacher1*; it was as always—one cannot hear enough of the man. . . . Auguste brought me—oh joy, a stunningly beautiful rose, a "centifolie" from—Elise Radziwill," who sent it to me. Auguste was there at midday and said that she would be coming to our house and would the esteemed lady care to send

Kurland. During his law studies in Berlin he lived in the Parthey house. He possessed an excellent tenor voice, and sang in household productions. He later pursued a diplomatic career. 11 Karl Benjamin Ritschl (1783-1858), pastor, teacher, and excellent amateur singer. His teachings, including some musical reforms, spread to schools beyond Berlin. He sang in many private productions in Berlin. He married Auguste Sebald, friend of Iili and sister of Amalie Sebald Krause. "Phillip Konrad Marheineke (1780-1846), theologian. Professor at the University in Berlin and pastor, with Schleiermacher, at the Dreifaltigkeitskirche. He leaned toward the teachings of Hegel—away from orthodoxy and pietism. "The Schadows were a family of sculptors and painters, two of whom—Johann Gottfried and his son Wilhelm—were directors of the Academy. Wilhelm belonged to the group of young German painters in Rome known as the Nazarenes. "Christian Gottfried Korner (1756-1831), StaaisrtU. Wife Anna Maria (Minna), nee Stock. Parents of Theodor Korner (1791-1813), poet and freedom fighter. Upon his death in the field, his patriotic poems "Lder und Schwerf became famous. Schubert set many of his poems. One version of his death has it that he was mistakenly ambushed by his own men. a It would be difficult to say which of the four sonatas this one might be. Three were published between 1819-21, and of these, perhaps op. 7 is the most difficult The fourth, in G minor, remained in manuscript form—although it is perhaps the best of these works. "Friedrich Daniel Schleiermacher (1768-1834), theologian and philosopher. A sympathizer with the original Berlinjena romantic school with Tieck and the Schlegels. He became a great intellectual and religious leader in Germany. He published FUden uber die Religion (1799) and Monologc (1800) to awaken the German people from the Enlightenment. " Elise Radziwill, daughter of Princess Luise and Prince Anton von Radziwill. 202 The Musical Quarterly Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021

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iz ei bb The Parthey Diaries 203 something? Auguste sang exquisitely "Ich weiss, doss mem Erloser lebC ["I Know that my Redeemer Liveth"]. I had requested it for Easter. Then came the Salve regma by Klein, many things from Idomeneo and Don Giovanni—I had long not heard such beauty. On Tuesday there should be a rehearsal of Dido. [140] 9.4. Sunday. "Convent" [the Parthey household singing group, directed by Klein]. On this day there was much unrest and plenty to do, because in the evening a host of people assembled. Horrible weather. Attractive people were there, some Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 that I would like to see more often. Schinkel," Langermann," Rungenhagen, not to mention Radziwill™ (who, amazingly enough, came on time and was quite amiable), Count Bruhl," Brustlein," the Hegels,*3 the Blochs, and all who were to sing (already quite a few). The Korners made much effort and went properly out of their way to honor the Prince. Klein was in the utmost dither, and the others were nervous also, but their singing was incomparable. On the whole it went very well, and the audience seemed satisfied. Briihl went home before supper, but mm Prince enjoyed it and stayed. Things were quite merry at supper, especially at the children's table. There was a good deal of singing throughout Afterwards Reichardt pursued the dancing quite aggressively. The Prince stayed on and took in everything. Finally Herr Ringer*1 sang the most popular Swiss songs—he had a beautiful voice, with which he yodeled very nicely. Then Auguste and Amalie [die Krause], Tra-ri-ro" and "SchdtzelputzheiseL" At the end the honored one stole away, and then, one after another, the rest left—the last around 12:30. It was an extraordinarily lovely evening. [140-141] Coming from a trained singer and pianist, Lili's eyewitness information is particularly valuable to the musical community. From Lili, for example, we learn the true date of the premiere of Mendelssohn's early Concerto in A-minor for Piano and Strings (1822)—written, apparently, for Fanny: 1822 22.10. At Zelter's today I sang a beautiful aria by him, written for Milder to be fitted into a Miserere by Hasse. All of Mendelssohnia was there—mother and both boundlessly talented children. The daughter played a very lovely and difficult concerto. She played it beautifully and with polish. "Who wrote this work?" "My brother created it for me," she answered without pride, but with beams of joy in her eyes. [249] "Karl Friedrich Schinkel (1781-1841), great German architect-painter; part of the same artistic lineage to which Caspar David Friedrich belonged. "Johann G. Langermann(1768-1832), Staatsrat in the Ministry of the Interior. Founder of modern psychiatry in Germany, member of the Singing Academy. "Prince Anton von Radziwill (1775-1833), singer, cellist, composer (Faust, 1810). " Count Karl von Bruhl, genera] intendant of the Royal Theater in Berlin. nJ. von Brustlein, banker. Son Gustav (1790-1865). "Georg Wilhelm Friedrich Hegel (1770-1831). Along with Fichte and Schelling the most influential philosopher of his day. " Ringer, no further identification. 204 The Musical Quarterly

Current scholarly sources record the premiere of this work as having been given by Felix at the home of Anna Milder somewhat later, on December 5. From Lili's description of "the daughter," we learn that she had not yet come to know the Mendelssohns well. But by the following

April, Lili and Fanny were substantially better acquainted. Lili's Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 description of a Berlin soiree musicaU with young Felix Mendelssohn as one of the attractions includes, in the last paragraph, a charming scene between Lili, Fanny, and another girlfriend, Luise Uhden25:

1823 10.4. About 2:30 I made a brilliant toilette; this evening we were to have dinner at the Blochs** and a soire> at the Milders." At the Blochs were the Seidler family,™ Klein, Reichardt, and ourselves. The Seidlers were nice as angels. Afterwards we went for a stroll in lovely weather—Bloch, Mother, Doris Zelter," and myself—walking through the entire Thiergarten. Then with the Blochs on to the Milders. Fortunately not many people had arrived yet. Eventually a world of people came, all of them interesting—at least most of them were already known. It was charming to come upon them as if in a Latema magica—particularly at the side of Luise, who arrived shortly after I did. In three rooms there were crowded over 60 people here and there, among them many famous ones, particularly in the musical world. We found Mad. Seidler, Mad. Grobenschutz (very stout and plain)," Hofrath Paasche,'1 Signor Valentini,3* and Zelter. Blanck" came with the Uhdens. Gradually there appeared

"Daughter of the archaeologist and StaatsratJohann Daniel Wilhelm Otto Uhden (1765-1835) and Maria Magnani Uhden. Like her mother, she was well known for her beauty. "Bloch was a merchant, impoverished through the Napoleonic wars, who eventually rose to become president of the Seehandhtng (maritime commerce commission). His wife, nee Lev, was a good pianist "Anna Milder-Hauptmann (1785-1838) was the most famous German-speaking soprano of her day. She was educated in Vienna, knew Haydn, and eventually gave the premiere of Beethoven's Fidelia in the role of Lconore. She move to Berlin and was there particularly well known for her dramatic interpretation of duck. •This reference could be to the family of Louise Seidler, the best woman painter of her day—but more likely it is to the violinist Gustav Seidler and his wife, the singer Karoline Wranizky (1790-1872), famed for her many roles (including Agathe in DerFraschub) at the Berlin Opera. "Doris Zelter (1792-1852) was the daughter of Karl Friedrich Zelter, who taught composition to Felix Mendelssohn. "Grobenschutz, no further identification—probably the wife of the publisher, J. Grobenschutz. " Paasche, no positive identification. He could be Heer Paasch, one of Abraham Mendelssohn's colleagues in the Mendelssohn Banking House. " Valentini; Italian teacher in Berlin. ° Consume Blanck, alto. Member of the Singing Academy since 1793. The Parthey Diaries 205

Mad. Pascal (once beautiful) with a pretty daughter,54 and Fischer, the famous mime (with a horribly fat wife and a fascinating foster-daughter) .u There was Rauch" who (Luise and Blanck assured me) once cradled me as a child in his arms. He placed himself next to me, and in the course of the conversation, laid his arm upon my chair-back. There was Stumer with his wife,17 Reichardt, Klein, young Devrient," the Mendelssohns, Mad. Levi,w the pretty Mad. Beer, Frau von Varnhagen (sister of Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 the poet Robert—very unpleasant figure, "die « aber in sich haben soW), and finally the pretty Mad. Robert" Because of how she [Robert] let herself be seen, Seidler (who competed strenuously with her in Dresden) stood up and left the room with the words "Now /'tfmake room"—but afterwards they got together. She is very pretty, particularly her nose and teeth (but there must be more to it). Her head is beautifully placed upon a dazzlingly white throat. She is obliging towards everyone—and so she was towards me. We all felt a merveille towards one another—I did because of Luise, who was pretty and quite nice. Milder sang heavenly, as, in general, everything went. Mad. Seidler did not let herself be heard, neither did Fischer. But his foster-daughter sang the C-major aria (mine) from Figaro—very polished and lovely, with colossal trills and coloratura, but without any particular expression. Milder had the charming idea to let me sing Cherubino. That would have been really cute, but she finally came to her senses. With Luise, and Fanny Mendelssohn on my right, sitting on the lovely big sofa in the bedroom, we listened to the music. The conversation came around to the fact that we were all three promised in marriage—Fanny to Hensel, Luise to the painter Schoppe41 (to whom she was promised twice, nota bent), and me to my (by now) flourishing bridegroom. Fanny said, to effect, how if only the three ** Pascal, no further identification. * Fischer, mime, no further identification. The daughter was a singer. "Christian Daniel Rauch (1777-1857), influential sculptor, creator of the famous sarcophagus of Queen Luise (1810). Member of the Royal Academy of Berlin since 1811. Uncle by marriage to Felix Schadow, the son of his old friend the sculptor and teacher Johann Gottfried Schadow. "Johann Daniel Stumer (1759—1857), singer. Former boy soprano in the Singing Academy, later pupil of Rhigini and well known for his tenor roles, in Bach and Handel. " , acting and singing member of a famous stage family. His uncle was the character actor Ludwig Devrient, and his brothers (also actors) were Emil and Karl (husband of the most famous actress-singer of the middle nineteenth century, Wilhelmine Schrdder-Devrient [1804-1860]). Eduard married a student of Zelter's, Therese Schlesinger (1803-1882). He was a close friend of Felix Mendelssohn. "Levi, no positive identification. She is probably Sara Levy, nee Itzig (1761-1854), sister of Bella Salomon and great aunt of Felix and Fanny. "Ludwig Robert, poet and playwright, was the brother of Rahel Varnhagen. He married Friederike Braun (who had previously been married to an Italian named Primaveri). She was also a poet, admired socially by Heine, Arnim, and Fouqui. The Roberts were friends of the Mendelssohns, and lived for a time in the apartments adjacent to the Mendelssohn house. "Julius Schoppe, painter, trained in Rome. He was admitted to the Berlin Academy with the painting The Last Moments o/Friedrich Y/ilhdm II. He was a portrait and miniature maker, and decorated (with mythological subjects) for Prince Karl. 206 The Musical Quarterly gentlemen were present to hear this! Her brother played a fantasy by Hummel beautifully and from memory—it was enormously difficult." He claimed to be nervous, but it was nice and controlled. [269-270] It is hard to say which descriptions are more fascinating—those of famous people in lavish settings, of clashing egos as are still found in today's competitive conservatory atmosphere, of the legendary Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 sculptor Rauch as an old lecher, or simply of the entire gala occa- sion. But there is hardly a more compelling scene than that of three young ladies of the early nineteenth century, hiding in a bed- room and gossiping about fiances. Since the teenager of the group, Fanny Mendelssohn, was to play a significant role in nineteenth- century north German music, the scene is even more evocative.43 Considering that she herself was a singer, Lili gives a par- ticularly gracious account of the greatest German diva of the day—her friend Anna Milder-Hauptmann, for whom Beethoven had created the role of Leonore: 1823 6.6. With heavy hearts [lili had not yet decided whether to accept Klein's offer of marriage, and there was a quarrel] we drove to Milder's rehearsal of Dido [Klein's opera]. I had not thought that Klein would already be there, but as we came in he was sitting at the piano. Malchen [Amalie Sebald] came with Milder to greet us. We sat down behind Klein and the music began right away. I cannot describe how beautiful, how directly appealing to my heart, and how inwardly moving is that lone woman that she [Milder] portrays. I could sit still forever and just listen and watch. She can already do it from memory. [277] But also as a singer, Lili must have been rather amused by the tawdry confusion of a typical dress rehearsal at the opera house—particularly considering that Dido had been in rehearsal for months. At the least, it is comforting to realize from her description how litde things have changed in 200 years: 14.10. Gone the whole day. By 9 A.M. to Blochs—picked her up with Doris [Zelter] and Tante [Jette]. We sat in good loge seats near the front of the house— completely dark but the stage lit with candles and daylight It didn't start for a while. I had to laugh at the heroes in frocks, coats, and caps. Especially ridiculous were the male dancers in white nightcoats and the female dancers in dieir short little dresses, without makeup and in wigs. Mile. Lemiere*1 was very animated. [There was] a huge cabal against Schneider, who should not have been conducting.41 Hoguet told him, "On my honor, I won't dance one pas if Herr Flugel doesn't " Probably the Fantasie in E-flat, Op. 18. (1805). "Fanny Henscl, nee Mendelssohn (1805-1847). Louise Uhden was born in 1798. ** According to Lepsius, she was a favorite dancer of the king's. ° Georg Abraham Schneider, music director of the Royal Theater. The Parthey Diaries 207

Fig. 3. Wilhelm Schadow, oil painting, Anna Milder-Hauptmann as Malvina in Lesueur's opera Ossian; from the collection of the painter Kuenze-Graefe, Berlin Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 208 The Musical Quarterly

come." Finally Heir Flugel" did come so that things settled down and the dance began. But it was open rebellion. In general everything was a mess—the extras wandered aimlessly, meanwhile the stage director (Herr Blum) yelled with a stentorian voice that "mistakes were made," that they had "played forte instead of piano," 'da capo" . . . etc." I am really dying to see how it will all turn out tomorrow. About the music, I must remain silent—I can have no judgment because I hear it with prejudiced ears [a pun—"parteiischen Ohren"]. Milder is heavenly and Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 reveals her voice in all its majesty. It is just too beautiful the way every melody that I experience reminds me of him [Klein] and calls me back to him. [310] Lili provides an eyewitness account of music making with Prince Anton Radziwill, who for no particular reason has been overshadowed by his fellow royal musician, Prince Louis Ferdinand of Prussia. In the tradition of Frederick II, both contributed enormously to the musical scene in Berlin. Possibly because of his friendship with Beethoven, as well as his sensational Heldentod, Louis Ferdinand has gained the upper hand in history. 1817 20.5. We [went] with die Korners and the Chassepots" to Frau von der Recke's.* " Flugel, no further identification—probably the ballet master, perhaps the repetiteur. "Karl Ludwig Blum[e] (1786-1844), court composer at the Royal Opera, successful composer of Singspid and vaudeville. He was also a stage director and eventually succeeded Karl von Holtei as director of the Konigstadtischen Theater. His brother was Heinrich Blume, singer and actor. He appeared often in classical opera (Mozart and Gluck) with Milder. Then, as now, the Regisseur (as Lili referred to Blum) seemed to be omnipotent. Although Schneider was the royal kapellmeister, he seems not to have exercised much control during rehearsals. Two factors might account for this state of affairs. He may well have been ineffectual as a Taktmeisler, and he had once enjoyed the protection of August Friedrich von Kotzebue (1761-1819). The first factor would have rendered him useless, and the second insufferable. Because Kotzebue had advocated the suppression of the freedom of thought and of liberal education, he was despised by the liberal factions of society—from the students to the enlightened privileged classes. Certainly this extraordinary meeting of the minds between students, artists, and privileged classes was rarely to reoccur in history. It revolved around a commonly shared dream of national unity and liberation from Austrian control. The student movement (the Burschenschafter) suspected Kotzebue, then a state councilor, of spying for the czar. In 1819 he was assassinated by a radical student, Karl Sand. like many others, Lili and Gustav seemed hardly moved by the murder, for in 1820 (p. 166), we find them putting on a humorous parody of the assassination—in which the murderer is sentenced to a haircut. In other quarters, however, the repercussions were more severe. The Austrian chancellor, Prince Metternich, used the incident as an excuse to tighten his control over the universities and other groups of problematic political persuasion. Nothing, it would seem, U new. " Graf Chassepot, a member of the Kurland family. The Grafin, nte Knabenau, had been a great beauty in her youth. Their marriage was a success, possibly, as Lepsius observes, because they lived apart • Elisa von der Jteckr, -friend of the poet Tiedge's, sister of the Herzogin von Kurland (n. 2), who married early but lived apart from her husband. She was a close friend of the Partheys and belonged, in a sense, to their household. The Parthey Diaries 209

There we found that the Sebalds, Minna Cavan,50 and a few choristers had already arrived. There was to be music, and among the others we found Ritschl and Hellwig. Also the Blochs, (die) Forster, Kalckreuth, etc. Much was sung—and quite beautifully. Magnificent choruses from Himmel and Naumann; a psalm that the Duchess brought We also had to repeat our song from this morning [Iili and company had serenaded Elisa von der Recke on occasion of her birthday earlier in the day]. Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 During our best singing, Radziwill came in—followed by his cello. Then things really got started. He sang quite wonderfully, and played with such polish that I was astonished. Auguste accompanied him on the piano. It was a rare pleasure. He sang many pieces from his Faust. There are excellent parts in it. The Sebalds also sang many things—and beautifully. I haven't had such a pleasurable evening in a long time. [100] Under the year 1818, Lepsius states that he has supplemented Iili's original writings with the recollections of her brother Gustav, who became one of the most significant cultural reporters of his generation.51 Although impressions recorded later in one's life do not always lend themselves to great accuracy, Gustav's Jugender- rinerungen are still one of the important sources of information concerning musicians of the period.51 The following impression of the Sebald sisters, for example, is a typical vignette: Both were gifted by nature with rich musical abilities. Amalie, the older, enchant- ed one with the silvery ring of her full, alto voice. Auguste, the younger, attracted all hearts with her fresh, youthful, bell-like soprano. They would have had a brilliant career in any theater. The voices of both blended together happily. [86] Of other important musical figures Gustav also has left descrip- tions, the most important of which was that of Bernhard Klein: It was our custom every year to celebrate Mother's birthday widi great festivity. As usual, the evening of April 14 was enhanced through music, and the gifted sisters Amalie and Auguste were invited, along with other talented people. Abeken" brought along a young musician from Cologne named Bernard Klein, who at first was lost among the many people present, and whom we failed to notice. When my mother, in her friendly way, invited him to perform, he pulled a roll of manuscript [Musikrolle] from his pocket and sang a selection from Hedge's * Minna Cavan, daughter of Frau Cavan, nee Schwadtke, who was the aunt of the Sebald sisters. Minna was a friend of Iili's. 11 Gustav Friedrich Constantin Parthey (1798-1872), archaeologist, art historian, man of letters. "Das alexandrische Museum," "Jamblichi de mysteriis liber," "ZurErdkunde dts alien Aegyptens," "Das Orakd und die Oast da Ammon," "Ptolemaeus Lagi," "Wanderungen dutch Sidben und dieLevante," " MtrabiUa Roma." "Jugenderrinerungen von Gustav Parthey, ed. Ernst Friedel, 2 vols. (Berlin: 1907), published in manuscript. a Dr. Ludwig Abeken (b. 1793), professor at the Grauen Kloster in Berlin. 210 The Musical Quarterly

Fig. 4. Wilhelm Schadow, oil painting, Bernhard Klein; from the collection of Frau Dora Lepsius, Darmstadt Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 The Parthey Diaries 211

Urania" that he had composed. Even though his voice was not distinguished, his delivery was masterful—his interpretation was deeply serious, his firm accompaniment was clear [lit. "Schmucklos"—devoid of mannerism, or perhaps devoid of ornament]. His intimate understanding and faultless declamation of the words were further proof of an unusual talent. Frau von der Recke and Tiedge, who had the places of honor among our guests, gave him their warmest recognition. The musicians present praised him for his control of the animated Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 rhythms. In short, everyone felt that a new star was rising in our musical firmament. He then accompanied Auguste Sebald in Elvira's aria from Don Giovanni—"Aft tradi quell' alma ingrain"—which, because of its changing flow [lit "tuechselnden Bewegung"—changing forward motion], many masters regard as one of the most difficult vocal works. After she brought the piece to an unusually convincing finish, Klein said quickly, "You sing well!" Other pieces followed, and finally (with reference to the warm weather) Klein sang his beautiful spring song, "Die lauen Lufie sind erwacht," which joyfully aroused all to applause. From this evening forward hardly a week went by that Klein did not come once or twice. He was the soul of our musical conversations, which now acquired a truly artistic value. I attached myself closely to him; he had the greatest influence on my life and my character. The clarity of his judgment destroyed many of my previous illusions; his terse, pointed observations showed me many things in a new light His criticism was always acerbic, often malicious and scornful, but never unjust. His pitiless wit spared no one, particularly himself. One of his bad characteristics was to put everything in a ludicrous light and to make a funny remark about the most serious events. In his deeper being was a demonic force to which one could not remain indifferent Therefore our circle was soon divided into two camps [lit "zwei Partheien," a pun on the family name]—one that loved him and one that hated him ... (if one wanted to characterize the delicate shadings of social well- wishing or malevolence with such extreme expressions). To the camp that wished him well belonged most of the musicians, who would brook no objection in giving him his due. To this camp also belonged those who, because of his genius, could forget the harsh side of his nature. To the malevolent camp belonged that well- populated class of sedate law abiders, whom, in a rotten sense, one righdy calls Philistines. For diis camp Klein had no regard; it gave him pleasure to hoist them from the comfortable saddles of their "trotting thoughts" with his paradoxical observations. When he was possessed by the spirit of contradiction (which was often the case), he would one day espouse exactly that which the previous day he had rejected, and consciously constructed his sentences with great sagacity. But if the subject at hand was quite serious to him, his conversation was bound by a fidelity to his true thoughts. When he realized that his music truly spoke to us all, he would seldom come into our circle without bringing a new composition. Those were beautiful, satisfying evenings on which he first brought us "Rodrigo und Ximene," "der Erikdnig," "der Fischer," "die Prager Musikanten," and so many other songs. Earlier I had already begun to collect various vocal pieces for my sister—arranged in an oblong folio with meticulous calligraphy. Gradually, as many unedited ** Christian August Tiedge (1752-1841), a neoclassical poet whose major opus was Urania uber Gott, UnsterbHMeU undFreUuit, 'an tyrisch-didaJdisdia GtdidU" (1801). 212 The Musical Quarterly

contributions of Klein's were added to it, the need for a fitting title arose. From a wide field of suggestions, Paul's version took the prize: "Sangeswdlrn geschopft aus dem Metre der Harmonie" ["Waves of song created from the sea of harmony"]. Even now this title, more than many other remembrances, calls me back to the musical pleasures of my youth. The operatic performances with piano were enthusiastically initiated by my father. Don Giovanni, the opera of all operas (and my father's favorite work), was Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 first in the series. The setting was so splendid that its equal was seldom to be seen on the public stage. Pastor Ritschl sang the part of Don Giovanni with finished mastery; Dorn, later Kapellmeister and a pupil of Klein," sang Leporello with inimitable comic effect The marvelous tenor voice of Geheimen Postrath Weppler" was practically made for the role of Don Ottavio. One could not find a better Commendatore than Herr Hellwig.5' As Donna Anna, Auguste Sebald shimmered in gold; in soul-felt sound her sister Amalie carried the role of Elvira to a new level, and my sister Lili was quite her equal as Zerlina. At the piano, Klein conjured up an entire orchestra; he possessed the gift of the conductor—the imperceptible cueing, the subtle rhythmic giving, and the guiding forward motion—all in an excellent way. After a few rehearsals everything flowed itself as if from within. My father's observations about tempi and motion in the individual pieces were invaluable. He was the best authority on such matters, having heard Don Giovanni under Mozart's direction in Prague. Klein was jealous, but followed his indications. Here, as conductor, Klein was really in his element. His eyes seemed lit with higher reflection; the expression of his pale countenance was exalted and spiritualized. His pianism was like that of many current virtuosi [lit. "Klaxrier- seiltanzer," or tightropewalkers-of-the-piano]. In melodic tenderness he was surpassed by his friend Ludwig Berger, but in soul-felt portrayal, in true musical expression, in deep understanding of the senses, Klein was unsurpassed. Next to these opera performances, the high point of our musical achievement was a journey down the Spree to Treptow. For [during] this Klein composed four- voiced versions of the charming songs from the beginning of Wilhelm Telt "Es Idchelt der See" and "Ihr Matlen lebt wohl" On the way back in the peaceful moonlight, these and other pieces for the same arrangement were performed with unusual finesse. A compelling effect was achieved when the rudders were still and pure chords floated across the water's glassy surface. Through an address to Klein from a tailor—"Baron von Klein"—we gleaned incidentally that he was decended from nobility somewhere along the line, but that in the French Revolution (when all titles were canceled) this distinction was lost. His father was a well-to-do wine merchant in Cologne, but he was impoverished through French tyranny and earned his bread finally as a violin player in a small theater. Our Bernhard was the only child from the first marriage; from die second there were two other sons and two daughters. [105-108] " (1804-1892), composer, student of Zeltcr, Berger, and Klein. Later taught counterpoint to Robert Schumann. " Gehdmen Postrat Weppler, tenor. No further identification. " Ludwig Hellwig (1773-1858), royal music director and organist of the cathedral. Member of the Singing Academy and composed for it He shared the leadership with Rungenhagen after Zelter's death. The Parthey Diaries 213

Lili seems to have been absolutely devoted to Bernhard Klein. The diaries attest to a great love between them, quite the equal of the later romance of Clara and Robert Schumann. Lili did not survive her husband, so Bernhard Lepsius has provided a short account of Klein's career in its last four years. Stricdy speaking, it is only part of the diary's critical apparatus, but I have translated it Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 here as an example of Lepsius's annotational thoroughness as well as for his excellent description of Klein's music. It is high time that the musical community become conversant with Klein's life and music. 1826. [From Lepsius, writing in 1928:] In these years Bernhard Klein was at the peak of his creative powers. To the benefit of himself and his pupils as well, he had again taken up his teaching activities in Berlin as music director at the university and at the Royal Institute for Church Music. He was also using the short time he was to live for the creation of splendid compositions. According to a list available to me, in Rome he finished four four-voiced motets, the ballads Mahado and Ritter Toggenburg, a two-voiced and a six-voiced Miserere, duets for soprano voices, and some songs. In Naples he created his Salve Regina and prepared the piano-vocal score of his opera Ariadne. Back again in Berlin, he wrote the four- voiced Stabat mater, the "Bride of Corinth, " and Johanna Sebus, a motet for four men's voices, and a Miserere for four women's voices. He completed the E-flat [piano] Sonata, and orchestrated the oratorio Jeptha. Then followed the Greek songs, six responsories, die "Lamentation," the Ave Maria, the Agnus Dei, his great Magnificat Furthermore, he wrote there the Three Psalms for Men's Voices" (his well known "23rd Psalm* is for mixed chorus) and the Three Nightsongs by Eichendorf," eight songs by Novalis, the eight-voiced Pater noster, and the piano- vocal score of his oratorio Jeptha. "Klein," says Max Runze in 1892 [Musikalisches Centralblatt 2. Jahrg. Nr. 37] "wrote masterfully in almost all genres." Of the instrumental works, one can point in particular to certain piano sonatas, among them the original and beautifully styled Sonata in E-flat. His oratorios merit the keen attention they receive, particularly Jeptha and David. These compositions deserve to be called "classics," and it is indeed a wonder that, among the great masterworks of church music, they are no longer heard. We may assert that, in the old classical oratorio style since Handel, hardly another master has worked in a manner so pure and noble as has Klein....He is everywhere just as clear as he is profound. Thus his works are assured of inner greatness as well as of unity of outer form. [409—410] From the tone of his letters to Lili, we know that Bernhard Klein was a modest and likable man, not given to exaggeration. So when, in the following letter, he gives an account of a musical success, we can well believe him: Bernhardtolili Cologne, May 26, 1828 The performance of Jeptha took place yesterday evening. The effect of the work was greater than all my expectations. The performance personnel were over 550 214 The Musical Quarterly strong; in general the choruses were splendid; with one exception the solos were excellent. The orchestra was excellent; everyone played with inspiration. The applause increased with every section, until after the third section it became really wild. The main hall was completely full—that means approximately 2000 people. Prince Frederick of DusseldorP [was there], and Prince Solms-Braunfels" sat next to his adjutants in the first row, clapping and yelling with the toasts being offered by the audience among die timpani and trumpet calls. It was a full-blown success! [418] Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 But regardless of the value of such portraits of the Sebalds, of the Mendelssohns, of Bernhard Klein, or of the entire musical society in Berlin, the real star of the diaries is Lili Parthey. She was blessed with musical talent, financial comfort, an adoring family, social connection and grace—but above all, with an enduring felicity that, to judge by her writing, came from within. Gustav's short description of their relationship in early years may be tinged with the sentiment of time, but it reinforces the general impres- sions we get from the diaries: In the large social circle centering about our home my sister Lili ruled as a stimulating and animating ringleader. Unselfconsciously and without meaning to, she influenced her entire surroundings in a magnetic way. Her dear, round face could not be described as beautiful, but she sparkled from those most soulful eyes, which one initially thought were blue—but they were only green or gray. Complementing a slender but full-breasted figure she possessed the tiniest hands and the daintiest feet. Her movement was airily poised towards its direction. Her beautiful full voice, more alto dian soprano, spoke directly to one's heart From our childhood forward we were used to sharing all that moved our souls—experiencing everything together—and this happy reciprocal bond lasted in unabated strength until Ldli's premature deadi (1829). I wrote my first poems to her; about everything that concerned me as a boy or a youth I first thought, "How this would please Lili!" When, during our family playtime, a good idea came about and Father would ask from whom it came, the answer was usually, "from Lili!" Then his eyes would light up in pleasure. So often, when I remember her, I am caressed by the gentle breeze of my youth. [105] As she was graceful in life, Lili seems also to have made a graceful effort to soften the blow of her certain death. In her last letter to Gustav (29 August 1829), she manages gently, but firmly, to say goodbye: Ach du lieber Herzensbruder Hatt' ich nur auf eine Nacht Jenen vielberuhmten Mantel, Der fur Doktor Faust gemacht! " Frederick of Dusseldorf, crown prince of Prussia—the future Frederick Wilhelm IV, king of Prussia from 1840 to 1861. " Prince Solms-Braunfek von Neuwied. The Parthey Diaries 215

Fig. 5. Wilhelm Hensel, drawing, Lili Klein with her children, Clarchen and Elizabeth; from the collection of Frau Dora Lepsius, Darmstadt Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021

'; ^ 216 The Musical Quarterly

Unser grosses Bruderstrassler Haus dann fiihrt ich durch die Luft— Setzt es mitten in den Corso, In den italien'schen Duft.

Aber leider ward mir Armen Nicht dcr Zaubermittel Macht Downloaded from https://academic.oup.com/mq/article/74/2/197/1087376 by guest on 30 September 2021 Und so sei Dir, Lieber Guter Still des Herzens Dank gebrachL Yes, my dear Gustav, if only we could fly so to Italy! But this is the trutli—and you must believe it—now only a miracle could take me to that magic place. Aunt Jettchen has been here for 14 days—a dear, dear girl. The arrival of Minchen's mother made me very happy. I am only sorry that Minchen must now be separated from her. Now addio carinetto! [427] Lepsius reports that on 14 September, Bernhard Klein sent the following news to his brother Joseph (also a musician) in Berlin: Dear Brother, Deeply bowed, I must tell you of the great sorrow that has befallen me. On the 13th of this month my everything, my intimately beloved Lili died of lung disease. At the beginning of June we journeyed to Ems, where daily our hope grew fainter. Still, we hoped for the cure to work, and wanted to spend the convalescent days here—but in vain I Your steadfast brother Bernhard. [427] Almost nowhere in the annals of music history has an amateur (and Lili Parthey was an amateur, a Liebhaber, in the truest and best sense of the word) contributed more to the perspective of her own musical era. And probably no one has ever done it with more feeling for the people she portrayed, or had those feelings returned with greater warmth. Her friend Hedwig von Olfers (1799-1891), who would herself become one of the most impor- tant observers of German culture in the ensuing years, said of her, "Of my friends of those later days, she was the dearest—so good, so friendly and wise, so happily permitted to enjoy living."60

" Hedwig von Olfers (nee von Staegemann), Erb&ht in der Romantik, gerafl in sdbstloser Lube. AusBriefen zusammengaUUt, bd. 2: 1816-1891, ed. Hedwig Abeken (Berlin: 1914), p. 428. It was in the Staegemann home that the famous premiere of Ludwig Berger's setting of Wilhelm Miller's "Dit schone Mullerin" took place (1816). Lili and Bemhard had met her on their trip to Rome, and the friendship continued in Berlin.