Book contents
- Frontmatter
- Contents
- Introduction
- Select Bibliography
- Contents of Volume One
- 1 My Father's House
- 2 Musical Beginnings
- 3 War
- 4 Starting with Composition and Theory
- 5 The Theater in Weimar
- 6 War, again
- 7 The University
- 8 Early incentives for the practice of law
- 9 Legal practitioners
- 10 From Halle to Naumburg
- 11 To Berlin
- 12 Berlin
- 13 Fata Morgana
- 14 Personal relationships
- 15 The Berlin Opera at its height
- 16 Spontini
- Contents of Volume Two
- Afterword in place of foreword
- Translator's Note on Indexing
14 - Personal relationships
from Contents of Volume One
- Frontmatter
- Contents
- Introduction
- Select Bibliography
- Contents of Volume One
- 1 My Father's House
- 2 Musical Beginnings
- 3 War
- 4 Starting with Composition and Theory
- 5 The Theater in Weimar
- 6 War, again
- 7 The University
- 8 Early incentives for the practice of law
- 9 Legal practitioners
- 10 From Halle to Naumburg
- 11 To Berlin
- 12 Berlin
- 13 Fata Morgana
- 14 Personal relationships
- 15 The Berlin Opera at its height
- 16 Spontini
- Contents of Volume Two
- Afterword in place of foreword
- Translator's Note on Indexing
Summary
But where had my letters of recommendation gone?
One, from Hendel-Schütz, had been addressed to the noble artistic couple Wolf [sic]. I had already admired them in Halle; at that time they belonged to the Weimaraner, and now they were attached to the stage in Berlin. Yes, I had already had a personal relationship with them in Halle, as could only take place in the atmosphere of the university there.
The broadly admired artist, who so often delighted everyone, and who had in return received the warmest of tributes, once — whether correctly or incorrectly — decided that she had been neglected by the public in some role. The next evening she nevertheless appeared according to the call of duty, but performed without any commitment whatsoever; and so on the next night as well. This was more than her hot-blooded brother Studio could bear; he decided, should she appear in such a lackluster fashion once again to solemnly -pound her. Another such decision to receive her in the same way I had averted with the help of my friends. She appeared without any inkling of the decision and played ice-cold. With utmost effort it was possible to once again hinder the outbreak. Now, however, I hastened to the theater, and sought frantically to speak to the artist. Astounded, and somewhat annoyed, she admitted me, and I made her swear, before I revealed the situation to her, to change her manner of acting, and to give back to all of us, even to the indignant, who had been her greatest devotees, the great artist once again. I do not know what she answered; but I can still see the tragic glance of Niobe which her dark eyes sent upwards. She performed incomparably and showered with the loudest homage. She had learned my name; the adventure had no further consequences.
Now I visited the artistic pair with a recommendation, was kindly received, and asked repeatedly about my address. I very clearly lettered out street and house-number; that one, on such occasions, hands over one's card with the address noted on it, was something that I knew nothing about as yet. The natural result was that I did not receive any invitation. A second letter, from Director Schwarz, led me to the famed E. T. A. Hoffmann, at the time Kammergerichtsrat. I found that he was not at home, and delivered my letter.
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- Recollections From My LifeAn Autobiography by A. B. Marx, pp. 79 - 88Publisher: Boydell & BrewerPrint publication year: 2017