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Updated: June 12, 2025
In conducting an opera the Kapellmeister has to keep his eye and ear at the same time on each of these groups, as well as on the vocal parts and scenic effects. If this requires a talent rarely found among musicians, how very much greater must be the mind which created this complicated operatic score!
The Kapellmeister went to the window and laid his hand where the dove had been, pressing the slender shoulder and forcing her to turn. "I want you," he said, "Now this morning! I have come for you!" Kaya rose to her feet slowly: "To sit aloft in the flies and sing while Siegfried seeks me?" She smiled up at him; "You have come for your bird?" "No." Her eyes searched his.
He was very much in demand in Paris as an artist. In 1835 he carried the Comtesse d'Agoult off from a ball, and went with her to Geneva. He remained in Geneva until 1839, when his triumphal progresses through Europe commenced. In 1848 he became Kapellmeister in Weimar.
"Feel my hands," said Kaya, "Is that fever?" Then she shut her eyes. She heard clumsy footsteps descending the stairs, and then a pause; and after a moment or two steps coming back, but they were firm and quick, and her heart kept time to them. "What did I say in my ravings?" she cried to herself, "What did he hear?" "Nun?" said the Kapellmeister.
"Child," said the Kapellmeister suddenly. "You are sobbing!" "I am not I am laughing, dear Master. Look at me! There is the mill across the promenade. How gaunt the wheel looks, and strange, with its spokes dripping, and the rain lashing down! And there is a light in my window a candle, see? Old Marta is waiting, and how she will scold.
She grasped his sleeve with her fingers, and drew him: "You are not the Kapellmeister!" she cried, "You are Siegfried, and you must sing the part in falsetto. Come!" Ritter gave a quick glance about. The stage hands were gone, and the singers. The stage was in semi-darkness, half lighted, and the scene was unchanged. He could see it from the top of the balustrade.
In the fall we find him visiting his brother Johann at Linz, where he made quite a long stay. It was not alone Johann whom he was visiting; he had good friends there, among them Kapellmeister Glöggl, whom he saw nearly every day. At the latter's request the master composed three equali for trombones for All Souls' Day, then near at hand.
She sang, with careful precision as to the accents of her German, in a high breathy effortless soprano, a little song about a child and a bouquet of garden flowers. The younger Martin in a strong hard jolting voice sang of a love-sick Linden tree, her pale thin cheeks pink-flushed. "Herr Kapellmeister chooses well," smiled Fraulein at the end of this performance.
Kaya quivered a moment: "I am Russian," she said, "I am an exile. Don't ask, Monsieur not here! I am I am afraid." The Kapellmeister went on improvising arpeggios on the piano as if he had not heard. He seemed to be pondering. "That name " he said, "Pou Poussin! Someone called on me the other day of that name. I remember it, because when I came in she was gone. Was it you?" The girl stood silent.
German musicians have no longer any depth. I have said that I attribute this fact to the detestable influence of the theatre, to which nearly all these artists are attached as Kapellmeister, or directors of opera. To this they owe the melodramatic character of their music, even though it is on the surface only music written for show, and aiming chiefly at effect.
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