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At the age of nineteen he went to Leipzig and entered the Conservatory there, studying composition under Hauptmann and E.F. Richter, orchestration under Rietz, and the piano under Moscheles and Plaidy. Later he went to Dresden and studied the organ with Schneider. After three years in Germany, he studied for a year in Paris, and came home, settling down in Hartford as church-organist and teacher.
Come to my arms, outstretched to press to my heart the most beautiful, most intelligent, and most diplomatic of women!" Two days later it was related in Berlin that Wilhelmine Enke had married the princely valet de chambre Rietz, the crown prince being present at the ceremony, which took place at a small village near Potsdam.
As a sop to Prussian morality and to make the old King quite easy, a complaisant husband was now found for the Prince's favourite in his chamberlain, Herr Rietz, son of a palace gardener; and Frederick William himself looked on while the woman he loved, the mother of his children, was converted by a few priestly words into a "respectable married woman" only to leave the altar on his own arm, his wife in the eyes of the world.
The public, very numerous in spite of double prices, displayed much sympathy and admiration for this wonderful work. The first act went tolerably well as far as the artists were concerned. Rietz conducted in a precise and decent manner, and the ENSEMBLES had been carefully studied. The second and third acts, however, suffered much from the faults and shortcomings of both chorus and principals.
The merchant M , of Dresden, will bring you something from me when he returns from his great Parisian business trip; a good daguerreotype copy from an excellent portrait which my friend Rietz has taken of me here. "What more shall I write? I am all confusion about my hasty departure. I have now only to write the verses to my Wiland; otherwise the whole poem is finished German, German!
I now remembered that the only performance of Lohengrin, which had been taken off almost immediately on account of its complete failure, was the one in Leipzig produced by Conductor Rietz. Devrient, regarding Rietz as Mendelssohn's successor and the most solid musician of 'modern times, had concluded that this mutilation of my work was a suitable one for production in Karlsruhe.
She died in the month of March, 1789. “All Berlin is in mourning,” wrote M. d’Esterno. “The Countess of Ingenheim is cruelly regretted by the people, the royal family, and even the Queen, much less for the person of the said Countess as because of the increase of credit which her death will bring to Dame Rietz, the old habitual mistress, who is said to be very avaricious and a great intriguer.”
One, the young Countess d'Ingenheim, had just died in the flower of her youth; the other, the Countess d'Ashkof, had borne the king two children, and flattered herself, in vain, with having extricated him from the empire of Madame Rietz.
In any case I shall go over for the two last general rehearsals and for the first performance, and shall send you an accurate account. Rietz is said to be very careful with the orchestral rehearsals, taking the woodwind, the brass, and the strings separately.
The actors, Rietz and Wirsing, were called after the first act, and after the last the representatives of the principal parts had to appear again. T., who had come from Paris for this performance, was very dissatisfied with it. I toned him down, not thinking it advisable to impair the chief thing by detailed criticism.
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