THE name of the subject of the present memoir, though celebrated in Germany, particularly in Prussia and the Northern States, is almost wholly unknown in this country. It was first heard of in England, in consequence of the visits of M. Mendelssohn Bartholdy, whose brilliant genius and rapidly rising fame, naturally led to an inquiry respecting the school in which he was brought up; when it appeared that he owed his musical knowledge to M. Zelter. The renown of the disciple was reflected on the master, and we became anxious to obtain a sight of some of his compositions; when, after a long and diligent search, we were fortunate enough to meet with a MS. (unpublished) scena by him, which at once announced the great ability of the author, the aria whereof, adapted from the original score, will be found in our present number.

Gerber, in his biographical lexicon, gives a lengthened memoir of M. Zelter, to which we are indebted for the following account; though we have discarded much which, if not savouring of prolixity, would at least prove uninteresting to English readers. M. Zelter was what here is frequently denominated an architect, though he modestly called himself a master-builder. He was during the greater part of his life a dilettante; but when he accepted an office, he certainly became a professor.

CARL FRIEDRICH ZELTER was born at Berlin, in 1758. His father, a Saxon, had him instructed during his childhood and youth in various elegant, as well as useful, acquirements. Engaged in the cultivation of his mind, for which purpose he attended the Joachimsthal College, he had already attained his seventeenth year, when he was articled to his father’s business, that of a builder. Hitherto he had not shown much inclination for music, and had manifested but little attention to the instruction he received on the piano-forte and organ, from a Berlin organist.

After a tedious and painful illness by which he was attacked in his eighteenth year, an extraordinary passion for music all at once sprung up in him. But as at this period nearly the whole of his time was devoted to his professional pursuits, the evening alone was left to him to satisfy his thirst for harmony. Thus whole nights were frequently spent in copying music, and in practising the violin and piano-forte. This enjoyment, however, was but of short duration, for his instructor in the latter instrument could no longer attend him; and, fearing that such constant and unwearied application might injure his health, his father endeavoured to check his voluntary studies. But this did not stop his progress, for as he was now deprived of his instruments, he began to compose, for which purpose only pen, ink and paper were necessary. He had no rules, and being governed only by his fancy, his deficiency in the knowledge of composition was constantly manifesting itself, and having no acquaintance with scientific musicians, he had no means of gaining information through the medium of conversation; he, therefore, procured some scores of Emanuel Bach and Hasse, the study of which showed him the importance of order and unity in composition, and taught him how to preserve a constant flow of melody in the middle parts.

Now, however, his health actually began to sink under his exertions, and the many privations to which his earnest application subjected him. His thoughts were exclusively devoted to the art by which he was enamoured, and all else was neglected. His business was neglected for it, and his health ruined. His father again remonstrated, and the young enthusiast renewed his promises of obedience; he for some days took more sleep, and paid more attention to his affairs; but in less than a month relapsed into his former habits, though he did also attend to his drawing, his geometry, and other business; but at the same time prosecuted his musical studies with all the ardour which his little remaining strength would permit.

In the year, 1783, having completed his probationary architectural drawing, he was admitted among the number of master builders. And now, for the first time, he received lessons, in counterpoint, from M. Fasch. ‘I have,’ he himself states, ‘made as much use of this excellent instruction as I possibly could, in the midst of my other occupations. To this worthy M. Fasch I am entirely indebted for whatever merit many of my compositions may possess.’

After alluding to three themas with variations of his composition, published at Berlin, and many songs, scattered in various publications, he adds, ‘I have besides composed several pieces of music for particular occasions. The best among these are a cantata upon the death of the emperor Friedrich II. in the year 1787, and another cantata upon the birthday of a beloved mother, in the year 1793. A variety of single arias and scenas, many of which I scarcely even can recollect, are not to be taken into account. The concerto for the tenor which I composed, in the year 1780, if it has merit, has on the other hand many faults, and is not theoretically correct. All the rest of my musical works are studies, consisting of fugued choral pieces and fugues, which I have never considered worthy of preservation. If I should hereafter be enabled to devote more time to my beloved art, I hope to indemnify the Friends of my Muse, if any such there be, for those works which from precipitance, or without any blame attaching to me, have already been brought before the public.’

Thus far only, M. Gerber states, ‘extend the particulars which M. Zelter had the kindness to furnish me with in 1793. But it is necessary to add a few explanatory observations. For the benefit of such of my readers as have no other idea of a master-builder, than that he must be begirt with a leathern apron, and armed with a trowel, I must remind them, in the first place, that M. Zelter’s tools consisted solely in a case of drawing instruments and a pen; and that no one can have any conception of his great, his important occupations, who has not had an opportunity of witnessing the solid taste, the grandeur and splendour, of the architecture of Berlin.’ How many an artist might, with a feeling of shame, look upon this pattern of activity, who, day after day, superintended the building of various great edifices; yet, nevertheless, ever bore in mind, with reference to music, the words of Horace, nulla dies sine linea. In order also to be as useful as possible when his fatiguing professional duties of the day were completed, he in his hours of relaxation, joined the singing academy of M. Fasch, and became one of its most active members; indeed, it may be said that he was M. Fasch’s right hand.

And when, in the year 1797, M. Gerber revisited Berlin M. Zelter singly, at the piano-forte, directed the whole, while M. Fasch, then become aged and infirm, was most commonly a silent listener in one corner of the room. And this school, or society, performed before MM. Naumann, Himmel, and other distinguished composers, one of Naumann’s learned compositions written for them, (a Latin psalm,) and a part of Fasch’s masterpiece for four choirs. In the same year, too, M. Zelter conducted Graun’s Tod Jesu at the Opera House, in which the choruses were sung by the united members of Fasch’s society; the orchestra having consisted of the members of the Royal Chapel, and the best amateurs in Berlin.

The following are the titles of M. Zelter’s detached papers and compositions. On the representation of Gluck’s opera, Alceste, at the Berlin Opera House, from the letters of an artist, published in the fifth Number of the Journal, entitled Deutschland. Berlin, 1796. After many interesting observations upon the dramatic treatment of the story by Calsabigi, he remarks, ‘the conductor of the opera should always have the right to wield the helm of the vessel, because he is more likely to enter into the beauties of an excellent poem, than a poet is to understand anything of music, even what is meant by a dissonance.’ Analysis of a scene from Benda’s Romeo und Julie, in the first volume of the Lyceum of the Fine Arts. Berlin, 1797–8. Dance and aria from the opera Axur, with variations for the piano-forte.—La Malade, piÈce caracteristique pour le Clavecin.—Schiller’s Ode an die Freude, (Ode to joy,) for the piano-forte. Seize chorales composÉes par M. M. Reichardt, GÜrrlich, Zelter, &c. Trinklied (Drinking Song) of K. MÜchler. Twelve songs with piano-forte accompaniment. The following greater vocal productions also are quoted in Rellstab’s catalogue. Aria di Bravura: Grato Flauto, &c., p. Soprano con Flauto concertato. Rondo a 6; Dove sei, mia bella nice, &c., p. Soprano con Flauto concertato. Fragment from Wieland’s Serafine in score; all of which were already written about the year 1790; and another of the same description from his celebrated cantata, already alluded to, on the death of the emperor Friedrich II.

The following works of his also have appeared in print:—Memoir of Carl Friedrich Christian Fasch, by C. F. Zelter, with a portrait; Berlin, 1801. Another set of twelve songs with piano-forte accompaniment. Der Taucher, (the Diver,) by Schiller, for the piano-forte. Collection of ballads and songs; books 1, 2, 3, 4. Johanna Sebus, for several voices, with piano-forte. He subsequently collected his gems of songs and arias of every description, and published them in numbers. There is also a Te Deum of his composition.

In 1809, Zelter was appointed, by the King, professor of music at the Berlin academy of arts and sciences; and as a proof that it was not a mere empty title conferred upon him, the King called him the very same year to KÖnigsberg, to attempt the revival of a taste for church music, which had sunk to a very low ebb; a task for which he was eminently qualified. At the commencement of this year, too, a new society had been formed at Berlin, consisting of about twenty-four male members of the singing academy, under the name of The Liedertafel, (the Vocal Club,) of which Zelter was president. The members were divided into two bodies of tenors, and two of bases; they assembled once a month, and sang their songs, the poetry and music being of their own production, their president making his remarks on them. In fact, it was a revival, in a much improved form, of the guild of the old German ‘meister-sÄnger,’ and did no little credit to the state of cultivation, and the attainments of the dilettanti of Berlin.

M. Zelter died, at a rather advanced age, in 1832.