TAKING IT IN STRIDE
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How did Hector Berlioz cope with the pressures of
life as a composer and conductor? With a lively sense of humor. It comes out in
a letter he wrote from London to Theodore Ritter on July 3, 1855.
A ghastly rehearsal at Exeter Hall yesterday.
Glover’s cantata in a piquant style, but difficult, and I was sweating enough to
engorge the gutters in the Strand, and the finale of my Harold in Italy, a
ferocious concerto by Henselt played by Mr. Klindowrth in a free style, which
kept me dancing on a slack rope for an hour, and Cooper, our first violin, who
couldn’t take it any more, sang out, “Sempre tempo rubato!”
… Glover gave a soiree at which Meyerbeer was expected.
The great man send his regrets, pleading a terrible colic … then, finally, he
shows up just as everyone had finished regretting his absence. Congratulations
on the end of his colic. Moseying through the streets of London in the moonlight,
I go to Ernst’s house to join my wife …
Wagner has gone, after the esteemed Mr. Hogarth had
introduced him to Meyerbeer, asking the two celebrities whether they were
acquainted. Wagner’s delighted to be leaving London, a new salvo of ranting
against him from the critics after the latest concert in Hanover Square. It’s
true that he conducts in a free style, like Klindworth playing the piano, but
his ideas and conversation are enchanting. We went to drink punch with him
after the concert. He reserved me as to his friendship, embraced me
ferociously, saying he used to have all kinds of prejudices against me. He
wept, he capered around, and no sooner had he left than the Musical World published the passage in his book in which he cuts
me to pieces with wry wit.
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