At last, however, it became necessary seriously to attend to the purpose of my journey. Only in passing did I touch at Wurzburg for a day. I remember nothing of the meeting with my relations and acquaintance beyond the melancholy visit to Friederike Galvani already mentioned. On reaching Frankfort I was obliged to seek at once the shelter of a decent hotel, in order to await there the result of my solicitations for subsidies from the directorate of the Magdeburg theatre. My hopes of securing the real stars of our operatic undertaking were formed with a view to a season at Wiesbaden, where, I was told, a good operatic company was on the point of dissolution. I found it extremely difficult to arrange the short journey thither; yet I managed to be present at a rehearsal of Robert der Teufel, in which the tenor Freimuller distinguished himself. I interviewed him at once, and found him willing to entertain my proposals for Magdeburg. We concluded the necessary agreement, and I then returned with all speed to my headquarters, the Weidenbusch Hotel in Frankfort. There I had to spend another anxious week, during which I waited in vain for the necessary travelling expenses to arrive from Magdeburg. To kill time I had recourse, among other things, to a large red pocket-book which I carried about with me in my portmanteau, and in which I entered, with exact details of dates, etc., notes for my future biography-the selfsame book which now lies before me to freshen my memory, and which I have ever since added to at various periods of my life, without leaving any gaps. Through the neglect of the Magdeburg managers my situation, which was already serious, became literally desperate, when I made an acquisition in Frankfort which gave me almost more pleasure than I was able to bear. I had been present at a production of the Zauberftota under the direction of Guhr, then wonderfully renowned as 'a conductor of genius,' and was agreeably surprised at the truly excellent quality of the company. It was, of course, useless to think of luring one of the leading stars into my net; on the other hand, I saw clearly enough that the youthful Fraulein Limbach, who sang the 'first boy's' part, possessed a desirable talent. She accepted my offer of an engagement, and, indeed, seemed so anxious to be rid of her Frankfort engagement that she resolved to escape from it surreptitiously. She revealed her plans to me, and begged me to assist her in carrying them out; for, inasmuch as the directors might get wind of the affair, there was no time to lose. At all events, the young lady assumed that I had abundant credit, supplied for my official business journey by the Magdeburg theatre committee, whose praises I had so diligently sung. But already I had been compelled to pledge my scanty travelling gear in order to provide for my own departure. To this point I had persuaded the host, but now found him by no means inclined to advance me the additional funds needed for carrying off a young singer. To cloak the bad behaviour of my directors I was compelled to invent some tale of misfortune, and to leave the astonished and indignant young lady behind. Heartily ashamed of this adventure, I travelled through rain and storm via Leipzig, where I picked up my brown poodle, and reaching Magdeburg, there resumed my work as musical director on the 1st of September.
The result of my business labours gave me but little joy. The director, it is true, proved triumphantly that he had sent five whole golden louis to my address in Frankfort, and that my tenor and the youthful lady-singer had also been provided with proper contracts, but not with the fares and advances demanded. Neither of them came; only the basso Graf arrived with pedantic punctuality from Karlsbad, and immediately provoked the chaff of our theatrical wags. He sang at a rehearsal of the Schweizerfamilie with such a schoolmasterly drone that I completely lost my composure. The arrival of my excellent brother-in-law Wolfram with my sister Clara was of more advantage for musical comedy than for grand opera, and caused me considerable trouble into the bargain; for, being honest folk and used to decent living, they speedily perceived that, in spite of royal protection, the condition of the theatre was but very insecure, as was natural under so unscrupulous a management as that of Bethmann, and recognised with alarm that they had seriously compromised their family position. My courage had already begun to sink when a happy chance brought us a young woman, Mme. Pollert (nee Zeibig), who was passing through Magdeburg with her husband, an actor, in order to fulfil a special engagement in that town; she was gifted with a beautiful voice, was a talented singer, and well suited for the chief roles. Necessity had at last driven the directors to action, and at the eleventh hour they sent for the tenor Freimuller. But I was particularly gratified when the love which had arisen between him and young Limbach in Frankfort enabled the enterprising tenor to carry away this singer, to whom I had behaved so miserably. Both arrived radiant with joy. Along with them we engaged Mme. Pollert, who, in spite of her pretentiousness, met with favour from the public. A well-trained and musically competent baritone, Herr Krug, afterwards the conductor of a choir in Karlsruhe, had also been discovered, so that all at once I stood at the head of a really good operatic company, among which the basso Graf could be fitted in only with great difficulty, by being kept as much as possible in the background. We succeeded quickly with a series of operatic performances which were by no means ordinary, and our repertory included everything of this nature that had ever been written for the theatre. I was particularly pleased with the presentation of Spohr's Jessonda, which was truly not without sublimity, and raised us high in the esteem of all cultured lovers of music. I was untiring in my endeavours to discover some means of elevating our performances above the usual level of excellence compatible with the meagre resources of provincial theatres. I persistently fell foul of the director Bethmann by strengthening my orchestra, which he had to pay; but, on the other hand, I won his complete goodwill by strengthening the chorus and the theatre music, which cost him nothing, and which lent such splendour to our presentations that subscriptions and audiences increased enormously. For instance, I secured the regimental band, and also the military singers, who in the Prussian army are admirably organised, and who assisted in our performances in return for free passes to the gallery granted to their relatives. Thus I managed to furnish with the utmost completeness the specially strong orchestral accompaniment demanded by the score of Bellini's Norma, and was able to dispose of a body of male voices for the impressive unison portion of the male chorus in the introduction of that work such as even the greatest theatres could rarely command. In later years I was able to assure Auber, whom I often met over an ice in Tortoni's cafe in Paris, that in his Lestocq I had been able to render the part of the mutinous soldiery, when seduced into conspiracy, with an absolutely full number of voices, a fact for which he thanked me with astonishment and delight.