Bernhard Crusell in 1798 in the light of new sources

This article examines the life of Swedish-Finnish clarinettist and
composer Bernhard Crusell (1775–1838) in the year 1798. Crusell was born in
Uusikaupunki, Finland, and moved in 1791 to Stockholm, where he soon started
working as a clarinettist in the court orchestra. Crusell became a
distinguished soloist after having studied with Franz Tausch in Berlin during
the summer of 1798. Not much is known about this trip, which was Crusell’s
first  to the continent; however, new
sources have recently come to light that provide new information about the
trip.

The author of this article found two letters that Crusell had written to
his beloved, Anna Klemming, which were thought to be missing. The letters were
written in Berlin and were dated 12^th May, 1798 and 21^st
August, 1798. The content of these letters confirms some details previously
recorded in other sources, such as in his autobiographies: the possibility to
travel to Berlin came about at short notice, and he ended up staying in Berlin
three months longer than planned.

Previous studies have not made any reference to Crusell’s concerts in
Berlin and Hamburg during this trip. The author found new information on them
in newspapers from the time. Crusell first performed in Berlin on 21^st
October, 1798 at the Hotel Stadt Paris with his teacher Franz Tausch, the
singers Friedrich Franz Hurka and Charlotte Bachmann and pianist Karl Traugott
Zeuner. His next two concerts were held in Hamburg: the first on 10^th
November, 1798 at the Deutsches
Schauspiel with Hurka and soprano Rosine Eleonore Elisabeth Righini. The
review in the  Allgemeine Musikalische
Zeitung stated that Crusell had “a beautiful tone and that he played specially
the Andante or Adagio in a good style”. The second concert in Hamburg was held
on 25^th November, 1798 at the residence of Johann Georg Büsch, one
of the leading figures of the German Aufklärung
era.

Crusell’s trip to Berlin in 1798 took place at a time when the clarinet
was undergoing a period of significant development. Composers had recently
started to use the instrument regurarly in operas and orchestral works and were
composing important solos for it. Crusell’s teacher, Franz Tausch, was one the
leading virtuosi of the instrument, and in Crusell’s later life, Tausch’s
influence on Crusell’s own career became apparent. Like Tausch, Crusell also
composed important repertory for his instrument, worked as a teacher and as was
the case with Tausch’s family, Crusell’s children also started playing
instruments and learning to sing. Furthermore, in the same way as in Tausch’s
orchestra, the wind instrumentalists in the court orchestra of Sweden became
prominent soloists, and they gave concerts together as an ensemble.

Finally, the new sources provide an explanation for a detail that has so
far not been fully understood in Crusell’s autobiography: why he “had to”
travel back to Sweden from Berlin. The newly found letters to Anna Klemming
clearly show that the 22-year-old musician was in love and feeling somewhat
homesick. The letters are full of sensuality towards Anna and reveal how he met
Anna’s relatives living in Spandau. Perhaps Crusell obtained permission to marry
Anna from them: their wedding was held the following year and over the years
they had six children together. This blossoming relationship must surely be
taken into account when drawing conclusions on Crusell’s activities during the
year 1798.