Although not immediately recognizable from the lengthy title, this is in fact the first German translation of Andersen's first novel Improvisatoren, which is considered Andersen's third debut. It appears almost simultaneously with the Danish edition and must have been under preparation at the same time. Improvisatoren is considered one of the most perfect works by Andersen and the work that seriously made him famous, especially in Europe, where he first and foremost came to be known as an eminent author of novels. With his great first novel, Andersen paves the way for the new modern genre of the novel and places himself at the very front of this literary movement. In fact, this novel is perceived to be the first Danish bildungsroman.

Improvisatoren also constitutes Andersen's efforts throughout the 30'es to write in a picturesque manner. He is extremely proud to proclaim that due to his novel, his German translator, "Professor Kruse [...] says that I am the greatest painter and Ørsted says that I should have the brush as well as the pen." (Letter to Henriette Wulff, March 16, 1835).

Andersen is extremely occupied with the novel, in both Danish and German, and focuses greatly upon its reception in both countries. To his extreme joy, Improvisatoren is tremendously well received, and Andersen can hardly believe his success. "People adore Improvisatoren, everything I say and speak they find terrific, everything I utter an urge for they give me. They ask me what dishes I would like, if I want to drive on trips. You can very well believe that Oehlenschläger at his Prince is not being flattered more than me. It is the first time that I feel the comfort of being a poet." (Letter to Edvard Collin 5 Juli 1835). Later in the same letter, he asks Collin if he has heard about the German translation and what impressions that is making: "I long to hear what kind of impression it is making on the Germans."

Before the appearance of the work, Andersen is extremely anxious and extremely occupied with the German translation: "I so hope it will bring me joy! To hear that it is successful, nothing can be more encouraging, more soothing for my soul and spirit, in that chapter I am very much like my Antonio. You cannot believe how I long to see your translation. It will be ready for the Easter fair, I assume?" (Letter to Kruse (the translator), April 8, 1835).

Later in April 1835, he writes to Henriette Wulff: "My novel Improvisatoren has now been published in Danish and is being published in German as I write…. Never before has any work by me caught the masses so vividly [...] I am 'on a wave'; but my heart is full of gratitude towards the good God; from him I feel that it is all a gift, a blessing, he has allowed to flow through my soul." (Letter to Henriette Wulff, April 29, 1835). 

Before the work even appeared, Andersen had a list of recipients for the German translation. Among these was Adelbert von Chamisso (1781-1838), to whom he wrote in April 1835: "Here I send you my Italian son; he speaks the German language, so your family can also understand him. I wish that in the great Germany people will be aware of my book and that I may deserve that awareness. That Kruse is introducing me as an author of novels should be somewhat of a recommendation. [...] For making such an effort of being known outside of little Denmark, I think I cannot be blamed."

According to Möller-Christensen (1993), there was an interaction between the author, his biography and his work – Möller-Christensen calls this interplay "the golden triangle" – which resulted in the emergence of a myth early on, influencing and promoting the reception of his work in Germany. Biographical information supported the translated work, and, at the same time, the author consciously made himself available to the media via contacts in the literary world (Möller-Christensen 1991, see also Jørgensen 1996). Indeed, there was, and still is, an “effective synergy between Andersen’s life and work, which continues to influence the dissemination of his works” (Thomsen 2025: 15).

Furthermore, the national recognition of Andersen’s work “was fostered by its international circulation rather than the reverse" (Thomsen 2025: 8). This German translation was the foundation for Andersen's international (and even national) reputation and paved the way for further translations. It was through Andersen’s growing popularity in Germany in the early 1840’s that an interest was ignited in France (Thomsen 2025: 2).

The first English translation "The Improvisatore; or Life in Italy" (1845), by Mary Howitt, was based on the German translation (Jørgensen 1996: 18). After the first English translation, Andersen attended a party in England, where he met Charles Dickens, to whom the English translation was already known. According to Paul Binding, some key features in Dickens' David Copperfield (1849-50) can be traced back to Andersen's first novel (Binding 2014).

Together with two other novels, ("Only a Fiddler" and "O.T.; or, Life in Denmark"), it was part of the late romantic era in Germany, where it was “assessed in light of a contemporary literary discussion […] about the legacy of Romanticism and the new experience of fragmentation associated with modernity.” (Thomsen 2025: 9). It was both criticized for failing “in its romantic project and ended up emphasizing division” and “also praised for not adhering to an exhausted romanticism” (Thomsen 2025: 10). At the same time. in England, the realistic features of Andersen’s writing were highly prioritized. (Thomsen 2025, Jørgensen 1996)

Binding, Paul. (2014, 1 January). Reflections after writing – Hans Christian Andersen: European Witness. Museum Odense. https://museumodense.dk/udgivelser/reflections-after-writing-hans-christian-andersen-european-witness/ 

Jørgensen, Aage (1996). H. C. Andersen i Europas Spejl. zusammenfassung: H. C. Andersen im Spiegel Europas. In Niels Oxenwad (ed.), Andersiana. pp. 5-40. H. C. Andersens Hus, Odense.

Möller-Christensen, Ivy York (1993). H. C. Andersens gennembrud i Tyskland. In Johan de Mylius, Aage Jørgensen & Viggo Hjørnager Pedersen (ed.), Andersen og Verden. Indlæg fra den første internationale H. C. Andersen-konference, 25.-31. august 1991. pp. 321-28. H. C. Andersen-Centret, Odense Universitet. Odense Universitetsforlag, Odense.

Thomsen, T. B. (2025). Andersen Abroad: Literary Circulation in Nineteenth-Century Europe. Journal of World Literature, 10(2), 193-212. Article 3. https://doi.org/10.1163/24056480-01002003