Chapter XXIII: Part 23

After a beneficial use of the waters, _Spohr_ left Carlsbad, and on his way back stopped at Leipzic, where some musical parties quickly got up by the families of his acquaintance enabled him to pass some very agreeable days, and at which he played his favorite quartet in _A minor_, with his newest concertino, to the great delight of his hearers. Upon this occasion, it was a source of great pleasure to him to make the long desired acquaintance of _Robert Schumann_, who though in other respects exceedingly quiet and reserved, yet evinced his admiration of _Spohr_ with great warmth, and gratified him by the performance of several of his interesting fantasias.

_Mendelssohn_ was at the time unfortunately absent, and in his next letter to _Spohr_ expressed his great regret thereat; and requested him at the same time to send him his last symphony (No. 5, _C minor_), as it was intended to perform it at the opening of the approaching season in the first concert of the Leipzic Gewandhaus. While expressing his thanks for it beforehand, he says at the same time, in reference to a song of _Spohr’s_ with which he had just previously become acquainted: “As I am now on the subject of thanks, I must thank you many times and with all my heart for the beautiful song in _F sharp_ with clarinet accompaniment, the “Zwiegesang,” which pleases me exceedingly and has so completely charmed me with its prettyness, that I both sing and play it every day. It is not on account of any one particular feature that I admire it, but for its perfectly natural sweetness as a whole, and which from beginning to end flows so lightly and gratefully to the feelings. How often have I sung it with my sisters, and each time with renewed pleasure! And for that I must now also thank you....”

The first work with which _Spohr_ occupied himself after his return to Cassel, was a fourth quartet for stringed instruments (_G minor_), which was published by _Paul_ of Dresden as Op. 106, both in its original form and as arranged by _Spohr_ himself for the pianoforte for four hands.--About the same time he received the very unusual order to make arrangements for a concert at court, which after frequent and long deliberations, at length took place on the 19th. September at the palace of Wilhelmshöhe. The instrumental pieces were performed by the members of the electoral chapel, but the vocal subjects were at _Spohr’s_ recommendation confided to _Firnhaber_, a distinguished dilettant professor from Hildesheim, who himself had a court appointment, and had been for some years tutor to Baron _Scholley_, stepson to the Prince. With a very fine high tenor voice, he combined a good musical education, and a lively sentiment for art, and _Spohr’s_ compositions, with the manifold beauties of which he had made himself more and more acquainted during his residence in Cassel, soon inspired him with real enthusiasm. As _Spohr_ also took as much pleasure in his society as in his charming style of singing, he was a constant assistant at all music parties, and his presence in Cassel suggested to _Spohr_ many of his most pleasing and favorite songs, of which were: the book of songs from Op. 101 to 105; the duet for soprano and tenor Op. 107, (both published by _Simrock_) and _Franz Dingelstedt’s_ “Mitternacht” (midnight), which song was published by itself by _Paul_ of Dresden. Respecting the last, the author of the words, who had then an appointment at the gymnasium of Fulda, wrote to _Spohr_ at a subsequent period, expressing the greatest satisfaction: “Yesterday evening I heard your song ‘Mitternacht’ sung, and still deeply impressed by it, I hasten to thank you, and to express both my delight and my pride therein. I will not say that you have entered into the spirit of _my words_--for what are they after all? No, it is you who have caught the long, low, solemn whisperings of midnight. For the first time I regret that I am not sufficiently acquainted with music to understand and express the enthusiasm of the initiated in matters of change of tempi, tone &c.; in your art I am a naturalist merely, but I enjoy this production of it yet more deeply and intimately than they all; for I feel as a poet in the matter!--Not a word more now of common-place praise and song of thanksgiving! You have afforded me an hour of delight, and stirred within me emotions such as alas! I can feel here but seldom: a reward for my aspirations, an incentive to future efforts! You, I am sure, understand me!”....

In October 1838 _Spohr_, following the example set by many of the larger towns of Germany, succeeded at length in carrying out his reiterated proposition to give a concert at the theatre in aid of the funds for the erection of the testimonial to the memory of Mozart. The first part of the concert comprised among other things _Mozart’s_ symphony in _D minor_; and in the second, tableaux vivants, with appropriate music, from _Mozart’s_ operas, in which at the conclusion, the last chorus of the requiem resounded, and the bust of _Mozart_, placed in the foreground of the stage, was crowned by genii with wreaths of laurel.--A similar festival took place the following spring in aid of the fund for the memorial to _Beethoven_, but with this difference, that the programme contained besides the choicest selection from the works of that honoured maestro, a composition of _Spohr’s_ also, his most recent concertino: “Sonst und Jetzt,” which he had performed for the first time shortly before at one of the regular winter concerts, and upon this occasion reproduced at the express desire of the Prince. The success upon both occasions was extremely great.

At the commencement of the same year, several other remarkable concerts took place, and among others, _Ole Bull_ performed twice in the theatre, to overflowing houses, notwithstanding the increased prices of admission, and filled the public with astonishment and admiration of his play. _Spohr_ himself took the warmest interest in the wonderful play of his colleague in art, and gave a musical party at his own house in his honour, in which he first played one of his own quartets, but in the following he resigned the first place to _Ole Bull_, and even took the second violin. His opinion respecting _Ole Bull’s_ play may here be given in his own words, when writing to his friend _Speyer_ upon the subject: “_Ole Bull_ has lately given two concerts at the theatre and greatly charmed the public. His many-toned strokes and the accurate certainty of the left hand are remarkable, but like _Paganini_, he sacrifices too much to the tricks of the art. His tone on the weak strings is bad, and he can only use the _A_ and _D_ string on the lower part and _pianissimo_. This gives to his play a great monotony when he cannot bring in his tricks of art. We found this in two of _Mozart’s_ quartets, which he played at my house. On the other hand, he plays with much feeling, but not with a cultivated taste.” With every acknowledgment made by _Spohr_ of the extraordinary performances of _Ole Bull_, certain features of charlatanism, so foreign to his own _simple_ nature, did not escape him, and he frequently related at a subsequent period with a good-natured smile to his own friends, and to others, how _Ole Bull_ at a passage which offered him an opportunity of shining in one of his incomparable _pp_, kept his bow hovering over the strings for several seconds, so that the public who listened in breathless silence for the last sound of his constantly decreasing tones, might believe they still continued dying away in _ppp_.

About this time also, the representation of a small opera: “Der Matrose,” in the composition of which _Spohr_ had assisted, was frequently repeated. The text, adopted from the French, was written by the admired comedian _Birnbaum_, and at his wish set to music by four composers of this place, _Spohr_, _Hauptmann_, _Baldewein_ (director of music), and the song-writer and teacher of music _Grenzebach_, collectively. Besides the overture, _Spohr_ had undertaken the song of a home-returning mariner, together with the finale and all these “numbers,” and the whole operetta met with lively approbation from the public. Unfortunately _Spohr_, at a later period, was no longer in possession of these, as they remained in the hands of Mr. _Birnbaum_, for whose benefit the first representation of the opera was intended. The highly characteristic mariner’s song only appeared some time afterwards, arranged by himself with four-handed accompaniment for the pianoforte, and was published by _Paul_ of Dresden.

In April 1839 _Spohr_ received a pressing invitation from England to direct the performance of his oratorio “Des Heiland’s letzte Stunden” at the grand musical festival which was to take place in September at Norwich. After he had succeeded in obtaining the requisite leave of absence from the Prince, the customary tour during the summer holidays was this time limited to a shorter excursion, in which he made visits to his relatives and friends. He next proceeded to Holzminden--where _Spohr’s_ younger brothers _Augustus_ and _Charles_ resided with their families, the former, as a fiscal assessor, and the latter a law official of the duchy of Brunswick. Thence he went on to Gandersheim to visit his venerable parents, and lastly to Catlenburg, to Councillor _Lüder_. As a matter of course on this journey he was not without his violin, and wherever _Spohr_ came he found grateful hearers, who considered themselves superlatively happy in listening to his play. More than any of the other pieces that he executed, his newest, charming composition, a Spanish rondo for pianoforte and violin, afforded them delight; this soon became one of the most favorite pieces of music in Cassel also, and remained so up to a very recent period. At a later period, when it was published by _Mechetti_ in Vienna as Op. 111, there appeared simultaneously a pianoforte arrangement of it for four hands by _Czerny_, which was certainly most welcome to all who had not the advantage of hearing the original composition executed by a distinguished violinist.

Returned to Cassel, _Spohr_ finished his “Historical Symphony in the style and taste of four different periods” which he had begun before he set out on his journey. (Theme the first: The period of _Bach-Händel_, 1720. Adagio: _Haydn-Mozart_ 1780. Scherzo: _Beethoven_ period 1810. Finale: The most modern period 1840) a work, which afforded him not only during its creation, but also upon the occasions of its closely following performances in Cassel, the greatest satisfaction. Abroad also, and first in London, where he sold it to the Philharmonic Society for the term of one year, and subsequently in Germany, where he was permitted to make it known after the lapse of that period, it met with the most lively reception. Many voices were, however, raised in blame, and of these that of _Schumann_, in his musical journal, was the severest in tone. On the other hand Baron _Lannoy_, in Vienna, reported that the work had been received with great favour: _Mendelssohn_ sent in a most flattering account of its reception at Leipzic; and many letters full of praise arrived from England.

* * * * *

In the beginning of September _Spohr_ set out upon the journey to England, accompanied by his wife and his friend Mrs. _von Malsburg_, with whom he had been many years acquainted.[36]

[36] As _Spohr_ himself always considered this English musical festival (the Norwich festival) and the flattering reception given to him and his works in that country, as the most brilliant period in his active life, its description may reasonably find a place here in a somewhat more detailed form.

After an exceedingly rough passage, which delayed his arrival in London by six hours, _Spohr_ was very agreeably surprised in the midst of the confusion incidental to such circumstances, on being addressed by a gentleman, a stranger to him, exhibiting an order from the custom-house authorities, to deliver _Spohr’s_ luggage without examination, and who then took him and his female fellow-travellers speedily and safely to land in a boat, where a coach was in waiting to take him to the hospitable house of professor _Edward Taylor_. In the amiable family-circle of that gentleman and surrounded by the genuine English usages and comforts which had so many charms for the guests, they soon found themselves at home, and a few days sufficed to lay the foundation of a life-long friendship. As their farther journey permitted but a short stay in London, it was necessary to make the best use of the time to see the objects most worthy of notice in the metropolis, which filled the travellers with wonder and admiration. The visit to Westminster Abbey made a deep impression upon all, and this was expressed in the letters they sent home:[37] “The very entry into this majestic structure, which is certainly the finest of all the objects of note in London, makes an impression so deep and solemn upon the mind, that we could scarcely repress our emotion; and in reality one seems to move no longer among things of this world. The tones of a splendid organ may have contributed to this feeling,--for divine service was just being performed,--and this was followed by sacred psalmody sung in double chorus so pure, so sweet and executed with such feeling, that they seemed like the voices of angels from the realms of bliss. We had neither of us ever heard any thing like it before. Now again the notes of the organ pealed forth, and we distinguished harmonies of _Spohr’s_, and soon recognised the touching sounds of his mass for ten voices; and then the grand overture to “Des Heilands letzten Stunden” was splendidly performed by the celebrated organist _Tarle_....”

[37] The extracts given here and subsequently from the letters of _Spohr’s_ relatives, may find their excuse in the circumstance that he himself had neither leisure nor inclination to write letters during this journey, but was greatly pleased when his female companions wrote home frequently (which of course was always in harmony with his own sentiments),--and he seldom allowed such a letter to leave without having expressed his full concurrence with the contents.

But the time pressed for the departure to Norwich, where professor _Taylor_,[38] the chief director of the whole musical festival, had already made the necessary preliminary rehearsals of _Spohr’s_ oratorio, and now received the travellers to accompany them to the mayor of Norwich. On the following morning the mayor took his guests to hear divine service in the cathedral, which is of immense size and considered one of the finest in England. In a letter upon the subject _Spohr’s_ relative thus expresses herself: “Of _such_ a celebration of divine service, though it lasted nearly three hours, one is not readily weary; the heavenly music with which it is interspersed in various ways, I cannot describe, and it is performed with a purity and finish such as made great impression also on _Spohr_ himself. The congregation did not sing at all, but always followed in their hymnbooks and prayer-books, the text of which (all taken from the Bible) I certainly could understand better than the _sermon_. The choir robed in white, with their tender tones, made an irresistible impression; words, music, and execution, all were in such perfect unison, that I could scarcely imagine a finer worship of the deity in heaven itself. When at the conclusion we passed through the spacious nave of the magnificent building with the whole congregation, the masses of people arranged themselves on either side to permit our passage, and looked at _Spohr_ as something wonderful; many also, requested to be introduced to _Spohr_, and our kind mayor, who accompanied us and conducted _Spohr_, was quite happy, and proud of the whole scene. His daughter _Mary_, a charming maiden of fifteen, is also enthusiastically fond of music and particularly of _Spohr’s_; she plays herself very nicely on the piano, and when her father informed us that it would make her exceedingly happy to play a few notes with _Spohr_, he accompanied her in one of his favorite sonatas of _Mozart_...”

[38] As a member of the committee he had conducted the correspondence with _Spohr_ relative to his coming, concerning which the following remarks appeared in the “Spectator”: “It is highly to the credit of the great master, that to the question what compensation he required for the time and exertions required of him during the journey, and for direction of the oratorio, he simply replied: ‘The committee will doubtless have no objection to pay my travelling-expenses?’ We are glad to learn that the modesty of this reply and _Spohr’s_ coming to England without any further negotiation on the matter with the committee, was duly recognised by the latter, who thereupon came to the resolution to present Mr. _Spohr_ with a sum of 100 guineas over and above the account of his expenses.”

If _Spohr_ had understood the English language, the impression made upon him by the divine service would perhaps have been greatly disturbed by the circumstance that the sermon preached upon the occasion was in a great measure levelled against his oratorio. Already before his arrival in Norwich, several persons of the puritanical party had raised their voices against its performance, and endeavoured in every way both in print and in the pulpit to shew that it was profane and sinful to make so sacred a subject as the sufferings and death of Christ, a theme for music. It thus so happened that on the Sunday morning on which _Spohr_ visited the cathedral a zealous clergyman considered it his duty to hurl a crushing discourse against his oratorio: The “_Calvary_,” as it is rendered in English, and at the conclusion implored his hearers not to surrender their souls for one day’s pleasure, but to stop away from its performance. The “Monthly Chronicle” further observes on the subject: “We now see the fanatical zealot in the pulpit, and sitting right opposite to him the _great composer_, with ears happily deaf to the _English_ tongue; but with a demeanour so becoming, with a look so full of pure good will, and with so much humility and mildness in the features, that his countenance alone spoke to the heart like a good sermon. Without intending it, we make a comparison, and cannot for a moment doubt in which of the two dwelt the _spirit_ of religion, which denoted the true christian!”

On the day after the performance of the oratorio the same journal says: “This day was to decide the fate of the oratorio “_Calvary_,” and had the decision been unfavourable the fame of Norwich was for ever departed. The public mind was therefore on the greatest stretch, for many persons feared the powerful influence of an adverse clergy. But a better spirit, a sentiment of right feeling triumphed, and hours before the opening of the doors the matter was decided. From far and near the auditory flocked in thousands, evincing a powerful feeling of excitement, and an enthusiasm which increased continually during the performance; and beyond all expectation, a complete triumph was achieved. It may justly be said of this oratorio, that a heavenly inspiration breathes throughout; more than any other work of modern times it is one sprung from the genial source of a warm heart, and cannot be heard with a tearless eye....”--The bishop of Norwich, who in accordance with his religious bias belonged also to the party of the opponents of the oratorio, and was therefore on a footing of reserve with the mayor, was nevertheless desirous to make the personal acquaintance of his celebrated guest, and sent him repeated notes of invitation to dine with him; as these however were written in English, they of necessity were handed to the mayor as interpreter of their contents, who each time transmitted to him in the name of _Spohr_ a reply excusing his inability to accept it. At length it was proposed that he should be introduced to the bishop at one of the concerts, and to this the mayor assented on the condition that _Spohr_ should promise him to meet the bishop half way only, and not move a step farther towards him, when he rose from his distant seat to approach _Spohr_.

This adherence to the stiff formality of English ceremony, which was a special and prominent feature in the grandiose arrangements of the mayor, was frequently the source of a variety of ludicrous scenes and discussions. Thus it was that _Spohr_, on the first day that he had gone to the rehearsal of his oratorio, sent thence in haste home to his female fellow travellers, who had remained behind, two gentlemen, strangers, with the invitation that they also should proceed thither, to share in the impressive sight which the magnificent St. Andrew’s Hall had presented to him immediately upon entering it. As may readily be imagined the ladies acceded to the invitation, and accepted unhesitatingly the attendance of the “gentlemen as yet unintroduced to them in the house,” by which they excited the astonishment of every one there, even to the very domestics; but they had the satisfaction of witnessing themselves, upon arriving at the hall, the enthusiastic reception with which the whole assembly greeted _Spohr_ upon his entering the orchestra. Of this the “Monthly Review” speaks as follows: “I would have wished all the world had heard the thunders of applause, the very storm of greetings with which _Spohr_ was received by the whole orchestra, down to the very boys of the choir. This reception of the great man, which drew tears of emotion from the eyes of his wife, must also have deeply moved him.” On the following evening the first concert was to take place, and _Spohr_ was to perform in it his concertino “Sonst und Jetzt” (“Then and Now”); but as there were some difficult passages for the drum in it, he had requested the attendance of the young drummer-boy at his residence in the forenoon, in order to give him personally the necessary instructions concerning his part. When the neat little fellow made his appearance, it was however found that he understand no language but English, and in this predicament he was obliged to have recourse to the assistance of the mayor’s amiable little daughter, who then, although astonished at all the unusual doings in her father’s house, willingly endeavoured to explain in English to the strange boy the remarks made by _Spohr_ in the French language, with many scientific expressions which were quite unintelligible to herself; but which at length she effected with a result so accordant with _Spohr’s_ wishes, that for years afterwards he always recalled to mind with real pleasure the ludicrous but interesting scenes of that charming effort at intercommunication.

In the evening on which the first of the six monster-concerts took place in the spacious hall filled with nearly 3000 persons and 500 assistants, a symphony of _Haydn_ and several song pieces were first given, among which also, the duet from Jessonda: “Schönes Mädchen”: but then as the “Times” expressed it, “all eyes were turned with expectancy towards the orchestra in order to greet _Spohr_ upon his appearance with an enthusiastic applause....” “A deep silence of suspense and expectancy reigned at the commencement of his concertino, which he has called “Sonst und Jetzt,” in order to express the opposite character of the themes which therein denote the different style of the more ancient and modern compositions.” The opinion upon _Spohr’s_ play then follows in terms of the highest praise, and concludes with the words: “His instrument speaks as eloquently to the heart as the finest melody. The accomplished mastery of his bow as of his fingers, is yet surpassed by the wonderful power of his _mens divinior_. The concertino, after a short but beautiful prelude, begins with a charming minuet of the old school, adorned with a whole wealth of harmonies, which seem to flow of themselves from _Spohr’s_ pen; then follows a Turkish allegro, replete with fancy and overflowing with the brilliant lustre of modern execution.”

A letter written home and others describe the succeeding concerts: “The first sacred concert on Wednesday morning was wonderful; it lasted from half-past 12 to 4 clock, and comprised in the first part many fine old things of _Purcell_, _Palästrina_ and others; and in the second and third parts the magnificent oratorio of _Händel_: “Israel in Egypt;” in which the choruses were executed with immense power, and the soli by the English church-singers in the most perfect manner. _Spohr_ was inexpressibly delighted with it, and said, “English church-singers only are capable of rendering _Händel’s_ sublime music in all its grandeur.” A peculiar custom which pleases me greatly is, that every time a chorus expresses the praise of God, or in any way adverts to God or Christ, the whole mass of people rise from their seats, and listen to it _standing_.--The order of the musical pieces in the evening concert was very much the same as in the previous one. It began with _Mozart’s_ symphony in _E flat major_, which was followed by twenty other different subjects, among which were some pieces from operas by _Mozart_ and _Weber_, and _Spohr’s_ terzet from “Zemira and Azor,” which is never omitted at any English musical festival. _Spohr_ played with his former pupil _Blagrove_ his charming concertante in a surpassingly fine manner, and the effect was if possible greater than yesterday. Our hospitable host, who is exceedingly assiduous in his attentions, and accompanies _Spohr_ every time on going and returning, seems also extremely happy to be near him, and to joy in his high repute. To-day is, in the opinion of everybody, the grand and most important day, on which _Spohr’s_ oratorio is to be given. You all know that music, and how grand it is, but no one who was not present, can picture to himself what it was _here_, heard in such a place, faultlessly executed by such a mass, and listened to with such religious attention and enthusiasm. At and after the first part one remarked several exclamations of delight and wonder, but at the second a solemn emotion seemed to reign throughout the whole auditory, and more and more eyes became suffused with tears; not the women only, but strong men were deeply moved. And such an effect I consider as the highest and purest praise. They were happy moments for me also when afterwards crowds of gentlemen and ladies who did not like to intrude upon _Spohr_, came to me, to congratulate me, and assured me with much emotion, that this was the most sublime and beautiful thing that was ever composed, with many other similar expressions. The third part, which _Spohr_ listened to with us with the greatest delight, comprised the requiem of _Mozart_ and other pieces of sacred-music by _Mozart_ and _Bach_....”

The public papers gave a detailed account of the deep impression made by _Spohr’s_ oratorio, and among others the “Norwich Mercury” said: “The beautiful hall was crowded, nevertheless, even before the commencement, a breathless silence prevailed; a solemn religious sentiment reigned throughout the assembly. The inspired composer raised his staff--the staff descended--and mournful tones, low and faintly heard like distant wailings felt upon the ear, and made a powerful impression on the feelings: the brilliant hall seemed as though changed to a solemn temple--and every worldly thought was in an instant dissipated.--The overture reveals the character of the whole; the succeeding introductory chorus of the most agreeable softness and purity seems to foreshadow a peace momentarily witheld from us by a characteristic sentiment of sadness. The ensuing recitative of St. John relates the treason of Judas, and this is immediately followed in striking contrast by the aria of the betrayer, in which the disorder of the mind induced by the reproofs of conscience is expressed with great power and truth by the accompaniment. Now begins the part of Mary, with a charming air accompanied by the female chorus, and which, replete with tenderest devotion, appeals to our inmost feelings. In a difficult but very expressive recitative St. John prepares us for the entry of St. Peter, who has denied his master, and in the air sung by him, replete with intensity of expression, the composer in good taste and with correct judgment expresses the distinction between the reproving conscience of the erring apostle and the preceding hopeless agony of spirit in the betrayer. In the succeeding chorus reigns a simple majesty, a confidant reliance upon the justice of God, the expression of which is eminently successful.--In the scene which follows, in which the judgment hall is opened to us and Christ denounced before Caiphas, the inspiration of the composer has reached its culminating point: the manifold contending passions--the fiendish excitement of the populace, the humble resignation in the sorrow of the disciples, the exalted resignation of the saviour--all these are brought by him with such painful truthfulness of expression before the mind, that we feel it impossible to approach in music nearer to reality and truth than _Spohr_ has succeeded in doing in his treatment of this pre-eminently tragic moment of the Redeemer’s life.

The second part begins with an introductory funeral march, and a striking chorus of the disciples expressive of their sympathy with and lamentations for the fate of their master. The ensuing chorus of the priests and people, who wildly and savagely taunt the redeemer upon the cross, is in our opinion almost the most powerful and wonderful passage in the whole work. The moving recitative of John and Mary is, moreover, intense in its effect, and their aria full of melody and grace, close upon which follows the gem of the whole oratorio, the unsurpassable terzet for two soprani and an alto, “Jesus, himmlische Liebe” (Jesus, heavenly love), with its sweetly soothing harmonies. This terzet is a master-piece of the purest finish; _Spohr_ himself never wrote any thing more beautiful. The solemn earnestness of the chorus: “Allgütiger Gott,” with the canonic entrata at the words: “In seiner Todesnoth,” is indeed in conception and form the most original. In masterly recitatives John prepares us for the concluding scene, and after the last words of Jesus: “It is fulfilled,” the low sound of distant thunder is heard, which continues as though warningly during the fine and truly pious quartet. And now the orchestra seems to burst all bounds, and to contend in one wild storm, which the powerful hand of the composer can alone direct and allay. We have already heard many musical representations of storm and tempest, but as yet nothing at all like this; and we think that this immense effect is derived from _Spohr’s_ seizing the powerful phenomena of nature more in their general grandeur than in their detail. We are struck with awe at the overpowering effect itself and with wonder at the mind that could so apply and direct all the resources of art. A recitative with splendid modulations leads to the short choral passage of the disciples, in which the divinity of the Redeemer is proclaimed, simply, firmly and powerfully. The final chorus, a prayer of the disciples full of sorrow and hopeful faith, is simple, melodious and elevated; a poetical outpouring in music, which must excite the sympathy of every human being who has a trusting belief in a future life.--When the last accord died away in its tragic grandeur, we looked around us--not a breath was to be heard, deep silence everywhere--all were impressed with feelings more powerful than they could express. It was a moment of holy reverential exstacy--no noisy outburst of rapture,--the impression was too overpowering for earthly utterance,--but it was a lasting one, and will assuredly never be forgotten.”

The English newspapers spoke also respecting _Spohr’s_ manner of conducting, and the “Spectator” said on the subject: “It is truly delightful, wonderful in precision and firmness of tact, and at the same time accompanied by motions plainly indicative of the effect proposed.” And again: “We see in _Spohr_, a man who has a clear comprehension of his object, and knows his work as thoroughly in all its details as in the whole. At the rehearsal, whenever a note was missed, he sang it, in whatever harmony it might chance to be, and in doing so his voice was very melodious.”

The letter previously referred to says further, in reference to the following days, under the date of September 20th: “Yesterday, before the commencement of the evening concert, a deputation from the committee waited upon _Spohr_ with the request to play his concertino once more; this, however, he decidedly begged to be excused compliance with, and the more so, as he had already agreed to direct in person the overture to and air from “Faust,” with which the second part of the concert began. Immediately he entered the orchestra for that purpose, he was again greeted with loud and long continued applause, in which doubtless the audience expressed, besides, their sense of admiration of his oratorio, which, according to English custom, could not be applauded at the time of performance. To-day _Händel’s_ splendid “Messiah” was given for finale, which here also never fails to make its constant impression. And now at length the grand festival has terminated with all its pleasures and magnificences! It indeed required an inspired and corporeal strength of frame such as _Spohr_ fortunately possesses, to hear in the short space of so few days the ordeal of six concerts of four and a half hours’ duration each, besides rehearsals and daily dinner parties, with unimpaired freshness of spirit--not to speak of all the visits paid him and the strangest requests from far and near, with which he complied as far as he could. The last day with its scenes of leavetaking, was also a very trying one to the feelings, and cost me I must confess, many tears.--The parting from all the kind people who, although we were strangers to them, had received us with such great heartiness, was very painful. When next I see you I will relate many wonderful instances of the amiability of these Englishmen, and of their admiration of _Spohr_, which even extended itself to me. But the estimation in which _Spohr_ is held here in England, and the manner in which this is evinced on all sides is almost incredible”....

After so brilliant a success of _Spohr’s_ oratorio, and after he had himself witnessed, as the “Spectator” expresses it--“How the orchestra and singers competed to shew him that England was the country of all others best fitted for the performance of his oratorio,” nothing could be more agreeable to him than the proposal made to him during his stay, to compose especially a new oratorio for the next Norwich musical festival, which would take place in 1842.

Scarcely was he returned to Cassel than professor _Taylor_ sent him the English text of “The fall of Babylon,” of his composition, the text of which, though much to _Spohr’s_ liking, it was necessary first to have translated into German, as he had not confidence sufficient in his knowledge of the English language to undertake the composition from the original text. Though the translation did not so completely succeed in a truthful rendering of the expressions and rhythm of the English text, as that this could subsequently be adapted to the composition without much alteration, it nevertheless sufficed so well for the desired object that _Spohr_ could proceed at once upon a work which so greatly interested him. Filled with real inspiration for the task, he devoted thereto every leisure hour that remained to him from his numerous professional duties, nor did he rest until he had completed the whole and satisfied himself with its performance on the pianoforte at the St. Cecilia festival of 1840, that he had fully succeeded in it. In pursuance of an understanding with the Norwich committee a public performance of it with full orchestra was to take place in Cassel on the ensuing Good Friday of 1841 and a second at Easter 1842, but with these exceptions the work was to remain unused and in abeyance until the Norwich festival in the autumn of the latter year, and then first be made public simultaneously in England and Germany in both languages.--

But to return to the year 1840, which _Spohr_ entered upon with great activity in the preparatory studies for the representation of the opera “The Lovers’ Duel,” which till then had never been performed in Cassel; for the principal characters of which he had just then found suitable performers. The first representation took place for the benefit of the relief fund, and with a very full house brought unusually good receipts, which however unfortunately were extracted from the treasury of the theatre on the following night in the most incomprehensible manner, and despite the well-secured locality in which the money was deposited. But a very small amount could then be collected to replace this loss to the relief fund, a circumstance which greatly marred the satisfaction _Spohr_ had derived from the success of his opera, which had met with a most gratifying reception from the public.

About this time _Spohr_ received an invitation from Aix-la-Chapelle to direct the musical festival of the district of the Lower Rhine, which was to be held there; on which occasion a very pressing solicitation for his leave of absence was addressed to the Prince on the part of the committee. This memorial had the desired effect; for shortly afterwards the Prince sent for _Spohr_, and tendered him of his own accord in the most friendly manner the leave of absence he had not yet solicited.

As every obstacle was now smoothed away, _Spohr_ set out upon his journey at the end of May, and was not only received upon his arrival in Aix-la-Chapelle with serenades of welcome, but also on his putting up for each night at Frankfort and Cologne on his journey through. In the splendidly furnished house of the notary _Pascal_, in which Mr. and Mrs. _Spohr_ found a most hospitable reception, the succeeding days devoted to the necessary rehearsals passed quickly and agreeably. On Whitsunday, in the theatre, which had been converted into a music saloon, _Händel’s_ “Judas Maccabeus” was performed, of which some epistolary notices spoke as follows: “When _Spohr_ entered the orchestra to conduct the oratorio he was received with enthusiastic applause; we had the best places in the first row reserved for us, exactly opposite to where the very prettily arranged mass of five hundred and forty-seven co-operators, brilliantly illuminated, presented a very charming coup d’œil. The music, which had already greatly pleased us by its splendid effect in the rehearsals, was now naturally heard to yet greater advantage. The solo singers--Mrs. _Fischer-Achten_, _Albertazzi_ and _Müller_, Mr. _de Vrucht_ from Amsterdam and Mr. _Fischer_--good as they were on the whole, did not make upon us the same impression of _finished_ excellence as did the choruses, which completely charmed us. In the second concert also, in which besides _Spohr’s_ “Lord’s Prayer,” the overture to “Medea,” the _A major_ symphony of _Beethoven_, and _Mozart’s Davidde penitente_, were performed, _Spohr_ upon every entry and exit was greeted with unbounded applause, and at the termination a wreath of laurel was presented to him by two young ladies. In the third concert, of a mixed character, Mrs. _Fischer-Achten_, and _Albertazzi_, with the celebrated _Staudigl_ of Vienna, were respectively heard and excited general admiration. The singing of all three, was each in its kind what may be termed of the most perfect finish. As worthy finale to the whole, the repetition of the last magnificent chorus from _Spohr’s_ “Lord’s Prayer” followed, which again drew from the audience the most enthusiastic bursts of applause....”

As on the following forenoon the brothers _Müller_ of Brunswick gave a quartet concert in the “Redoutensaal,” _Spohr_ delayed his departure, at their urgent entreaty, in order to play his third double quartet with them, which was again also rewarded with its usual rapturous ovation. In this manner was this grand festival brought to a successful termination, and the general satisfaction which it had elicited was but little detracted from by the reproving voice of Mr. _A. Schindler_, whose _cartes de visites_ made him known as “_ami de Beethoven_,” and who in previous musical festivals had begun to distinguish himself by his disputes with _Mendelssohn_ respecting his slow tempi in the conducting of works of _Beethoven’s_, and now also in a similar manner found fault with _Spohr_ for his manner of conducting the _A major_ symphony. This--with the exception of the general disapprobation that it elicited--had no further result than that _Spohr_, at the urgent and reiterated desire of the committee, replied to _Schindler_ in a short but decisive letter, but which, couched in _Spohr’s_ usual mild language, did not disturb the personal understanding of either during the festival.

After a few week’s return only, to Cassel, and during the theatrical vacation, _Spohr_ set out upon another journey and proceeded first to Gandersheim, where all his brothers with their families were assembled, to pay a last visit to their mother, who was dangerously ill, and who, in spite of her suffering condition, felt extreme pleasure in seeing them round her. Although she had not left her room for several weeks, and had therefore been unable to go up stairs to the upper story of the house, yet when she heard that _Spohr_ was going to play something with his wife in the music-room there, she requested to be assisted to get up there, “to hear her loved son for the last time, and in fancy to dream away in listening to his tones;” and upon that occasion, seated in the midst of her children, listened to him with joyful emotion and interest. As on the days immediately ensuing a visible improvement in her condition seemed to have taken place _Spohr_, in full hopes of greeting his mother once more upon his return, continued his journey to Lübeck with a mind more at rest. But alas! his hopes were not realised, for before he returned to Gandersheim he received the lamentable announcement of her death!

From Lübeck _Spohr_ proceeded to Hamburg, where he arrived just in time to undertake the direction of his opera “Jessonda.” The performance of the opera, in which Mrs. _Walker_ as Jessonda, and Mr. _Reichel_ as Dandau, especially distinguished themselves, was in every respect a great success, and there were immense applause and loud demonstrations in honour of _Spohr_. As it took place immediately after the close of the performances of the Italian operas, the “Hamburger Zeitung” gave a comparative notice in its next issue of these two different kinds of musical entertainment. It began with the words: “On Saturday the whole song-loving company of Italian operatic performers departed in high spirits; on Sunday, _Spohr_ the German master took the director’s chair in the town theatre to conduct his splendid “Jessonda” in person. With the _former_, abundance of noise, merriment, and somewhat of dissension, to-do, and submissive politeness--but _here_, calm, noble dignity, honest thanks, becoming demeanour, and permanent merit &c.” Further on it adds: “The lovers of music in Hamburg celebrated on Sunday a real musical festival in the theatre; they were not only enabled to express aloud their recognition of the German master, but they had the opportunity also of drawing a comparison between ‘Jessonda’ and ‘Lucretia Borgia.’ In ‘Jessonda’ all is tender yearning, and sweet hope, the golden age of fond first love: in “Lucretia Borgia” Hyena-like cunning in the poison-envenomed breast; nothing of love’s purity, love’s grosser passion alone; and in the same relative characteristic proportion is the poesy of the music.” No one experienced more delight at this new triumph of _Spohr_ than his enthusiastic admirer _Julius Schuberth_, the well-known music publisher, under whose hospitable roof _Spohr_ and his travelling companions spent most agreeably the four days of their stay in Hamburgh, which their kind host strove by every possible means, to render a series of festive pleasures and of distinguishing attentions. Among others a brilliant musical party was got up in which _Spohr_ performed some of his quartetts, and was greatly charmed with Miss _Unna’s_ beautiful execution in his quintet for the pianoforte.

Upon this occasion _Schuberth_ expressed so great a wish to publish some similar grander pianoforte pieces of _Spohr’s_ composition, that the latter was induced to write shortly after his return from Hamburg, his first trio for pianoforte, violin and violincello, and therewith at the same time fulfilled a wish that had been for years reiterated by Mrs. _de Malsburg_, the distinguished dilettante pianiste, to whom he then dedicated the work. This first trio by _Spohr_ (Op. 119) was welcomed with great satisfaction by the musical world, and numerous journals far and near expressed their delight and thanks upon its appearance. The “Leipzic New Musical Journal” speaks of it in the following terms: “Although the great master has never written any thing of this kind until now, he nevertheless moves in this new _genre_ with true artistic consciousness of power, and with genial freedom. The trio is one of the finest productions of the genius of _Spohr_, in which together with the greatest possible finish in form, a profusion of beauties of the first class, and master strokes of genius stand out in prominent relief. As the gem of the whole the scherzo and its trio must be mentioned. Here, as though at the stroke of the magician’s wand, a fairy island of the blessed rises to the imagination,--we are environed as though by a garden of wonders, a blooming oasis of sound full of the deep glowing splendour of oriental colouring!... It is moreover exceedingly remarkable how _Spohr_ here understood the way to unite two elements which are otherwise strangers and indeed usually antagonistic to each other: the _humoristic_ and the _impassioned_, _elegiacally tender_ element of _feeling_....”

At the commencement of the year 1841 _Spohr_ wrote a fantasia for pianoforte and violin on themes from his opera “Der Alchymist” (The Alchymist), the charming melodies of which were especially favourable to such a reconstruction (Op. 117, Vienna, published by _Mechetti_); an English psalm for soli, with chorus and organ accompaniment (Op. 122, published by _Simrock_ of Bonn); and a song, “Schill,” for men’s voices, with accompaniment of military music, written for the inauguration of _Schill’s_ asylum for invalids at Brunswick, and which was next publicly given by the Casseler glee society at a concert for charitable purposes, and met with such general approbation that _Spohr_ conceived the idea of sending it to Frankfort and therewith fulfil his promise of a contribution to the “Collection of small compositions to the _Mozart_ institution.” Upon the same occasion he replied to a question which had been put to him concerning a qualified candidate to the first stipend paid by that institution, by recommending _Jean Bott_ of Cassel, although but 14 years of age, and wrote of him in the following terms: “_Bott_ is a virtuose on the violin and pianoforte and even now displays so remarkable a talent for composition, that I anticipate for him a brilliant future. He has been a pupil of mine on the violin for the last six months, and I never yet had one so clever. _Hauptmann_ (his instructor in composition) says the same of him.” Supported by such distinguished recommendations the young musician, after the works which he had sent in had been submitted to the test, received the desired stipend for one year, followed up his studies under _Spohr_ and _Hauptmann_ with great zeal, and while yet a boy received an appointment in the Cassel “Hofkapelle.”

As _Spohr_ had proposed to himself to pass the theatrical vacation this time in a trip to Switzerland, he determined upon going thither by the way of Stuttgard and Hechingen, in order to make the personal acquaintance of the reigning Prince of Hohenzollern-Hechingen, who at various times had written to him, and shown himself to be an enthusiastic lover of music by expressing his admiration of _Spohr’s_ “Weihe der Töne” in terms of great praise.

As _Spohr’s_ intended visit at Hechingen was known beforehand he was welcomed there upon his arrival in the most heartfelt manner. What took place during their stay here was thus described in a letter written home: “On the very first evening Kapellmeister _Täglichsbeck_ and Court-Councillor _Schilling_ came to fetch us from Stuttgard, to drive us about the town, and for the purpose, as they said, of showing us the new concert-hall. But on our arrival there, to our surprise we found a numerous company assembled, and we were received by the Prince in the most gracious and friendly manner.” After a short conversation, he led _Spohr_ to an elevated platform, upon which the whole orchestra were assembled, and in front the _head Pastor, Reiners_ (who was also contrebassist in the orchestra), who then adressed _Spohr_ in a solemn and very impressive speech of welcome, at the conclusion of which the hall resounded with such an outburst of enthusiastic greetings, accompanied by music, that one might have thought it was filled with thousands of spectators. After this the Prince seated himself near _Spohr_, and to our great surprise and pleasure his splendid fifth symphony (_C minor_) fell upon the ear, and was performed throughout with the greatest finish and inspiration. During its performance the Prince evinced feelings of delight such as we had never yet witnessed, he could scarcely control himself; held _Spohr_ constantly by the arm or hand, and not only whispered to him his admiration at every passage, but frequently gave expression to his feelings aloud....

When the Prince had ascertained whether _Spohr_ would sup or not in the dining-room below, he gave orders for a place to be reserved for him next to _Spohr_, although, as sovereign Prince, he had never yet partaken of a meal in a tavern. This supper was most remarkable and amusing: besides the Prince, who sat between me and _Spohr_, and was very lively, the whole _beau monde_ of Hechingen was assembled to see _Spohr_, and each ordered supper according to his own fancy. Gentlemen of the chamber, clergymen, councillors, and their wives, mingled _pêle mêle_, did and said a thousand humorous things, and evinced an extraordinary musical enthusiasm. _Spohr_ also was greatly pleased to have made the acquaintance of this happy, music-mad little spot of Germany. Music, particularly that of _Spohr_, is everything here, and ladies and gentlemen know his symphonies and quartets in a manner such as very few in Cassel know them. If at eleven o’clock at night we had not risen to depart, in spite of the Prince, he would not have done so, for he is quite in love with _Spohr_. On the following morning before eight o’clock some one knocked again at our door, and his serene highness entered to enquire how we had slept in Hechingen. He then took us into the palace gardens and into the very pretty little palace itself, where we were to rehearse our trio for the music party that had been agreed upon for the evening. When we had played through the first part, he availed himself of the short pause to fetch his wife also, that she might share his pleasure, and thus we were saved the already arranged formalities of a court presentation.... We were invited to dinner at _Täglichsbeck’s_; but scarcely was the dinner over, than the Prince came again with two court carriages, in which the whole company drove to the charming country palace “Lindig,” the beautiful view round which filled us all, and _Spohr_ especially, with the greatest delight....” Of the evening court-party that followed, the same letter says: “In a vaulted saloon built especially for musical performances a double quartet was first played by _Spohr_ in a manner quite wonderful, then the Prince sang several songs with much expression, and at last came our trio. The company, consisting mostly of officials and of but few musicians, was in raptures of delight, and gave evidence in their remarks of much musical intelligence. At last supper was served up at small separate tables each accommodating four persons; at the chief table _Spohr_ was shewn to a seat next to the Princess, who evinced great amiability and kindness towards him, while the Prince in the best of spirits was my neighbour.

Our departure was fixed for the following morning, but the Prince declaring that he could not yet part with _Spohr_, expressed the intention of accompanying him one post, and then of dining with us once more, and “not to appear egotistical, to enjoy the pleasure alone,” invited a whole party, who were to accompany us in his carriage. Two gentlemen were sent on in our carriage, to order a dinner for sixteen persons at the small town of Balingen three leagues distant.... During the dinner, which consisted of a great number of excellent dishes, and at which also the champaign, brought from the Prince’s cellars, was not wanting, the conversation was extremely lively and seasoned with many witty sallies, but always intermingled with the prominent sentiment of that musical enthusiasm, in which the Prince is really imbued to a singular degree.

At length however the long-deferred parting moment arrived! The cheerful voice grew silent, and a mournful stillness came over all; the Prince was quite beside himself; he embraced _Spohr_ repeatedly, and when we had at length taken our seats in the carriage, he was once more surrounded by the company, and the Prince declared in the name of all that these days which had brought such happiness to Hechingen should be commemorated the following year by a festival.”