Chapter XXIV: Part 24

Carrying with him the most agreable recollections of the time they had passed there, _Spohr_ and his wife now resumed their journey to Switzerland, the chief object of which was to enjoy the beauties of nature; but they were also enabled to combine therewith a visit to the musical festival which was about to take place at Lucerne. Although _Spohr_ had declined the invitation which he had received at Cassel to direct at the festival, it afforded him nevertheless much pleasure to be present at it among the auditory. On the first day his oratorio: “Des Heilands letzte Stunden,” was performed in the fine church of St. Xavier, in which the solo parts were sustained chiefly by dilettanti, with the exception of that of Mary, by Mrs. _Stockhausen_, who had already acquired great celebrity in it at the Norwich festival, and all of whom sang “with truly angelic voices.” The choruses also, were excellent, and the orchestra only did not quite satisfy _Spohr’s_ artistic expectations. The oratorio excited here also general enthusiasm, but the travellers missed here “the deep devotion, the christian-like comprehension and pious mental resignation,” which they had remarked in the English auditory of the year before. The oratorio was followed by a brilliant festal overture by _Lindpaintner_ and another oratorio, the “Christi Himmelfahrt” (the Ascension), by _Neukomm_, at which the composer was also present, and was greatly gratified by _Spohr’s_ approbation, who praised the choruses and the fugues. In the second concert, which was a miscellaneous one, the songs sung by Mrs. _Stockhausen_ (mother of the recently celebrated baritone) were the points of attraction; but two distinguished dilletanti, doctor _Ziegler_ and his sister, from Winterthur, were likewise much applauded in the duet from “Jessonda.”

On the return journey from Switzerland, _Spohr_ stopped for a few days in Frankfort, in order to be present at the performance of _Gluck’s_ “Iphigenia in Aulis.” The chief characters, Iphigenia and Agamemnon were ably represented by Miss _Capitän_ and Mr. _Pischek_, and it afforded the more pleasure to _Spohr_ to hear the noble simplicity of this fine music rendered in a satisfactory manner, as his repeated endeavours to introduce an opera of _Gluck_ into the repertory of the Cassel theatre had been always unsuccessful, and he could not hope for any better success for the future.

Scarcely was _Spohr_ returned to Cassel than he began with great zeal a new work, the plan of which he had conceived upon the journey, while in view of the magnificent Swiss mountains and lakes. When once more seated with his wife in the carriage, on his return from the Lucern musical festival, he told her with the greatest joy, that, inspired and refreshed with all the beautiful and pleasing impressions made upon him by nature and art combined,--he felt the strongest impulse to write a truly grand orchestral work, and if possible in some new and more extended form of the symphony. On the half-sportive reply which she made to him: “If the simple symphony does not give sufficient scope to your creative faculty, then write a double symphony for two orchestras, in the style of the double quartet,” he seized the suggestion immediately with much warmth and thereupon sank into a deep reverie, as though he were already beginning the composition, but soon after, added: that, exceedingly attractive as the problem was, it could only be successfully carried out if made subservient to the expression of a determinate idea--and that two orchestras should have given to them respectively the expression of a meaning and sentiment in strong contrast with each other. After long reflection and study; and after successive rejection of many self-proposed formulæ, he at length, as though by inspiration, seized the idea: to represent the two principles of good and evil in the human heart by the two orchestras, and to give the name to the double symphony of “Irdisches und Göttliches im Menschenleben” (the earthly and the divine in the life of man). The first subject should be called “Kinderwelt” (the world of childhood); the second “Zeit der Leidenschaften” (the age of the passions); the third “Endlicher Sieg des Göttlichen” (the final victory of the divine principle); besides which a special explanatory motto was to be given to each theme. After this manner the plan was conceived with a heart overflowing with pleasure, and then carried out with real enthusiasm. As regards the opinion respecting the degree of success with which he achieved the performance of so extremely difficult a task--that was of course a matter to be left entirely to the individuality of the hearers; but in the first performance of the work in Cassel under his own direction and in the spirit of its composer, it excited the greatest admiration in an attentively listening auditory; for while connoisseurs acknowledged the excellence of the music, apart from its special motive or subject, the feelings of the uninitiated were in a high degree moved and satisfied. Such is the report of it contained in one letter out of many written at that time: “Last evening _Spohr’s_ new double symphony for two orchestras took place; the larger and more numerously filled orchestra represented the evil principle, the small one, consisting only of eleven solo instruments represented on the contrary the principle of good. In the subject “The world of childhood” the latter orchestra maintains the superiority in a marked and especial manner; sweet, innocent melodies bring back to us in the most enchanting manner the joys of childhood--its pretty sports, and wiles seem to rise before our vision, and we feel ourselves wholly wrapped in the bright dreams of the past; but the tones of the great orchestra remind us sorrowfully of the reality, and of the struggles of an earthly life scarcely yet begun. This subject, although gaiety is the prominent characteristic, yet speaks to us with a peculiar purity and tenderness of sentiment; and of a surety only a soul as pure and loving as that of our _Spohr_ could so depict in tones the tenderness of the world of childhood.

The second subject: “The victory of the passions,” begins with a very beautiful soft duet between hautboy and clarinet (depicting the first awakening of love), then soon the two orchestras mingle, as it were, wildly and stormily, a true picture of the human heart in the contests of this life; now here now there, the small orchestra is carried away with it, but even then it does not wholly cease to intervene as the good genius with moving and at times warning tones of tenderness. This subject, which is very rich in ideas and harmonies, appeared most to carry away the mass of the public, but the deepest impression made upon every sensitive heart was that made by the third theme: “Eventual victory of the divine principle.” In this, the warning voice of the small orchestra becomes continually more impressive, the earthly passions for the most part become gradually subdued, one almost seems to feel how their force is broken, and then again at frequent intervals they seem to rally, until the solemn moment, in which after a general pause both orchestras at length, in solemn unison of accords announce the victory achieved by the good genius in all its power. From that point nothing but pious, pleasing sounds, as though from the realms of bliss, are heard, now alternately and now from both orchestras in unison, leading as it were the strangely-moved feelings of the auditory to the soft consolatory finale.”

Notices of a similar character--sometimes estimating the work from a purely human, at others from an artistic point of view were received from all sides after the appearance of the symphony, published as Op. 121, by _Schuberth_ of Hamburgh; and then it soon became extensively circulated in the larger towns of Germany and England. This sufficed to afford _Spohr_ the personal satisfaction, that in whichever way his intentions were considered, they were upon the whole rightly understood and estimated.

In November of the same year the Cassel musical world was thrown into a state of joyful excitement by the arrival of _Lisst_, who had gained the most enthusiastic applause in two concerts, which he gave in the theatre. Previous to his appearance in public, the more restricted circle of the lovers of music, had been greatly gratified by hearing him execute _Spohr’s_ quintet for the pianoforte at a music party given by _Spohr_ for his entertainment, at which he played also several of his own compositions in an insurpassibly masterly style. _Spohr_ took the liveliest interest in the performances of his colleague in art, but he paid him the tribute of his highest admiration for his wonderful playing _at sight_; and in after years, as a proof of _Lisst’s_ eminent talent in this respect also, he would cheerfully relate, how at a private soiree at Mrs. _von der Malsburg’s_, accompanied by _Spohr_ on the violin, _Lisst_ played his “Reisesonata” and his only just then published fantasia from the “Alchymist,” which was therefore _wholly unknown_ to _Lisst_, but which to the great astonishment of all the auditory he played at sight with the most perfect finish.

On the 5th. December of this year the fiftieth anniversary of the death of _Mozart_ was everywhere solemnized by the lovers of music; but as no public festival could be held in Cassel, _Spohr_ got up a private performance of the society of St. Cecilia for the benefit of the poor, which was of a most solemn and impressive character. In the centre of the saloon the bust of _Mozart_, crowned with a laurel wreath, surmounted an altar hung with black drapery; on one side of the altar was assembled the numerous auditory, and on the other the singers in deep mourning. The “_Ave verum_” of _Mozart_ was first sung; then a short oration _in memoriam_ followed, and the conclusion was formed by the swan-song of the departed master, his immortal requiem.

In the beginning of the year 1842, _Spohr_ composed six four part-songs, for soprano, alto, tenor and bass (Op. 120, published by _Appel_ in Cassel), then his second trio for pianoforte, violin and violincello, which in the course of the year was followed by a third. These were published by _J. Schuberth_ as Op. 123 and 124.

As during the winter _Spohr_ had felt returning symptoms of his former liver-complaint, he availed himself this time of the summer vacation to go to Carlsbad, to drink the waters; but on the journey thither, at the pressing invitation of Mr. _von Holleben_, an acquaintance of his youth, and now, grand-master of the hunt at Rudolstadt, he paid him a visit. In the amiable family circle of his early friend the hours passed quickly and pleasantly in the retrospect of their youthful associations, and in the interchange of narratives and incidents of their later life; but amid all these, music was not wanting; and to hear it each time, an increased number of the lovers of music were invited. At these parties _Spohr_ willingly played several of his newest compositions, and more especially afforded universal pleasure with the two trios, in which his wife took the pianoforte part. Upon these occasions he had more especially an enthusiastic auditress in the Princess von Bückeburg, who then resided in Rudolstadt, and who was very desirous of giving a fête at her own house in honour _Spohr_, had not Mrs. _von Holleben_, as she afterwards related with much triumph, following the example of the mayor of Norwich (whose comical proceeding towards the bishop of that place _Spohr_ had previously narrated with much humour), declined in the name of her guests, although without previously enquiring of them, every invitation that they received.

During the succeeding month’s stay in Carlsbad, _Spohr_ followed up most conscientiously the prescribed use of the baths and waters, and, besides the enjoined morning walks of several hours’ duration, he after dinner made more distant excursions into the beautiful and by him already previously so much admired environs. Between whiles, however, he managed to devote many hours to the study and practice of his noble art, playing assiduously with his wife, and charming the circle of his more immediate acquaintance with his play. He was forbidden, while taking the waters, to indulge even in a slight degree his constant impulse to the composition of something new; nevertheless during this time he composed a song: “Tears,” by _Chamisso_, which afterwards appeared in the “Album of Song” of _Rudolf Hirsch_ (published by _Bösenberg_ of Leipzic).

On his return to Cassel, _Spohr_ was painfully moved by the intelligence of the approaching departure of his friend _Hauptmann_, who had accepted the proffered appointment of Cantor at the _Thomas School_ in Leipzic. However heartily he might have rejoiced to see _Hauptmann_ exchange his place in the court orchestra of Cassel for one so much more befitting and worthy of him, yet for the moment the sentiment of sorrow was the prominent feeling, he that would thenceforth be bereft of the society and intercourse of a man, who through a period of twenty years had stood so near to him both as friend and as colleague in art. As _Hauptmann_ was an active and highly esteemed member of the St. Cecilia society, upon _Spohr’s_ proposition, a farewell festival in his honour was given, at which the musical part of the entertainment consisted chiefly of _Hauptmann’s_ compositions. But as _Spohr_ was desirous of contributing at least one musical piece having especial reference to the occasion, he made choice of the pretty cantata composed by him for the “Golden Wedding” of his parents, which, with altogether new and appropriate words, inspired all hearers with the more interest as _Spohr_ took upon himself the violin obligato part that formed the accompaniment to the pianoforte.

Towards the end of the year _Spohr_ wrote a “concert overture in the serious style” (Op. 121, at _Siegel’s_, in Leipzic), which was performed at the first of the Casseler subscription concerts, and shortly afterwards at the Gewandhaus concert in Leipzic, and at both places produced the earnest and grandiose effect which the composer had in view. He next, at the repeated solicitations of publisher and friends, tried his hand at a species of composition which he had never till then tried, a sonata for the _pianoforte alone_, which after having accomplished to his satisfaction, he resolved to dedicate to his friend _Mendelssohn_. The latter having been made acquainted with it, wrote to him immediately and accompanied the expression of his thanks “for the high and distinguishing honour” with the following words: “If I could but express to you, how deeply I feel what it is to be thus able to call one of your works one’s own particular property, and how my heart joys not alone in the distinction conferred, but equally in your friendly thought of me, and your constant desire for my welfare. A thousand thanks to you for it, dear Mr. Kapellmeister, and rest assured that to the best of my ability I will endeavour to make my now obstinate fingers bring out the beauties of the sonata properly. But that is again only a pleasure that I shall be doing myself, and I should so like to render you one in return for it,” &c. The “obstinate fingers” must nevertheless have soon succumbed to the will of the master, for when upon a subsequent visit to Leipzic, _Spohr_ had the gratification of hearing him play the sonata, it was everything he could have wished, and he recognised in such an execution the ideal which when composing it his fancy had conceived. Shortly afterwards, when it was brought out by _Mechetti_ of Vienna, as Op. 125, and thereby became more widely known, _Spohr_ received many gratifying notices of it from all sides. But he was especially taken by surprise on the receipt of a letter from Hungary, enthusiastic in admiration of the sonata, from the to him wholly unknown director of the choir, _Seyler_, of the Cathedral of Gran, in which he says among other things: “Times innumerable, in the hours when my duties permit me some relaxation, do I charm myself at the piano with that sonata you dedicated to Mr. _Mendelssohn-Bartholdy_. Carried away by the magic of its tones I now take up the pen, in behalf of all pianists of feeling who may not always have the opportunity to be enchanted by your greater musical productions, to render you the warmest thanks for this beautiful work.... I would moreover earnestly entreat you to let me know whether we pianists may encourage the hope of having such another composition, with which with two hands alone, we may discourse with the spirit of the world-famed German hero of musical science?” &c. Although this and many other similar testimonies might have fully removed _Spohr’s_ former doubts as to whether he could contribute anything sufficiently satisfactory as a composer for the pianoforte, yet as may be readily imagined it was more in his interest to give his sole attention to the violin as concerted with pianoforte music; and his next works were six duets for pianoforte and violin (Op. 127), but which he could not finish and send in to his publisher _Julius Schuberth_ of Hamburgh, who awaited them with much impatience, till after the lapse of several months, as just at that time he was more than usually occupied in perfecting his orchestra in the study of several larger works. He first of all wished to give _Bach’s_ “Passion” on the coming Good Friday, and although, with the same intention he had previously rehearsed it several times with all the musical strength he could enlist in Cassel, yet years had since then elapsed; and it cost him a very great exertion of his patience and perseverance to bring his orchestra and singers up to such a pitch of excellence as to ensure the public performance of that extremely difficult music in a creditable and worthy manner.

After _Spohr_ had toiled for long months in practising the choruses and the long-wished-for day of performance was drawing nearer and nearer, the required permission of the Prince was suddenly refused, without any reason being assigned for it; and it was not until a second application had been sent in, accompanied (to meet all eventualities) by a certificate of the clergyman, that he considered “the music selected for performance perfectly fitted for the church and for the day,” that the desired permission was granted; and that to the great satisfaction of _Spohr_ and every lover of music in Cassel, it could be performed on the day appointed. But these obstacles repeatedly thrown in the way of its production were very nearly the cause of _Spohr’s_ total departure from Cassel, for at that very time he again received from Prague a very advantageous offer of appointment there, respecting which he wrote as follows to his friend _Hauptmann_: “I am so weary of all the vexations I meet with here that even at my time of life I could almost make up my mind to leave this place, were not my wife so much attached to her family, and that she would be unhappy away from her friends. The opportunity now presents itself in an offer from the states of Bohemia of the post of director of the Prague conservatory of music vacant by the death of _Dionys Weber_, as an indemnifaction for the salary I should throw up here. Such a field for exertion and a residence in musical Prague would suit me well. But under the circumstances adverted to above I must of course decline it....” In _Hauptmann’s_ very explicit reply to this he says among other things: “By _Spohr’s_ leaving under the pressure of such existing circumstances, Cassel will become a desert as regards music,” but he nevertheless advises him to leave it without hesitation, and “will not yet relinquish the thought to see him move away from good, beautiful but _oppressed_ Cassel, to majestic Prague.”

But as _Spohr_ in the meanwhile had come to a decision, and of his own impulse allowed his kindly consideration for his wife and her parents to prevail with him, their daily intercourse having become with him also a pleasurable habit, he wrote back in his reply the following few but characteristic words: “The interest and sympathy, which breathes throughout your kind letter was most gratifying to me also in regard to the Prague business. But I had already made up my mind in the interim, and I am glad that my answer declining the offer had been sent to Prague, before my father-in-law knew anything about it, or with tears in his eyes could have to thank me for my decision....”--In this manner _Spohr_ remained in Cassel, to which he had become attached as to a second home, and he continued to discharge his duties with his customary zeal.

He now again gave his attention to the study of a difficult work: “The flying Dutchman” of _Richard Wagner_, which _Spohr_ proposed to himself to bring out as a festival opera for Whitmonday, having heard much in its praise from Dresden, and upon perusal of the libretto, which had been sent to him, had found the subject so satisfactory in every respect, that he pronounced it a little master-piece, and regretted, “not to have met with a similar and as good a one to set to music, ten years before.” When at the rehearsals he had become more closely acquainted with the opera, he wrote to _Lüder_ respecting it, and invited him to the approaching performance in Cassel: “This work, although somewhat approaching the new-romantic music _à la Berlioz_, and although it has given me immense work on account of its extreme difficulty, interests me nevertheless in the highest degree, for it is written apparently with true inspiration--and unlike so much of the modern opera music, does not display in every bar the striving after effect, or effort to please. There is a great deal of the fanciful therein; a noble conception throughout, it is well written for the singer; enormously difficult it is true, and somewhat overcharged in the instrumentation, but full of new effects, and will assuredly, when it once comes to be performed in the greater space of a theatre be thoroughly clear and intelligible. The theatre rehearsals begin at the end of this week, and I am exceedingly desirous to see how the fantastic subject and the still more fantastic music will come off _en scène_. I think I am so far correct in my judgment, when I consider _Wagner_ as the most gifted of all our _dramatic_ composers of the present time. In this work at least his aspirations are noble, and that pleases me at a time when all depends upon creating a sensation, or in effecting the merest ear-tickling,” &c. Notwithstanding the apparent almost insurmountable difficulties, _Spohr_ succeeded in giving one performance, which left nothing to be desired, and the work was most favourably received by the public. In full satisfaction to the author he felt impelled to write to _Wagner_ to make him acquainted with it; upon which the latter in the fulness of his joy replied: “My very esteemed sir and master, I was really obliged to recover myself somewhat from the joy--from the rapture I may say--which your extremely kind letter afforded me, before I could undertake to write, and express to you the gratitude of my heart.... In order to enable you to understand the extraordinary emotion your intelligence produced in me, I must first calmly explain what were my expectations in regard to the success of this opera. From the unusually great difficulties which it presented I could expect but little from it, however good the musical and dramatic strength with which it might be put upon the stage, unless there was a man at their head who, endowed with peculiar energetic capacity and goodwill, would espouse my interests with predilection and in the face of every obstacle. That you, my highly-esteemed master, possessed beyond all others the qualifications for so energetic a direction, I well knew,--but whether you would consider my work sufficiently worthy of your attention to take so decided an interest in it, that was certainly the very natural doubt that made me despair more and more, the nearer the day of its announced performance approached; so that I confess I had not the courage to go to Cassel, to become personally a witness to my shame and to the realisation of all my fears. But I now see indeed that a lucky star has risen over me, since I have gained the sympathy of a man from whom an indulgent notice only would have been sufficient fame for me:--but to see him take the most decisive and crowning measures in my behalf, is a piece of good fortune which assuredly distinguishes me above many, and which really for the first time fills me with a sentiment of pride, such as hitherto no applause of the public could have awakened in me” &c. With equal gratitude and kindliness _Wagner_ acknowledged the correctness of the omissions made by _Spohr_ in the opera, in the which he “recognised but further proof of the true interest he had evinced for him,” and this he reiterated in all his subsequent letters with the warmest expressions of attachment and esteem.

With the commencement of the theatrical vacation, _Spohr_ made preparations for the journey to London, where he hoped to receive satisfaction for the disappointment of the refusal of leave absence in the previous autumn, to proceed to Norwich to conduct the much-talked-of performance of his oratorio, “The fall of Babylon.” For months previously the committee had applied to that effect through the embassy at Cassel, to the Prince, but had met with a summary refusal, upon which _Spohr_ received several letters from England, expressing how much they felt aggrieved by it, and lord _Aberdeen_ especially, who had authorised the application to the Prince through the medium of the English embassy. Upon this the committee met in Norwich and sent a deputation to London to the duke of Cambridge, who expressed himself willing to write personally to the Prince in the most pressing terms. But without avail; after a lapse of two months his application was refused also, and both he and the whole royal family were not a little hurt by it. In Norwich, meanwhile, it was thought that every means had not yet been exhausted, and to _Spohr’s_ extreme surprise he suddenly received an enormous petition signed by a considerable number of the inhabitants of Norwich, beseeching the Prince in the interests of that city to allow _Spohr_ to direct his oratorio there. Although he himself had now little hope of a favourable issue to this prayer, he was nevertheless greatly moved by the receipt of so imposing a document, and awaited a reply with the greatest anxiety. This however did not come; but the Hessian minister for foreign affairs, _von Steuber_, wrote the following letter to the wife of Mr. _von der Malsburg_, grand marshall of the court, by whom the petition had been presented: “I have to announce to your Excellency that I delivered the petition in question, and urged personally all the circumstances detailed therein, but as you yourself feared, there is no hope of a successful result” &c.--

Although _Spohr_ could not personally share in the triumph which this new oratorio achieved for him in England, he nevertheless received almost daily detailed epistolary accounts of the success of the festival, and at length also a whole box full of newspapers of every shade of politics, which seemed almost to vie with each other in expressions of admiration of his work. Of these, some few of the most conspicuous and characteristic in style of comment may here be cited: “The Times” says among other things: “The gem of the festival was _Spohr’s_ oratorio. The text is written with especial regard to the nature and the character of an oratorio, and the subject which _Spohr_ has illustrated by the exercise of his talent is especially favourable to its exhibition. Three nations are represented: the captive Hebrews, the luxurious Babylonians and the Persians in their pride of conquest: these furnish materials for the most varied musical treatment by the composer, of which he has availed himself in the most admirable manner, and thoroughly understood how to adhere throughout the music to the identity and nationality of the different nations. His peculiar genius for the invention of beautiful melodies, and his power to enrich these with appropriate harmonies is also preminently conspicuous in this splendid work.” After a detailed analysis of the separate “numbers” it is further said: “The general opinion of the oratorio is this: It is a master piece of art, worthy to rank with “Die letzten Dingen” and “Des Heilands letzten Stunden.” Emphatic as this praise may be, it is nevertheless just. Though from the same hand, the work is nevertheless essentially different from these. The former excite feelings of deep devotion and christian piety, in the latter we distinguish the character of the deity more in its majesty and omnipotence; Jehovah displays himself to us in acts of power by dooming the ungodly to punishment. The work fulfils all the conditions of a true oratorio, and its performance was a triumph of English art. One thing only was deeply and generally deplored, that _Spohr_ was prevented from being present at this triumph.” In the Morning Chronicle, after similar enthusiastic expressions of opinion, follows: “In a word, the music is characterised by the whole power and peculiarity of _Spohr’s_ genius, and we may boldly assert that it is the grandest work written since the days of _Händel_.”--The immense crowd that pressed forward to the hall to witness the performance is adverted to by all the papers, and the Morning Herald especially, speaks of it thus: “Although to hear _Spohr’s_ oratorio an unusually numerous auditory was to be expected, yet no one could have formed an idea of what actually occurred. From an early hour in the morning carriages arrived in numbers, filled with the rank and beauty of the county.... The whole interior of the building was immediately filled; where a resting-place could be found for one foot only, fool-hardy individuals were to be seen located in the most dangerous situations, and every one seemed determined to endure the greatest inconvenience rather than forego the pleasure of hearing _Spohr’s_ oratorio. Many persons clambered up to the roof, and from thence in at the window, but numbers were compelled to remain outside, and content themselves with looking down from their dizzy height upon the crowds below. This is no exaggeration, but strictly true; and that such a degree of interest should have been evinced for a new musical work, is certainly an event that stands alone in the history of music,” &c. While _Spohr_ found at home a cheering distraction in these gratifying accounts, his admirers and friends in England were considering how to make him some compensation for his loss, and before the close of the year he received an invitation to London during his next vacation, to conduct his oratorio.

Upon _Spohr’s_ arrival in London in June 1843, Professor _Taylor_, who had conducted his oratorio at Norwich, in his stead, and who had discharged that difficult task most creditably, had so far made all the preliminary preparations that after a few rehearsals, its performance could take place at the Hanover Square Rooms to his full satisfaction. The public also gave vent to their enthusiasm, with the most reiterated and demonstrative applause, and at the conclusion greeted him with three cheers. Nevertheless all those who had been present at the festival in the fine St. Andrew’s Hall at Norwich, were not by any means satisfied that _Spohr_ had not been permitted to hear his work under equally favourable circumstances, in all its grandeur, and he received the invitation to direct a second grander performance, which the Sacred Harmonic Society were desirous of giving with their chorus of five hundred voices in the large concert-room of Exeter Hall. But as he had proposed to himself to devote the yet remaining week’s leave of absence to a journey to Wales, of the scenery of which he had heard so much spoken in praise, and as the time moreover appeared to him much too short for a careful study of his oratorio, he returned an answer declining the invitation. Upon subsequent pressing solicitation, nevertheless, and repeated conferences, he at length yielded, and it was then agreed that the requisite rehearsals should be made during _Spohr’s_ absence, so that he would have nothing more to do than to take upon himself the direction of the performance, and meanwhile he could proceed undisturbed upon his projected journey. Highly necessary to him, also, was such a refreshing change of scene after the almost overwhelming fatigues of the musical entertainments and dinner-parties of the preceding weeks, at the greater part of which he himself took an active share in the performances. At the last concert of the Philharmonic Society, in which he directed the performance of several of his compositions: “Die Weihe der Töne,” the overture to the “Alchymist,” and the flower duet from “Jessonda,” but first himself executed his concertino in _E major_ upon the violin, he was, as recorded by the “Spectator”--“welcomed like a Prince, the whole company rising spontaneously from their seats to salute him” ... and when he had concluded his artistic and indescribably charming play, the irrepressible outbursts of delight shewed how completely he had touched the heart-strings of his auditory. At the end of the concert the directors conveyed to him moreover the wishes of the queen, that he would play once more in an extra-concert to be given for that purpose. As he could not well refuse this, the concert took place a week afterwards, and comprised in its compendious programme among other things a symphony of Mozart, the ninth symphony of _Beethoven_, with the choruses, and three of _Spohr’s_ compositions: concertino in _A major_, the overture to “Macbeth,” and Tristan’s air in “Jessonda,” in which _Staudigl_ was twice encored.

Respecting the further circumstances of the concert a letter written home contains the following: “The extra-concert of yesterday was a very brilliant success, and afforded us high enjoyment. The appearance there of the Queen was an event of which all the newspapers and everybody also spoke beforehand with much interest; as since her coronation she had never yet appeared at one. When she entered the room, dressed in a plain black robe, but wearing a good many diamonds, the public clapped their hands and rose from their seats, upon which the soli and chorus sang “God save the Queen” with great effect. During the entre-acte, the Queen sent for _Spohr_ to the adjoining apartment, where she discoursed with him for some time in a very flattering manner, and advised him during his further journey in England to travel _incognito_, otherwise in every town he would be annoyed and intruded upon in the same manner as in London. Prince Albert and the King of the Belgians entered also into conversation with him, and he was much edified by their remarks. Several persons whom we knew, who sat near the Queen, laid great stress upon the circumstance that upon _Spohr’s_ appearance in the orchestra, she and her husband bowed very profoundly, and clapped their hands very warmly,” &c. At further music parties he experienced great pleasure in hearing his trios, quartets, airs and duets from his operas, and songs, executed with the most perfect finish, and was always much delighted with the wonderfully pure execution of the favorite English glees. Upon these occasions he was not at all disturbed by the enormous quantity of musical pieces which were brought forward, for with his inexhaustible nerve and power of endurance he was fortunately enabled to compete with the English.

As a curiosity of the kind the following programme may be adduced, of a musical festival got up by Mr. _Alsager_, then co-editor of the Times, in honour of _Spohr_:

Queen Square Select Society.

Musical Festival in Honour of the arrival of Spohr in London.

Sunday July 2, 1843.

Act. 1.

Double Quartet No. 1 Spohr.
Quintet-Pianoforte, Flute, Clarinet, Horn and Bassoon Spohr.
Double Quartet No. 2 Spohr.
Nonetto Spohr.

Déjeuner à la fourchette.

Act. 2.

Quintet Spohr.
Ottetto Spohr.
Double Quartet No. 3 Spohr.

To commence at 2 o’clock--Déjeuneur at 5--
Second act to commence at 7.

This festival, which was in every respect successful, and got up with princely magnificence, must have been the more gratifying to _Spohr_, when he saw how the company, consisting of fifty persons, listened until late in the evening with admirable perseverance and wrapped attention to his tones, without evincing the least sign of weariness. When gratified beyond measure by a festive testimonial so unusual, he felt called upon to express his very great thanks to Mr. _Alsager_, he found to his great surprise on the following day among the mass of letters which he constantly received, one also from him expressing his heartfelt thanks, which concluded as follows: “May you enjoy all the happiness that can result from the consciousness that you are a benefactor to the world and communicate happiness to others in a circle still increasing and never ending.”

Upon their pleasure trip on the 12th July _Spohr_ and his wife were accompanied by Professor _Taylor_, in whom they found both a well-informed and amiable guide and companion. They visited Winchester, Portsmouth, Southampton, Bath, Bristol and Wales. With the natural beauties of the latter _Spohr_ was so much charmed that in many parts he considered them to surpass Switzerland, and all that he had ever seen. On the return journey to London, he was loud in his expressions of admiration of the beauties of Cheltenham, and of the fine university of Oxford. Though in accordance with the advice of the Queen he had thought to make this little journey _incognito_; nevertheless his arrival soon became known in each town, and the composer of “Die letzten Dinge,” the pianoforte arrangement of which he found in almost every house, was received by every one after his own manner, with the highest honours, upon which occasions many incidents occurred that either greatly amused or moved him. Meanwhile, in London, every possible exertion had been made, and upon his return, _Spohr_ found that his oratorio had been studied with such faultless precision, that as he wrote word in a letter home “at the grand rehearsal he was really much moved both with its excellent execution, and the conviction that such a number of persons totally stranger to him, and for the most part engaged in business (who in London have indeed but little leisure time) should have devoted their evenings to a late hour, during his absence of eight days, to the study of this difficult work, from pure love of it, and to afford him an agreeable surprise.”

The performance itself is then thus described: “Imagine a gigantic hall with places for 3000 persons, crammed full, head above head; in a balcony apart, as the bill expresses it ‘Madame _Spohr_ and Friends’ looking down upon the scene. Opposite the magnificent and stupendous organ and on all sides around it, an orchestra and choir of singers numbering five hundred persons, grouped in the most charming manner; in that orchestra _Spohr_ enters, and at the same moment the whole public and orchestra rise from their seats, all waving handkerchiefs and hats and shouting long and loudly altogether “Bravo, Hurrah!” But no sooner did _Spohr_ lift his _baton_ than all sat down, and a deep silence of anxious attention reigned. Then resounded through the spacious hall the first moving accords of the overture, like music from another sphere. The whole performance proceeded now grandly and as though with one impulsive inspiration in all. A solemn thrilling emotion pervaded us, and at many powerful passages, such as “Er regiert auf ewig (he rules for ever) Hallelujah!”--“Du nur allein bist Gott” &c. (Thou, and Thou only art God),--then it was as though all mankind had assembled to praise God with the purest harmony. But doubly wonderful at such outbursts of powerful grandeur is the ever-recurring entry at the right moment of the tenderest shades of expression.... Three airs and the grand chorus of the Persians were encored with vehement acclamation. At the conclusion the people, at a loss to find a new and further way of expressing their rapture, demonstrated it more prominently by mounting at once upon the benches. When at length _Spohr_ had made his way through the mass of those who pressed forward to shake hands with and congratulate him as he passed on to the door of the hall, I observed with astonishment that the whole company remained behind, and whispered to each other, which induced me to think something important was still to take place; when after a time the noise broke out anew and _Spohr_ was again vehemently called for. Upon this two gentlemen led him back once more, and having informed him that the public much wished him to address a few words to them, he at length determined to do so, and made a short speech in ~German~, which although they did not understand, was very gratefully received by the assembly. Hereupon the President stepped forward, and having delivered a long address to _Spohr_ in English, which was repeatedly interrupted by applause and cries of “Hear! hear!” he presented to him in the name of the company a large silver salver with a beautifully engraved inscription commemorative of the evening festival,” &c.--This solemn concluding scene crowned all that _Spohr_ had yet experienced, and the sad moment of parting from hospitable England now approached. _Spohr_ himself was painfully moved by it, although the earnest solicitations of every kind which poured in upon him, gave him little time for calm reflection. Daily from various quarters did he receive the blank sheets of albums with the request for some souvenir from his own hand, many of which yet awaited their execution and kept him occupied at his writing-table up to the time of his departure. After he had satisfied these last requests even, and at length embarked on board the steamer, he good humouredly remarked to the crowd of friends and admirers who had collected to bid him farewell: “There is now indeed scarcely a lover of music in England who has not my autograph,”--the steamer was hailed from the shore, and on looking in that direction he saw a boat rowing fast towards them, and shortly, several gentlemen came on board, bearing numerous albums that had arrived too late, with the entreaty that _Spohr_ would write something in each during the journey down to Gravesend, whither they would accompany him with that view! Actually also, did _Spohr_ comply, and writing, he left the shores of England, and so made the parting moments somewhat less painful to him!

* * * * *

Early in the month of October 1843, a meeting of the Philological Society was to take place in Cassel, and the generally expressed wish to honour the same with some musical performances was the more natural, from the means necessary thereto being more especially at command there. Upon _Spohr’s_ recommendation the president of the society and Gymnasial-Director _Weber_ proposed the performance of “Antigone” at the theatre, with _Mendelssohn’s_ choruses; and _Spohr_ expressed himself ready to comply with the wishes of the magistracy to give a performance of his oratorio: “Der Fall Babylons” in the church, for the benefit of the poor of the city. As, however, the permission of the Prince could not be obtained for both, the foreign guests were obliged to content themselves with a private performance of “Antigone” in the spacious hall where they held their sittings, upon which occasion Councillor _Niemeyer_ read the tragedy, and the choruses were sung with accompaniment of two pianofortes by the singers of the men’s choral society under _Spohr’s_ direction. In this manner all went off very effectingly, and the strangers were so well content that they not only expressed their most heartfelt thanks to _Spohr_ for his exertions, but at their next sitting, (at which he assisted with much interest) unanimously voted also a letter of thanks to _Mendelssohn_. _Spohr_ himself was also so much pleased with the spirited and truly original music “that he now exceedingly desired to hear it also with full orchestral treatment.” But as under the present overruling circumstances in Cassel this was not to be achieved, he shortly afterwards gave a repetition of the reading of the tragedy in the same manner, for a charitable purpose, but in a more spacious building, by which means a wider circle of the lovers of music were enabled for the first time to become acquainted with the interesting work.

About this time _Spohr_ began to turn his mind seriously to the composition of another opera, which probably arose from the frequency with which the libretto of operas were sent to him. But as none of them satisfied him, and as upon a closer examination, either the treatment of the subject or the form of the musical pieces did not suit him, he conceived the idea of writing with the assistance of his wife the text of a libretto, and chose for subject the once favorite drama of Kotzebue: “The Crusaders,” which seemed to him particularly adapted to the object he had this time in view, namely, an entire deviation from the customary form, as well as from the style, of his own previous opera music; in composing the whole throughout as a musical drama, without unnecessary repetitions of the text and ornamentations, and with a constantly progressing development in the treatment. As soon as the libretto was completed, he set to work with great spirit, and in a short time completed the first act, which he immediately arranged for the pianoforte, and had performed in his house by a select number of the best dilettanti, in order to convince himself of the success of his work, before he proceeded further with it. When he became satisfied how clearly and intelligibly, even without the aid of scenic representations, the lifelike expression of his music depicted the different characters and situations, and how powerfully both singers and auditory were impressed by it, he proceeded with confidence with the next act, and finished that also, all but the instrumentation, before the commencement of the theatrical vacation.

As object of his customary summer journey _Spohr_ had selected Paris, in order to shew his wife the grandeur of that brilliant capital, and to visit at the same time the international exhibition of industry, which, as the first of its kind, had so greatly excited public attention, that strangers from every quarter of the globe flocked to it to behold the endless treasures in every department of manufacturing industry, and to admire the products of art. With the daily concourse of the visitors it was however almost impossible to obtain an undisturbed and attentive view; it was therefore matter of no small self-congratulation for _Spohr_ and his wife to receive a ticket of admission procured by especial favour upon a day that had been set apart for the King’s visit to the exhibition, when exhibitors only were permitted to be present. By this means they were also furnished with the rare opportunity of seeing the venerable _Louis Philippe_, accompanied by his wife, his sister _Adelaide_, and the then still very youthful Duke _de Montpensier_, pass close before them, and to hear distinctly the King’s remarks upon the various manufactures displayed.

At a season of the year so unfavourable for musical performances of any consequence, _Spohr_ could scarcely hope to enjoy that gratification, but there, in a foreign land he had the unhoped-for satisfaction of an enjoyment he had vainly endeavoured to obtain at home, that namely of assisting at a performance of “Antigone” with _Mendelssohn’s_ choruses, which on that evening had been given for the thirty-second time in succession at the Odéon theatre to constantly crowded houses, and _Spohr_ was deeply impressed with the excellence of the music and of the scenic arrangements.

But although the best musicians were for the most part absent from Paris, he nevertheless passed some very pleasant hours in the society of Mr. _Habenec_ (director of the conservatory), _Panseron_, _Halevy_, _Auber_, _Berlioz_, _Adam_, &c. On the part of the conservatory it was also greatly wished to shew him some mark of attention, although under the circumstances some difficulty was experienced in doing so, as appears from a notice in a Parisian journal, in the following words: “Mais que faire pour prouver à l’auteur de ‘Faust’ et de ‘Jessonda’ que la France sait apprécier dignement ses belles compositions et leur auteur? Une idée vient soudain à un ami de Mr. _Habenec_: ‘L’époque des magnifiques concerts du Conservatoire est passée! dit-il; eh bien! écrivons partout, réunissons une partie de nos artistes, et essayons de tresser une petite couronne à _Spohr_, en exécutant devant lui un de ses plus beaux morceaux.’ Le projet est approuvé, on n’avait que quelques jours pour le mettre en œuvre. Des circulaires sont adressées à vingt, trente lieues de Paris. Des hommes d’un talent supérieur, qui n’auraient pas quitté leur _dolce far niente_ à prix d’argent, se hâtent d’accourir, et la Société des Concerts, à l’exception de deux de ses membres qui sont maintenant en Italie, se trouve réunie à Paris comme un seul homme. La salle du Conservatoire est ouverte, tons les exécutants s’y rendent, et _Spohr_ y est amené comme spectateur unique; c’est pour lui seul que soixante-dix-huit musiciens sont là, c’est aux pieds de sa gloire qu’ils viennent se prosterner, et lui font entendre son chef-d’œuvre symphonique: ‘La création de la Musique’ (‘Weihe der Töne’).”

Upon _Spohr’s_ entry into the room he was greeted with loud applause, and addressed in a speech by Mr. _Habenec_, who invited him to direct his symphony in person, as at the next winter concerts, the society intended to perform it, and it would therefore be of the utmost value to all, to be initiated by the personal direction of the composer himself into its mode of performance. In reality, also, many indications and repetitions were necessary upon the occasion, until every thing, went satisfactorily; but _Beethoven’s_ pastoral symphony, which followed, and had been frequently played, was executed with that masterly precision for which that orchestra was so celebrated.

On the following day _Spohr_ set out on his return to Cassel, which he again left after the lapse of a few weeks, to comply with an invitation from his native town of Brunswick, where they had long desired to give a grand musical festival in his honour, and had therefore made arrangements to have a performance of his oratorio the “Fall of Babylon,” at the end of September.

On his way thither he received a foretaste of the Brunswick festivities, at Seesen, where he slept the first night, and where he had passed the first years of his childhood; the inhabitants of that place having been thereby induced to believe that it was really his birth-place. He was greatly surprised at being welcomed immediately upon his arrival here with a kind and most hearty address and ushered with much ceremony into the handsomely decorated grand room of the hotel, where he found disposed in a wide semicircle, symmetrically arranged, a selection from all the musical talent of the young folks of Seesen, with the members of the choral society of that place; who, besides singing several songs, executed a chorus from “Die letzten Dingen” and a pleasing poem composed especially for the occasion, addressed to _Spohr_, and arranged for four voices.

Brunswick was no less demonstrative in celebrating the presence of its illustrious guest, and detailed notices of an impromptu festival given to _Spohr_ are furnished by several letters, in which the brilliant external display, as well as the expressive and appropriately arranged musical entertainment, appealed with equal force and charm to the heart and mind. A cantata set to music by _Methfessel_ for female voices and chorus, “Welcome to _Spohr_,” was first sung, with a soft accompaniment of wind instruments placed out of sight in the background, and executed by them in the most finished manner. But scarcely had the guest so honoured time to express his thanks at the conclusion of this pretty song, when quite unexpectedly, and in striking contrast with it, a powerful chorus of male voices from the opposite side of the hall began a second “festive song to _Spohr_,” which prepared the minds of all for the enjoyment of the subsequent more exhilarating festivities.

On the following day _Spohr_ directed the performance of his oratorio: “The fall of Babylon,” in the Ægydian church, which was here also executed with great spirit, and was well received. The circumstance that its performance took place in the same church in which more than 60 years before he was baptised as an infant greatly increased the interest of the day, and gave occasion to several other poetic effusions.