Chapter XXV: Part 25

A grand concert of a mixed kind concluded the festivities of the day; the first part of which comprised the overture to “King Lear” by _Berlioz_, directed by Kapellmeister _Müller_, airs from “Oberon” and “Jessonda” an adagio for violin by _Spohr_, executed by concert-director _Müller_, and _Maurer’s_ concertante for four violins (played by _Müller_, _Zimmermann_, _C. Müller jun._ and _Jean Bott_ of Cassel); the second part consisted of _Spohr’s_ fifth symphony, _C minor_. Thus ended this pleasing festival, the heartfelt pleasure at which was alone saddened to _Spohr_ by thoughts of his beloved father, who, up to the few months preceeding his death in Brunswick had passed the last years of his life in Seesen, but who, after watching for years at a distance the career of his son with pleasurable pride, could now no longer be a witness of the high esteem and honour shewn to him by his native town.

At the end of the year _Spohr_ received an invitation to a grand musical festival at New-York--the first from that side of the Ocean, to the direction of which he had been unanimously selected at a general meeting of the society of music of that city, “as the first of all living composers and directors of music.” There were to be two performances of sacred and two of secular music, and above all his oratorio of the “Fall of Babylon”--“the fame of which had spread from England to the new world,” was to take precedence. Although such a proposal might have had great attractions for _Spohr_, and have yet more incited his constant love of travel; and although in New York he would have moreover the pleasure of seeing again his daughter _Emily_, who with her husband and child had emigrated there some years before, yet he soon made up his mind to decline it, as a residence there of the few weeks only which the duties of his place would have perhaps permitted, would scarcely have compensated for the fatigues of a long voyage.

On New Year’s Day 1845, _Spohr’s_ new opera, “The Crusaders,” was performed for the first time; and not only upon the first night, but upon the quickly succeeding further performances, it met with an unexampled brilliant reception for Cassel. _Spohr_, who had looked forward with particularly anxious expectation to the success of this work, was much gratified at this result, and wrote to his friend _Hesse_ as follows: “That my opera should have made so deep and lasting an impression upon the public, the lesser number of which only consisted of musically educated persons, I ascribe to the truthful character of my music, which aims only at representing the situation perfectly, and discards all the flimsy parade of modern opera-music, such as florid instrumental soli and noisy effects.[39] And I was furthermore exceedingly pleased that the singers, who did not find in their parts anything of that which usually gains for them the applause of the crowd, evinced nevertheless at every rehearsal a greater interest in it, and a zeal to study such as I never before observed in them. But the result shews also, that this style of song, which is so convenient for every one, and affords the opportunity of displaying the best tones, and the degree of feeling and expression which each is capable of, is a very grateful one; for never were our singers so applauded, and after the second performance they were all called for together on the stage.” The newspapers having circulated a great deal in praise of the new opera, and it having become more extensively known by the pianoforte arrangement which was shortly afterwards published by _J. Schuberth_, it was soon announced for performance at other theatres in Germany, viz. at Berlin, Dresden, Brunswick and Detmold; but in other (catholic) cities, like Munich, Vienna &c., objection was taken to the libretto, which had been asked for examination, and therefore the performance was abstained from.

[39] To similar observations in a letter to _Hauptmann_ he adds: “I could not make up my mind to write _one_ unnecessary note for the sake of brilliancy.”

As _Spohr_ was invited to direct personally the first performance of his “Crusaders” at Berlin, he was desirous that this should take place during his theatrical vacation; and although he was apprised from there that it was the most unfavourable season of the year for it, as the chief characters of his opera could not be satisfactorily represented till after the return of the absent principal singers, he nevertheless though it more advisable to do without their assistance, than by a longer delay to make the possibility of his coming a matter of uncertainty.

At the beginning of the holidays he therefore set out on the journey, but first to Oldenburg, to direct a grand concert there, the receipts from which were destined for the institution of a pension fund for the members of the orchestra there.

The programme had been previously cast by _A. Pott_, the resident director, his former pupil and enthusiastic admirer, and consisted wholly of _Spohr’s_ compositions, viz. concert overture in the serious style; latest violin concerts in _E minor_, executed by the composer; duett from “Jessonda” sung by Mrs. _Schmidt_ of Bremen and Mr. **; clarinet concerto, played by Mr. _Köhn_, member of the ducal orchestra; grand symphony in _C minor_ (No. 5); the “Lord’s Prayer,” for solo, chorus, and orchestra.

Upon _Spohr’s_ arrival he found the whole of the musical pieces (the last two of which he himself directed) so well practised under _Pott’s_ direction, that at the rehearsal he was greatly pleased by it. At the public performance, also, every thing went off so well, that Mrs. _Spohr_ expresses herself in a letter home as follows: “We felt as though we had been suddenly transported to England. The music, the finished execution, the spacious, densely filled, and splendidly acoustic building, the enthusiastic applause and admiration--all were in truth _grandly English_. And all this was doubly surprising and gratifying when one thinks that this took place in a small town with a population of only 12,000. Orchestra and singers, three hundred persons in all, worked together with wonderful harmony. Every piece of music was excellent, but the impression made by the ‘Lord’s Prayer’ was _quite indescribable_, and the words in which _Pott_ shortly before expressed himself to _Spohr_, after a rehearsal of it: ‘Happy is the man who can pray with such intense devotion; peace must indeed dwell in his soul,’ presented themselves here in their full import to my mind. _Spohr_, also, was of my opinion that he had never heard the piece so well played, for even in the finest shades of the expression there was nothing more to be desired. The whole platform from which _Spohr_ led the orchestra, and the steps leading to it, were strewn with the finest roses; the whole front of the orchestra was decorated with wreaths; and beneath his bust, crowned with laurel, were the words ‘_Louis Spohr_’ in gigantic letters, composed of roses and laurel artistically interwoven. While the assembly were listening with the deepest attention to the splendid tones, it was little imagined by any one how every enjoyment was embittered to _Spohr_, by a sudden seizure with cramp in the stomach, which soon became so intense, as he himself afterwards related, that when conducting the symphony and the ‘Lord’s Prayer’ he had great difficultly in keeping himself erect. After the concert we were to have assisted at another _fête_, given by the minister _von Beaulieu_ at his house, in honour of _Spohr_; but under the circumstances this became impossible, and we hastened home with all speed, where, having arrived, _Spohr_ went immediately to bed, and was obliged to resort to sedatives; but the cramp would not yield to them, and the doctor who was called in, vainly endeavoured to afford him relief, so that the pain became intense. At this very moment when _Spohr_ lay in such a sad condition of suffering that he expected every moment would be his last, a singular and striking contrast was presented to his position, by a monster torch-light procession followed by a large concourse of the inhabitants of Oldenburg, which halted under our windows, and began a grand serenade with the overture and several choruses from ‘Jessonda,’ performed by all the native and foreign musicians then in Oldenburg, together with three choral societies. Many other pieces were to have been performed, but by _Spohr’s_ wish, _Pott_ availed himself of the opportunity when a loud cheer was raised by the crowd, to address them in his name from the window in a speech of thanks, which, although improvised, was as well put together and delivered as though he had long previously studied it. But when he acquainted them with _Spohr’s_ illness also, a general depression spread immediately through all present, and the previously so joyous assembled serenaders, withdrew in silent sadness. In our house, meanwhile, all was remarkably lively: the hostess, Mrs. _Oppermann_, wife of the Councillor _Oppermann_ of the high court of appeal, was entertaining two carriage-loads of guests who had come to the concert, together with all her acquaintance, who had assembled below to be enabled to hear the serenade music better. In strange contrast with these intervened the various attendances to the necessities of our patient, the messages to the apothecary, my agony of mind--in fact, it was a situation singular indeed of its kind.

“At midnight the physician came again, wrote some new prescriptions, and gave fresh instructions, but all in vain; the attacks of the cramp lasted till near 3 o’clock, when they became at length less violent, and by degrees entirely ceased. But as the doctor was of opinion this morning that the motion of the carriage might be prejudicial to the invalid, we have deferred our departure, and the more so, as we could be nowhere better off than here, where we receive the kindest attention and care from the whole household, and everything that the heart can wish is at our service. To-day, _Spohr_ received from the Grand-duke a splendid diamond ring as a ‘souvenir of Oldenburg,’ which greatly surprised and pleased him. The Grand-duke had intended to place the ring himself on his finger at the dinner to which he had invited him, but this also was defeated by the illness that overtook him,” &c.

_Spohr_ having determined by the advice of the physician to proceed as soon as possible direct from Oldenburg to the baths of Carlsbad, and devote the remainder of his vacation to the re-establishment of his health by drinking the waters, he thought he should no longer be able to fulfill his promises--to direct his “Jessonda” at Bremen, and the first performance of the “Crusaders” at Berlin--wherefore with a heavy heart he sent off letters announcing his inability to proceed to those places.

Meanwhile, however, the remarkable efficacy of the Carlsbad waters, which he had already several times experienced, evinced itself again upon him in so satisfactory a manner, that in the very first week of his stay the idea suggested itself to him, to remain for the present but a fortnight only in Carlsbad, and defer following up the cure of its waters to the following summer, so that his so unwillingly abandoned purpose of proceeding to Berlin might yet be carried out. In this hope he continued the course of baths with such unwearied perseverance and unswerving confidence that he was enabled to reach Berlin in sufficient time to assume personally the direction of his “Crusaders.”

At the first grand rehearsal, in which he was introduced by _Meyerbeer_ and Councillor _Küstner_ to the assembled company of the theatre, he became convinced that his work had been studied with particular pleasure and predilection, and the song parts, although not filled by stars of the first magnitude, were nevertheless impersonated, as regarded the chief and secondary characters, in a thoroughly satisfactory manner. On the evening of the performance he was received upon his appearance with the greatest enthusiasm by the public, and loudly called for after every act. On the following night the opera was repeated with the same brilliant success. The public papers contained also the most favourable notices of each, and the “Vossische Zeitung” especially gave an article from the pen of _Rellstab_ to this effect: “We have to speak of an event in art that will occupy one of the most prominent and honourable places in the history of our stage--the first performance of _Louis Spohr’s_ new opera, “The Crusaders.” The merits of the master have already made themselves so prominently conspicuous, and the worth of that which we possess in him is so fully acknowledged, that it is not necessary even to speak of the character of his music nor of its effects upon the development of art in the present day.... What we had to expect as a whole, every body knew who knows the artistic direction of _Spohr’s_ genius--and who does not know it? That we should hear a work that might be ranked with the noblest of the kind to which the composer has adhered throughout his whole life, was to be expected. But we must frankly confess, we had not dared to hope for so much freshness, so many instances of fiery power, as the now more than sexagenarian master actually gives us! Throughout the whole, he is the same we have long known; but in many circumstances of the detail he presents us with numerous gifts of new and finished excellence--and also of frequent brilliancy. His muse has never addressed herself to the crowd: she never sought to seduce by coquettish and alluring advances; her language, her movements have been alone animated by a noble spiritual inspiration, and sought to win the heart by purity and dignity. We had at first intended to indicate the most prominently beautiful passages, which we consider it just to particularise; but we soon found them so numerous, that we were compelled to content ourselves with a selection. In the first act we recall to mind the singular freshness of Baldwin’s greeting; Emma’s devout song: “Dass ich die Braut des Himmels bin,” the effective and ominous mingling of the tolling of the funeral bell in the discourse with the porteress; the first strong physiognomic delineations of the abbess Celestina, in the words: “Ich kenne Dein Geschlecht--Dein Schicksal führt Dich her;” we remember some features that designate the same character and its impassioned ebullition, as: the soft transition of the orchestra after the words: “Ihr sollt das Mädchen lieben;” and the subsequent words: “Gerichtet hat ihn Gott!--die Mutter weint,--die Tochter büsst,--dem Todten sei verziehen;” which are of the deepest and most impressive effect from their musical treatment.--The march of the Saracens in this act is also of most original colouring, and recurs again in the third act, where it is connected with that which has gone before, and is handled in so startling and beautiful a manner in the orchestra, that the public expressed their delight at the return to it there by a general outburst of applause.--If we cite fewer passages in the subsequent acts, it is not that these were poorer, but not to weary the reader’s patience with the enumeration of individual parts; and indeed the power of the music increases with the interest of the subject treated. The recognition scene between Balduin and Emma, Balduin’s threat at its conclusion, and the whole finale of the second act, form striking moments, which always ensure the admiration of the hearer. In the third act, the duet between Balduin and Bruno is a fine master-piece of music, and the conclusion, the despair of Balduin, replete with energetic force, and instrumented in a truly powerful manner. The battle chorus of the Turks, from its prominent difference of colouring, excited the enthusiasm of the auditory, who followed the conformity of the opera well sustained throughout from that part to the end, with the most lively interest.... We must also acknowledge the zeal of all the performers.... But no less are thanks and honour due to the public! They have this time shewn themselves fully sensible of their office of judge and reward-giver, and gave that unremitting attention to the work throughout which is most expressive of the admiration and interest it awakened. Scarcely any fine passage passed unnoticed by more or less warm demonstrations.... The day thus terminated in a triumph for long years of meritorious services, and in a day of honour for this particular work, which bears witness to the wealth in artistic riches possessed by the composer, and in what sure keeping and governance they are in the hands of our highly esteemed master;” &c.--Passing over other similar notices, a criticism (signed H. T.) may be adverted to here, for its strikingly harsh contrast with the former; overflowing with dissatisfaction and every kind of reproach of this opera, and which although not among the other papers now before us, is still remembered by the family as one that greatly surprised them by its contents. In cases of this kind _Spohr_ always laughed at the angry zeal of his friends, affirming that every one had a right to express his personal opinion freely, but at the same time with the remark: “When a piece of music is really good, no reviling critic can take from it an atom of its merit!”--

Though the brilliant success of this opera, which _Spohr_ had written under circumstances of particular predilection, constituted the most important moment of his eight days’ visit to Berlin, he passed the previous and subsequent days in the most agreeable manner in the amiable family circle of Professor _Wichmann_. But not alone in the hospitable reception accorded him and his wife, which afforded them all the delights of a charming domesticity, did _Spohr_ experience the highest gratification; for from other quarters also marks of attention were shown him yet more demonstrative of the honour in which his genius was held.

Especially gratifying as were to him the attentions of his colleagues in art, _Meyerbeer_, _Taubert_, _Hub. Riess_, and others, he was not insensible to the tribute of acknowledgment paid to him by the King; and the honour of an invitation to the royal table was yet more enhanced in worth to him, from its being communicated to him at the King’s request in a personal visit from the celebrated _Alexander v. Humboldt_. Of this royal dinner party, at which, besides _Humboldt_, _Tiek_, _v. Savigny_, and other personages of note were present, who emulated with each other in pleasing and intellectual conversation with the King and Queen, _Spohr_ always spoke with much pleasure in later years. More especially, however, he would recur to the following amusing incident:

Between the King and _Spohr_, who was seated opposite to him, rose an ornamental centre-piece of considerable height, in the shape of a costly flower-vase, which whenever the King was desirous of addressing his conversation to _Spohr_, greatly interfered and prevented him from seeing his face. Upon each occasion, the King was obliged to stoop in order to look round the inconveniently intervening object, until growing impatient, after having made several signs to the servants to remove it, which they appeared not to have understood, the King seized it with his own hand, and removing the obtrusive ornament procured for himself an unimpeded view across the table to _Spohr_.--On the last evening, while the _Wichmann_ family and their guests were seated in the illuminated garden saloon in friendly chat, they were greatly surprised by the sudden entry from the obscurity of the garden of several dark figures, which were followed by a constantly increasing number, until the whole of the members of the royal orchestra, with _Meyerbeer_ and _Taubert_ at their head, assembled, upon which the senior member presented _Spohr_ with a beautifully executed golden laurel-wreath, while _Meyerbeer_, in a speech of much feeling, thanked him “for all the grand and beautiful things which in his enthusiastic love of true German art he had hitherto created, and especially for this his excellent work, “The Crusaders,” &c. This discourse upon the evening of his taking leave, spoken with warmth and sincerity by such a man, could not fail to make a deep impression upon _Spohr_ and every person present, and it was followed by a silence the most profound; until professor _Wichmann_, who was the first to recover his self-possession, approached _Meyerbeer_, and to the just praises conveyed in his excellent speech, replied with much humour in the words: “Positively, _Demosthenes_ was a mere stump orator in comparison to you!” at which the cheerful tone of the company was magically restored, and _Spohr_ then returned thanks in a concise yet feeling manner. Besides this handsome present from the royal Berlin orchestra, he took back with him to Cassel another souvenir of his stay there, viz. his own bust executed by professor _Wichmann_, which on account of its speaking resemblance and artistic excellence has always been greatly admired both by connoisseurs and the general public.

Scarcely had _Spohr_ returned to Cassel than he was again upon the move, and this time to Bonn, where on the 11th. of August the inauguration of the monument to _Beethoven_ was to be celebrated. To the invitation that had been sent to him many weeks before, to conduct a portion of the musical performance upon the occasion, he had at first, it is true, replied declining it, as a special leave of absence would have been necessary for him to proceed thither, and after having already applied for one the year before to direct the Brunswick musical festival, he did not like to make a similar application so soon. It was however shortly announced to him in a second letter, that the committee of the festival having been informed that the Prince was then staying at Cologne for a few days, they had despatched a deputation thither to invite him and the Countess _Schaumburg_ to the approaching ceremony in her native town of Bonn, and to solicit at the same a leave of absence for _Spohr_, which had been graciously granted. As no further obstacle now intervened, _Spohr_ lost no time in proceeding thither, to lend his personal assistance at the grand festival, which had drawn together from far and near the musical youth of Germany, to do honour to the great master whose memorial was to be inaugurated.

Of the festivities preceding and subsequent to the uncovering of the statue--the launching of the steam-boat “_Ludwig van Beethoven_,” the excursion to Nonnenwerth, the grand procession, the pyrotechnic display, illumination, banquet and ball--all these things have been so frequently described verbally and in writing by many who were present at the festival, that we will here only concisely advert to its musical features.

In the first grand concert _Beethoven’s_ mass in _D major_ and the ninth symphony were performed under _Spohr’s_ direction, and as the published accounts of the festival express it, “both these works, which present very great difficulties, were performed with the most finished execution, so that this concert alone, combined with the sight of the hall in which it took place, was well worth the journey to Bonn.” On the following day, _Beethoven’s_ grand mass in _C major_ was performed at the celebration of divine service in the minster church, and upon the uncovering of the statue a festive cantata by _Breitenstein_ was performed under his direction. At the second grand concert in the hall _Spohr_, by the desire of _Lisst_, again directed a part, while the services of the latter, as an active member of the committee, being continually required in various departments, with the exception of his performance of _Beethoven’s_ pianoforte concerto in _E major_, he confined himself to the direction of the _C minor_ symphony and some “numbers” of the Fidelio. The third, so-called musicians’ concert, was subjected of a necessity to many changes of the fourteen pieces of which its programme consisted, as, besides the Princes who were already arrived, the King and Queen of Prussia, the Queen of England with her consort, and other exalted personages were expected at the solemnities of the inauguration of the statue, and _Lisst_ did not like to begin his festive cantata before their arrival. But it became at length necessary to make a beginning, and scarcely was the first “number” of _Lisst’s_ cantata concluded, than the royal personages made their appearance, and the assembled company saluted them with the national-hymn: “Heil Dir im Siegerkranz;” after which _Lisst_ had the whole cantata repeated; upon the conclusion of which it was left to the two Queens to make the selection of the next musical-pieces which were to be performed in their presence. It was thus, that not only the pieces of the programme were changed from their announced order of succession, but several of the pieces were necessarily wholly omitted on account of the delay that had thus occurred; and the musical part of the festival was brought to a termination in a somewhat unsatisfactory manner, and without a real and proper conclusion in the opinion of a majority of the auditory. A chosen few, however, among whom was _Spohr_, received an invitation to the grand court concert, given by the King of Prussia in honour of his exalted guests at his palace of the Brühl, in the neighbourhood. _Meyerbeer_ directed, and the programme consisted, with the exception of some pianoforte-pieces performed by _Lisst_, of song-pieces only, sung by the most eminent vocalists, Messrs. _Mantius_, _Pischeck_ and _Staudigl_, with Mdmes. _Lind_, _Garcia_ and _Tuczek_.

After a summer so busily occupied, and in which _Spohr_ was deprived of all leisure for composing, the impulse to write something new was awakened but the more strongly upon his return to Cassel, and several instrumental compositions followed each other in quick succession, to which style of art, since the termination of his opera, his whole mind again more especially addressed itself. About this period he wrote his 15th. violin-concerto (_E minor_, Op. 128, published by _Schuberth_), which he first played at the subscription-concerts in Cassel, and in July 1845 at the previously mentioned musical festival at Oldenburg, and then in commemoration of that event dedicated it to _Poll_ the music director of that place. This was followed by the sixth quintet for stringed instruments (_E minor_ Op. 129, published by _Breitkopf & Härtel_); and in the course of the winter by a quintet for pianoforte, two violins, viola and violincello, in _D minor_ (Op. 130, published by _Schuberth_); the 30th. quartet for stringed instruments (Op. 132, published by _Breitkopf_); and a quartet concerto for two violins, viola and violincello, with orchestra--the latter of which was played at the next subscription concerts, and by the addition of the rich instrumental accompaniment proved especially adapted as a simple quartet for performance at a concert in a spacious building. Before it had appeared in print (Op. 130, at _Schuberth’s_), it was sent for from London and Vienna, and especially asked for at Leipzic, at which place the directors of the Gewandhaus concerts were always extremely desirous of being able to announce in their programme a new composition in manuscript by _Spohr_. Such upon this occasion was also the sentiment of _M. Hauptmann_ in a letter to _Spohr_: “Everything coming from you, old or new, always finds the most favourable reception here: one can easily judge from the applause whether a thing merely pleases, or whether it makes a deep pleasurable impression, and that is always the case with your things. Either song or instrumental music of yours is always listened to with real predilection, the concert-loving public finds itself then in an atmosphere that suits it; and in this manner also the quartet concerto (with the execution of which I was not altogether satisfied) met with a very warm approval. To my mind it is perfectly _Spohrisch_, i. e. as masterly, as it is replete with feeling: the great difficulties attending such an undertaking are not in the least perceptible when listening to it, and as in your double quartets, the greatest clearness is always apparent in the most scientific combinations, which cannot always be said of other compositions that overstep the limits of the ordinary; that is, what the initiated understand and consider as high art, but which the mere hearer of feeling finds pleasing and which put him in good humour,” &c. The correspondence upon these subjects was chiefly conducted by _Mendelssohn_, who also made the proposition to introduce the third act of the Crusaders as a whole, in one of the concerts there, and afterwards announced to _Spohr_, who was of opinion that _this_ opera in particular was not very suited to the purpose, his entire satisfaction: “The first time I saw your work in Berlin, the third act appeared to me the most spirited, and finest in the whole opera, and I was convinced that it would be very effective in a concert. You seemed to doubt it, and therefore I am the more pleased that yesterday’s performance of it made so great an impression, which, to judge from the attention of the auditory, the applause and their observations, appears to me very evident... The chorus was about two hundred strong, and the hymn in _H major_, the chorus for male voices in _C major_, and then the scene in the convent, sounded wonderfully fine. A thousand hearty thanks for this enjoyment, and for all the many beautiful things for which we are indebted to you.... Unfortunately I was not able so to manage that the direction of this concert would fall to me; but it went so well under _Gade_, and he had made himself so well acquainted with the whole work, that even you would scarcely have desired more,” &c.

In striking contrast with these friendly words of acknowledgement from so competent a judge, a circumstance occurred about the same time, which from being considered by _Spohr_ himself as the only one of the kind throughout his long musical career, may not be undeserving of special mention here. Though the opera of the Crusaders had been sent by special request to Dresden for performance there, upwards of a twelvemonth, it had never yet been put upon the stage; and during that time the directors _Reissiger_ and _Wagner_, as also the celebrated tenor _Tichatscheck_, for whose splendid voice the part of Balduin seemed almost purposely written, had repeatedly expressed by letter their pleasure with the work, and their regret at the constantly recurring delays, which deprived them of all hope of _Spohr’s_ proceeding there to direct it--when suddenly, to his great astonishment, the score, not a little worn and defaced, was sent back from Dresden, without honorarium, and even without the libretto, to which _Spohr_ had with much trouble appended many remarks and directions in writing; accompanied only with a letter from the manager, Mr. _von Lüttichau_, the very unsatisfactory contents of which may be inferred from the following accidentally preserved copy of _Spohr’s_ reply:

“Your Excellency’s letter of the 15th. inst. has very much surprised me. I never could have believed, after my long, and I think I may say honourable, career as a musician, that I should have lived to experience the indignity to have the score of one of my works--not sent in as the first essay of a beginner for examination and trial, but _ordered_ by previous application--sent back to me in such a manner. What you are pleased to assign by way of explanation or excuse for so strange a proceeding, I cannot possibly accept; for it was no fault of mine that the opera was not brought out at the appointed time, and both soon enough and frequently enough had I drawn attention to the circumstance that I could obtain no leave of absence out of my vacation time. How the opera, which is known by nobody in Dresden, should now have lost the charm of novelty I can as little understand, as that the contents of the opera, which were already known to you when you ordered it, should now all at once be found objectionable, while here and in Berlin, it has not met with the least objection in its present form, nor formerly, when performed in the shape of a play throughout Germany. Had your excellency felt any anxiety lest the opera would not remunerate for the time given to its study, and the expenses it might entail, you could assuredly have found some relief for your doubts in the many numerously attended performances which have already taken place here, in Berlin, Brunswick, &c. It is difficult for me also to conceive how the work of an old experienced composer should be rejected by a theatre which does not disdain the rapid works of beginners and dilettanti such as .... and .... The insult that has been offered to me is therefore wholly inexplicable, and I must console myself with the reflexion, _that it is the only one of the kind offered to me during my long career as a composer_, and I congratulate myself that I am not under a theatrical directorship which so little understands how to respect the feelings of a veteran artist,” &c. To this a reply was received from the vice-manager, _K. Winkler_, who at the request of Mr. _von Lüttichau_, expressed his regret that the return of his score, which had become necessary, should have so much offended _Spohr_, assuring him furthermore, that the chief reason for it was the words and subject of the opera, during the ecclesiastical excitement.

But that _Spohr’s_ view of the matter was not much changed by this attempt at exculpation is evident from a letter he wrote to _Richard Wagner_, in which he opens his whole mind to him, and having first expressed his disappointment that _Wagner’s_ opera “Tannhäuser,” which he had proposed to the Prince to have performed in celebration of his birth day, had not received the official sanction, he avails himself of the opportunity to detail fully to him the incomprehensible conduct of the Dresden theatrical directorship. _Wagner_, who then first was made acquainted with all the particulars, gave expression to his anger thereat, in so plainspoken a manner, that the publication of his letter, highly interesting as it is, would perhaps be unadvisable. After the prospect of a meeting with _Wagner_ in Dresden had been dispelled in so vexatious a manner, _Spohr_ proposed to him a _rendez-vous_ at Leipzic, where he intended making a stay of a few days on his contemplated journey with his wife to Carlsbad. As _Wagner_ seized the idea with much pleasure, the long desired personal acquaintance was at length made with the greatest mutual satisfaction, and letters addressed to the family at home speak among other things of this meeting, and other interesting circumstances that occurred during their stay there:

“We are passing our time here most delightfully, and enjoying a very feast of the finest music. On the very first evening we had a music party at _Hauptmann’s_, where trios by _Mendelssohn_ and _Spohr_, in which each master took part, were played; and the company, consisting chiefly of connoisseurs in art, were highly delighted indeed. On the following day a very charming dinner-party was given at _Wagner’s_ suggestion, who has himself no means of entertaining friends at Leipzic, by his brother-in-law, Professor _Brockhaus_, in honour of _Spohr_. We there made the acquaintance of his sister and several others of his relatives, all of them most intellectual creatures, and enjoyed ourselves greatly. Besides the members of the family, _Heinrich Laube_, the author, and his very learned wife, were present, who gave a yet more lively impress to the conversation. We were most pleased with _Wagner_, who seems every time more and more amiable, and whose intellectual culture on every variety of subject is really wonderful. Among other things he gave expression to his sentiments on political matters with a warmth and depth of interest that quite surprised us, and pleased us of course the more from the great liberality of feeling he displayed. We passed the evening most delightfully at _Mendelssohn’s_, who did his utmost to entertain and please _Spohr_. This family has for me something very idealistic about them, they present a combination of inward and external features, and withal so much beautiful domestic happiness, that one seldom sees the like of in actual life. In their establishment and whole manner of living there is so much unassuming modesty amid all the obvious luxury and wealth around them, that one cannot but feel at one’s ease. And to me most gratifying is his unmistakable attachment to and esteem for _Spohr_. He himself played a most extremely difficult and highly characteristic composition of his own, called ‘Siebenzehn ernste Variationen’ (seventeen serious variations), with immense effect; then followed two of _Spohr’s_ quartets--among them the newest (the 30th.)--on which occasion _Mendelssohn_ and _Wagner_ read from the score with countenances expressive of their delight. Besides these, the wife of doctor _Frege_ sang some of _Spohr’s_ songs, which _Mendelssohn_ accompanied beautifully; and in this manner the hours passed rapidly and delightfully with alternate music and lively conversation, till midnight drew on unobserved, and at length gave impressive warning to break up. _Wagner_, who was obliged to return to Dresden the following day, came to take leave of us, which both to us and to him was a sad moment. But after he had left, he was frequently the subject of our conversation, for he left us the words of a new opera which he had written (Lohengrin) to read, and which is exceedingly original and interesting.... Yesterday at the dinner-table we made another agreeable acquaintance, that of the poet _Robert Prutz_, who being seated exactly opposite to us, introduced himself, sustained a very lively conversation, and appeared quite charmed at meeting with _Spohr_. After dinner a performance was arranged in the church by the pupils of the Thomas School, where, without any accompaniment _Spohr’s_ psalm with double choir, ‘Aus der Tiefe’ (out of the deep) and his favorite motet by _Bach_: ‘Ich lasse Dich nicht’ (I will not leave thee) were sung.... Last evening an extra concert was given for _Spohr_ in the well-known Gewandhaus, which, under _Mendelssohn’s_ direction, was in every respect a brilliant entertainment. The programme consisted wholly of _Spohr’s_ compositions, of which we had not been apprized before hand, and which was on purpose to take us by surprise. It comprised: 1stly. The overture to Faust; 2dly. An air from Jessonda sung by the prima donna, Mrs. _Meyer_; 3dly. Grand violin concerto played to _Spohr’s_ complete satisfaction by the wonderful boy _Joachim_; 4thly. Songs with clarinet accompaniment, by the wife of doctor _Frege_, _Mendelssohn_, and a first-rate clarinetist, so wonderfully executed that it went to the very heart; 5thly. ‘Weihe der Töne,’ which for years has been a bright-shining star with the Leipzic orchestra. At the request of _Mendelssohn_, _Spohr_, although he would rather have remained a hearer only, took the direction of the two last subjects, on which occasion he was greeted by the orchestra and the auditory, which consisted of about two hundred select guests, with a storm of applause, as he had also been saluted with upon his entrance. The whole was a grand elevating festival, and for _Spohr_ a deeply-felt gratification. _Mendelssohn_ was extremely amiable, and the whole evening as though intensely happy, which proved how foreign to his mind is every feeling of jealousy. This evening the last music party will meet at _Vogt’s_, where _Mendelssohn_ proposes to himself an especial pleasure, not only in taking part in _Spohr’s_ first trio as pianist, but as _viol_ in his splendid third double quartet.”

In this manner up to the last moment was _Mendelssohn’s_ thoughtful and kind attention evinced to _Spohr_, and upon his departure on the following morning, when the numerous friends who had accompanied us to the railway-station had taken leave of him, he was, as the further accounts of the journey express it, “the last of all, who, as the train at first proceeded slowly, ran for a considerable distance by the side of the carriage, until he could no longer keep up with it, and his kindly beaming eyes were the last that left their expression on the minds of the travellers from Leipzic,” little anticipating indeed that it was to be their last meeting on this side of the grave!

Scarcely had _Spohr_ arrived in Carlsbad, than he received a pressing invitation from the Landgrave of _Fürstenberg_, president of the society of music of Vienna, to direct there two grand performances of his renowned oratorio, “The Fall of Babylon,” upon the occasion of a festival at which 1000 singers would assist. But as this was to take place in November, and it would be necessary to ask for another “extraordinary” leave of absence to comply with the invitation, this was applied for through the Austrian embassy. But notwithstanding the signature of “_Metternich_” gave its imposing weight to the application, the Prince refused compliance, and thus not only was _Spohr_ prevented going, but the performance of his oratorio was necessarily deferred to a more favourable opportunity.

Among the various incidents which this time occurred in agreeable relief and interruption to the daily routine prescribed for taking the baths, was first a concert given by the violinist _Ernst_, of which a letter speaks as follows: “The concert of so celebrated a virtuoso was quite an event for Carlsbad, and afforded us much pleasure. Besides the song scene of _Spohr_, he played several of his own things, some of which were very beautiful, curious compositions replete with all manner of difficulties and wonderful artistic resorts for display, and which he executed with great precision and ease; but although he played _Spohr’s_ concerts with much care and great expression, yet we have not only heard it played by _Spohr_ himself, but by his talented pupil _Jean Bott_, much more correctly. The overcrowded house presented a curious spectacle, for not only was the space allotted to the spectators, but the whole stage also, occupied by the public, which sat round disposed in a large semi-circle,” &c. But amusing scenes of another kind also occurred at Carlsbad. One day a good-natured invalid visitor of the baths took it into his head to give a little treat to the fifteen young serving-women attached to the baths, at which several hundred spectators were present; and above all, _Spohr_, with his characteristic good humour, took great pleasure at the sight of the assembled girls, dressed in their uniform (white gowns, green spencers, and pink aprons), each with a fresh-gathered rose in her hair, seated at a long table, and looking around on all the spectators with eyes beaming with pleasure as they partook of their treat of coffee and cake. At another time, by a similar but anonymous kind-hearted individual a parcel was sent to _Spohr_ containing two enormous herrings, remarkable samples of their species, with the laconic inscription appended to them: “I love _Spohr’s_ music! The great German _Spohr_ will not despise the accompanying quite fresh herrings, a very rare, but permitted dish here. Carlsbad June 6.” Though _Spohr_ had always been used to receive a great variety of presents, and frequently of the strangest kind, as tokens of esteem and admiration, yet he had never before received one of so surprising and comical a kind, at which, with _Ernst_, who happened to be present at the moment he received them, he laughed very heartily, and then without much speculation or care as to who the anonymous donor might be, ate with much relish the delicious fish, as a change from the scant prescriptive supper permitted to the bath patients. As the greatest moderation not only in physical but mental exertions and enjoyments formed part of the bathing cure, _Spohr_, as a conscientious patient, had at first considered it a duty to refrain from every musical excitement, particularly from that of composing, until the impulse became so strong within him that he thought it more prejudicial to suppress by force than to give some form to the vivid ideas that floated across his fancy; and thus with unforced readiness flowed from his pen the last part yet wanting to complete the fourth pianoforte trio which he had already begun in Cassel; and it being as it were the bubbling and overflow of the gaiety of his spirits, he was accustomed to call it by way of souvenir of the benefit he derived from the bubbling springs of Carlsbad, “_Der Sprudelsatz_” (The bubble piece). As however there was no good player on the violincello in Carlsbad, he thought he should be obliged to wait till his return to Cassel for a thorough performance of the trio; but during a short stay at Meiningen on his return journey, _Edward Grund_, the already frequently mentioned music director, with incredible diligence took all the requisite measures for getting up a quartet party on the same evening in his house, where _Spohr_ had the unexpected opportunity of hearing his trio, with the aid of his wife and the distinguished violincellist _Metzner_, for the first time, which afforded also no little delight to the company present. As it also soon became a favorite piece with the musical circles of Cassel, _Spohr_ kept it by him for a long time in manuscript, before he sent it to his publisher, _Schuberth_, who looked forward with truly restless impatience to the appearance of this trio of _Spohr’s_ in order to make it public. (Op. 135.)

In the beginning of the year 1847 the day drew near at length, the celebration of which had for weeks beforehand set the natives of Cassel on the tip-toe of pleasurable expectation, that, namely, of his twenty-fifth year’s jubilee as director at the court theatre of Cassel. The lively interest taken far and near in this festival evinced itself in so many demonstrations of attachment and esteem towards the individual thus honoured, that a published account of them written by Dr. _Frederick Oetker_, the proceeds of which were devoted to charitable purposes, formed a complete pamphlet, for a short extract from which we have alone room here:

“Early on the morning of the 20th. January, the recipient of the day’s honours was awakened from his slumbers by a serenade played by his pupils _Jean Bott_ and _A. Malibran_, who, assisted by musicians of the court orchestra, performed his second double quartet. This was followed by a long succession of congratulatory visits from relatives, friends, pupils, and admirers of all classes and from every quarter, who came to express their wishes for his health and happiness. From the society of St. Cecilia there came a well selected deputation, composed of representatives of soprani, alti, tenori and bass, in whose name the secretary _Knyrim_, the only remaining original member, expressed in hearty words their grateful acknowledgement of the many services rendered to art, and to the society in particular, by the honoured jubilant. These were succeeded by the postmaster-general _Nebelthau_, as member of the council of state, who presented _Spohr_ a congratulatory address in writing from the chief magistrate of Cassel, and then the music director from Göttingen, Mr. _Wehner_, delivered a wreath of laurel from that place, accompanied with a congratulatory poem, and with a diploma nominating _Spohr_ an honorary member of the singing association of Göttingen. Accompanied with a most obliging letter the King of Prussia sent to him the order of the red eagle, third class, and the Prince, who had some years before already conferred upon him the Hessian order of the lion, forwarded to him upon this occasion a further mark of distinction, nominating him music director-general, with grant of official character at court. The rescript of this patent was personally handed to _Spohr_ by the chamberlain _von Heeringen_, who the previous year had been nominated intendant-general of the court theatre, in order at the same time to express both his good wishes and the high esteem he felt for _Spohr_ as a man and as an artist, which he moreover proved upon this occasion by the splendid festal performances he had ordered at the theatre in celebration of this day. This consisted in a musical-dramatic production “of scenically connected music-pieces from the operas of _Spohr_,” the tickets of admission to which, besides those to the extra standing places, had been issued many days before, so that the house was actually crammed. When _Spohr_ made his appearance in the box in the first tier, which had been appropriated to him and his family, he was received with the most tumultuous demonstrations of joy, with which the strains of his overture to the opera of “Alruna” soon mingled. This was followed by a tableau from “Zemira and Azor,” representing the union of the lovers. After the conclusion of this tableau, as also after each of the following scenes from _Spohr’s_ operas: “Zemira”, “Zweikampf,” “Jessonda,” “Berggeist,” “Pietro von Abano,” “Alchymist,” and “Kreuzfahrer,” the fairy with her golden magic wand came upon the stage and introduced the succeeding scene each time with appropriate verses. After each piece of music the outburst of applause was repeated, and at its conclusion redoubled in energy, to be again resumed with equal perseverance as in succession the two overtures to the “Mountain Sprite” and to “Faust” were executed with remarkable precision under the direction of _Bochmann_ the military band-master. Then followed an appropriately conceived festal-play called “Die Huldigung” (The Homage). The scene represented a handsome park ornamented with statues, vases and garlands; in the back ground a modest dwelling, but richly decorated with garlands of flowers: _The house, in which Spohr was born_, in Brunswick. Gardeners and maidens are busied in decorating the garden; to their question as to the purpose and occasion of the festival the steward informs them, telling them the name of the honoured jubilant, and in citing his works speaks also of ‘Die letzten Dinge’ and ‘Der Fall Babylons.’

“All now set up a shout of joy, and from every part of the house rang the enthusiastic cheers of the excited assembly. Upon this the orchestra struck up the polonaise in “Faust,” while the committee of the fete waited on _Spohr_ to conduct him to a throne of flowers, where he was again greeted with a poetical address, and a crown of laurel placed upon his head “as Apollo’s favoured son,” amid the joyful vivats of the public. After the fete at the theatre was over, and he proceeded to partake of a family supper at the house of his son-in-law _Wolff_, he received late in the evening a brilliant serenade from the members of the lyrical association, who had assembled before the house by the light of numerous coloured lamps. The singing being concluded they then sent up a deputation to present the diploma of an honorary member of the society to the jubilant. Thus terminated this eventful day, but not the festivities; for the following day brought further congratulatory addresses in prosa and verse with honours of every kind, among which the presentation of the freedom of the city from the chief magistrate of Cassel, and as also worthy of mention, the gift of a costly silver vase from the joint members of the orchestra and theatrical company, presented by the committee of the festival.”

On the twenty-second of January another grand fete took place, given as a surprise to their friend and master by the members of the quartet circle, so frequently adverted to. After _Spohr_ had been conducted with great ceremony into the presence of the company, composed of about seventy persons, a congratulatory poem composed by Dr. _Oetker_ was read.

The musical part of the fete which now followed consisted of _Spohr’s_ third double quartet, executed under the direction of his pupil _Jean Bott_; of two of his incomparable songs with clarinet accompaniment, sung by a distinguished dilettante; and the pianoforte quintet with wind-instrument accompaniment. After the conclusion of these extremely successful performances, all adjourned in the best spirits to the supper-room, where, seasoned with toasts both of earnest and mirthful import, the happy evening was brought to a close in an appropriate manner.

The account of this jubilee published shortly after by _Fr. Oetker_ gave occasion at the same time to _Spohr_ for the commencement of his autobiography. The author of that pamphlet having at the same time expressed the intention of following it up with a detailed account of his life, requested _Spohr_ to furnish him first with the necessary notes; but he himself, while making the necessary sketch of it, took so much pleasure in recalling the varied events of each year as they presented themselves to his memory, that he conceived the idea of preferring to undertake its full detail himself.[40] With a lively interest he now immediately set himself to this work, which nevertheless proceeded but slowly, when the impulse for musical composition assumed again its mastery. He then first wrote six _pièces de salon_ for violin and pianoforte, distinguished by the titles: _Barcarole_, _Scherzo_, _Sarabande_, _Siciliano_, _Air varié_ and _Mazurka_, collected in one volume as Op. 135, published by _J. Schuberth_; these were followed by his fourth double quartet, and some months later, at the express wish of the Philharmonic Society of London, by the eighth symphony (_G minor_), which appeared at Leipzic as Op. 137 (_Peters_), in score and arranged for four hands for the pianoforte.