Chapter XXVI: Part 26

[40] From this somewhat accidental origin of _Spohr’s_ autobiography it may be readily inferred, that it contains nothing more than a faithful picture of his eventful life, interesting to the majority of those who take a warm interest in his musical compositions; and that it was not his intention in any manner to have it considered in the light of a contribution to the history of art, nor as a critical opinion of the works of his colleagues in art, which has been here and there erroneously expected from this biography.

Subsequently also, _Spohr’s_ activity was unusually taxed at the theatre, as he was required for the approaching Whitsuntide holidays to prepare not only the usual opera but also (an exceptional case) a grand concert, in which among other things his double symphony and his first concertante were executed by himself and his pupil _Jean Bott_. For Whitmonday a new opera, “Arria,” by _Hugo Stähle_, had been selected, which as the maiden-work of a young composer who had grown up amid them had greatly awakened the interest of all lovers of music in Cassel. Already when a boy the young musician had exhibited such prominent talent, that _Spohr_ was induced, at the wish of his father, Major _Stähle_ of Cassel, to take him as a pupil in composition. With constantly increasing interest he now watched the progress of his talented pupil, who, already a good pianist, soon tried his hand at greater pianoforte-compositions, among which a quartet in _A major_ (Op. 1, published by _Schuberth_) is especially remarkable as a success. Encouraged by this, he then, though not yet one and twenty years of age, ventured under _Spohr’s_ guidance upon the composition of music to the opera above named, written by his friend _Jac. Hofmeister_, and that so fully satisfied _Spohr_, that upon his pressing recommendation its performance was determined upon and soon put in process of execution. Though _Spohr_ experienced real satisfaction at the highly favourable reception this opera met with from the public, and looked forward hopefully to a brilliant future for the young composer, this first triumph was unhappily his last; for after the lapse of a year, he was seized with an inflammatory fever, which arrested his career of promise by an early death!

After _Spohr_ had several times deferred his last visit to England to direct according to invitation the performance of some of his works, he at length resolved in the summer of 1847, to yield once more to the reiterated invitations he had received, and to direct the three grand concerts, in which the Sacred Harmonic Society proposed to give the whole of his sacred pieces--oratorios, psalms, &c. At the commencement of the theatrical vacation he therefore set out, accompanied on the journey to England by his wife and sister-in-law, and this time by way of the interesting cities of Brussel and Ghent to Ostend, where he proposed to embark. A letter written home adverts as follows to their stay in Ghent: “On our way we had been informed that upon the very day of our arrival a grand singing festival was to take place, of the united Flemish and German lyrical societies; but as we did not arrive here before 7 o’clock in the evening, some time after the chief part of the concert had begun, we thought to avail ourselves of the fine summer evening to take a walk through the town, which we found large and handsome beyond our expectation. Scarcely however had we proceeded above a hundred yards when _Spohr_ was recognised by some gentlemen, who hastened towards him with the greatest surprise, and compelled us almost by force to go with them and hear the second part of the concert, the first part being just finished. In this manner we were all three hurried into a fine building, the ‘Palais de Justice’ and stood suddenly in the immense hall filled with several thousand persons, when at the same moment one of the gentlemen who brought us in, a member of the committee of the festival, with a loud voice called out: ‘Messieurs, le grand compositeur _Spohr_ vient d’arriver dans notre ville, le voici!’ At this announcement the whole assembly rose from their seats, and clapping their hands cried: ‘Vive _Spohr_, le grand _Spohr_!’ and a perfect shower of flowers in the shape of bouquets large and small were showered upon him from all sides. It was long before the tumultuous applause ceased; meanwhile seats were yielded to us in the best places, and there we sat somewhat out of countenance in our dusty travelling costume in the midst of handsomely dressed ladies. But the whole scene, from its very unexpectedness, had something extremely original and almost overpowering about it. We then heard, with the rest, the second part of the concert, in which the different lyrical associations sung in part with, and partly without, orchestral accompaniment. They all met with the most lively applause, which their execution in reality also deserved.

“It lasted until past 9 o’clock, and then a crowd of persons pressed forward to salute _Spohr_ and to speak to him, so that it was late enough before we got home to supper, and retired to rest. But this was again to be of short duration, for between 11 and 12 o’clock we heard all manner of noises and preparations for a grand serenade, which the Ghent society ‘Des Mélomanes’ had resolved upon giving to _Spohr_. _Nolens volens_ he was obliged to get out of bed and dress anew not only in acknowledgement of the fine music and tremendous vivats of the assembled crowd, but also to receive a deputation, which at the solemn midnight hour announced to him his nomination as honorary member of the society,” &c.

Upon _Spohr’s_ arrival in London he and his travelling companions were again hospitably received in the friendly family of Professor _Taylor_, and for them now began in every respect a period of great enjoyment. The oratorio performances in Exeter-Hall appointed for every Friday, went off with their usual finished perfection; but the programme that had been previously determined upon had suffered from the alteration, that in place of the “Calvary,” which it was feared would here also excite objection on the part of the clergy, a second performance of the “Fall of Babylon” was announced; while in the third concert, as it had been previously determined, “Die letzten Dinge,” the “Lord’s Prayer,” and _Spohr’s_ recently composed 84th. Psalm after _Milton’s_ metrical translation, were given. The enthusiasm at all the three concerts, which was scarcely susceptible of increase on all that had previously been shewn, was evinced this time more particularly by rapturous encores of a great number of choruses and solo pieces. The intervening days were passed in a no less satisfactory manner, in which all emulated in affording some enjoyment, or in testifying their respect for _Spohr_ in various ways. In varied and constant interchange, invitations, festivities, promenades and railway excursions succeeded each other, one of which extended as far as 70 English miles, to the celebrated university city of Cambridge, with its grand and peculiar style of architecture; and another to the city of Ely, remarkable for its situation upon a beautiful and fruitful hill rising from the midst of a low moorland, and yet more for its beautiful cathedral, considered one of the finest specimens of Gothic architecture in England. In this, as a remains of its former splendour, the finest ecclesiastical psalmody is still chanted during divine service by sixteen singers especially maintained for that purpose, and seldom in that solitary place could perhaps be found hearers so devoutly attentive and edified as were _Spohr_ and his travelling companions.

In pleasant reunions with the _Horsley_, _Benedict_ and _Taylor_ families, his most intimately known friends, _Spohr_ especially passed many happy hours, in whose circles allied so intimately to art and artists, fine music was a never-failing enjoyment, and in which frequently, to the delight of his hearers, _Spohr_ contributed his personal aid. The more decidedly however, did he decline every request to perform in public, and in one exceptional instance only consented to assist at a concert given in his honour by the _Beethoven_ quartet society. The programme of this concert, which displayed the heading “Homage to _Spohr_,” comprised however on this occasion nothing of _Beethoven_, and three compositions of _Spohr_ only, selected from different periods of his life, viz: 1st. A quartet (_G minor_), a production of his early youth; 2dly. A duet composed about 20 years later, played by _Joachim_ and _Sainton_ in a masterly manner, and 3rdly. The third double quartet (_E minor_), in which _Spohr_ took the first violin part, and by his play and by the whole composition, the first “number” of which alone had kindled the admiration of the public, drew down a very storm of applause. The newspapers adverted in terms of the highest praise to the selection of the three compositions and to their separate beauties. Upon this occasion, respecting the duets the “Times” said as follows: “These duets for two violins belong to the greatest productions of _Spohr’s_ richly inventive genius. Out of seemingly small materials the great composer has achieved harmonic effects scarcely inferior in richness and fullness to the quartet. The duet in _E flat_ is positively overflowing with beauties of melody and counterpoint, a perfect masterpiece.”... And added further on: “The double quartet in _E minor_ is one of _Spohr’s_ most surpassingly rich compositions.... Every separate theme bears the stamp of genius, and is worked out with a perfection of finish that displays the highest degree of intelligence.”... “If _Spohr_ had never written anything else, his fame would have been established by this work alone, as one of the greatest composers in the world.”... “_Spohr_ plays now but seldom in public, but both musicians, and the general public alike, eagerly seize the rare opportunity of hearing the greatest violinist of the present day. His style is a pattern of purity and taste.... He not alone produces difficulties of every kind, and handles them with the ease of mere play toys,--but in his execution displays moreover the full energy and inspiration of youth.”...

The end of the vacation was now rapidly drawing near, and with it once more the hour of parting; and on the last days of his sojourn so manifold were the demands made upon his time and attention that all his habitual calm self possession was taxed to the utmost. With heart and mind impressed with happy and elevating reminiscences he returned to his native country, where with his accustomed cheerfulness and zeal he was soon re-engaged in the performance of the duties of his post.

In the beginning of November he was plunged into grief by the sudden intelligence of the death of his friend _Mendelssohn_, deeply lamenting whose loss both as a man and a musician, he expressed himself as follows in a letter to _M. Hauptmann_: “What might _Mendelssohn_ in the full maturity of his genius not have written, had fate permitted him a longer life! For his delicate frame the mental exertion was too great and therefore destructive! His loss to art is much to be lamented, for he was the most gifted of then living composers, and his efforts in art were of the noblest!”--His next thought was to institute a festival _in memoriam_ of the too early departed one, but as he received for answer to his proposal to that effect, from the intendant of the court theatre, that: “the proposed festival in memory of the deceased could not be permitted at the concerts of the court theatre, as it did not find approval in the highest quarters,” he determined to give it on a smaller scale at a private concert in celebration of the 25th. anniversary of the St. Cecilia society on the 22nd. November, and upon the occasion to inaugurate the fete with a poem composed for the occasion with a chorus from _Mendelssohn’s_ “Paulus.” But after everything had been arranged for the best and the grand rehearsal been held, intelligence was suddenly received of the dangerous illness of the Elector Wilhelm II., who resided in Frankfort, which was followed by that of his death, and the order for a general mourning throughout the Electorate and a desistance from every kind of music on the following days. Hereupon, after a delay of a month, the performance of the projected festival was again about to take place, and _Spohr_ had once more fixed the day for it, when death once more intervened--this time afflicting his own family with a very painful loss. On the 18th. December _Spohr’s_ mother-in-law was seized with illness, and after a few days’ suffering was snatched from the disconsolate family to which she had been bound by ties of the tenderest affection. The Christmas holidays, which had usually been with them a period of happy festivity, were now changed to days of gloom and mourning, and the more so from the circumstance that Mr. _Pfeiffer_ (father) was laid on a sick-bed by the unexpected blow, and the happy reunion in the paternal house, where _Spohr_ always felt so happy, and so well knew how to make others so, seemed to be interrupted for a long time, if not for ever! The subsequent weeks passed amid cares and anxieties, and not until his father-in-law’s convalescence could _Spohr_ think of celebrating the long-prepared-for festival.

The programme was so arranged, that it presented in chronological order twelve music pieces of _Bach_, _Händel_, _Haydn_, _Mozart_, _Beethoven_, _Hauptmann_, _Mendelssohn_ and _Spohr_, as specimens of the style of each of those masters, to whose works the St. Cecilia society during its existence of twenty-five years had especially devoted its efforts. After the last song piece but one: “Wir preisen selig die” &c., from “Paulus,” a poem was recited, entitled: Feeling of sorrow upon the early death of _Felix Mendelssohn-Bartholdy_.

This was followed by the presentation of a double breast-pin set with diamonds, accompanied with a poetical address to _Spohr_--the subject represented by the pin being a violin, and bass-clef. A “Hymn to _Spohr_,” composed by _H. Stähle_, was then sung; and in conclusion, at the banquet which followed, a discourse was delivered relative to the origin and services of the society for the prosperity of which the speaker himself (Mr. _Weinrich_), in the triple character of singer, librarian, and treasurer, had laboured with unwearied zeal for many years.

In 1848, shortly after the outbreak of the disturbances in France, _Spohr_, somewhat under the influence of ideas of liberty, &c., composed his sextet for two violins, two viols and two violincellos (Op. 140, published by _C. Luckhardt_ of Cassel), on making entry of which in the list of his compositions, he appended the words: “Written in March and April, at the time of the glorious revolution of the peoples for the liberty, unity and grandeur of Germany.” And this composition, so rich in freshness of melodies, in genuine ætherial harmony, that scarcely any other of _Spohr’s_ works surpasses it, furnishes an eloquent testimony to the state of his feelings and his aspirations, which, soaring above the storms of the present, speak only of peace, hope and concord, as in spirit he beheld them spring out of the momentary struggles. Satisfied as _Spohr_ might feel with this composition--the first since the dawning of the new æra upon Germany--he nevertheless for some time wholly abandoned all further composition, feeling, as he complained in a letter to his friend _Hauptmann_, that “the excitement of politics and the constant reading of the newspapers incapacitated him from giving his attention to any serious and quiet study.”

On the 6th. August a grand popular festival took place in Cassel, which kept the whole of the inhabitants in a state of joyous mobility for the day. It commenced early in the morning, with the public recognition of the imperial administrator by the garrison assembled upon the “Forst.” This was followed by the consecration and presentation of colours to the newly-formed corps of body-guards, combined with a grand church service in the presence of the Electoral family upon the Bowling-green in the Karlsaue, and in the afternoon there was a people’s festival, in which the whole population of Cassel--a mixed troop of all classes--flocked to the Aue, either as participators in, or spectators of, the popular games, the dancing and the music. Towards evening, to the surprise of everybody the Elector, in plain black dress-coat, was seen threading his way among the joyous crowd, with looks expressive of the cheerful interest with which he acknowledged the cheers of the people who thronged every part of the park. The festivities of the day were terminated by a concert under _Spohr’s_ direction, executed by the singers and members of the choral societies of Cassel in front of the orangery, at which also the Elector appeared, and after a lengthened conversation with _Spohr_, asked him expressly for the song “Was ist des Deutschen Vaterland.”

In June 1849 _Spohr_ set out for Carlsbad, and stopped on his way thither a few days at Leipzic, where in the circle of his musical friends, he again passed many happy hours devoted to his noble art. On the first evening, at the house of his friend Mr. _Vogt_, two of his latest and as yet unpublished compositions--the fourth double quartet (_G minor_) and the but recently finished 31st. quartet (_C major_)--both of which were subsequently published by _C. Luckhardt_ in Cassel as Op. 136 and 141. The double quartet was received more especially with such warm admiration, that _Spohr_ gratified the wish expressed by several of his auditors to repeat it once more on the following day at the conservatory before a large circle, among whom were the teachers and pupils of that institution. On the last evening, his old friend _Moscheles_ prepared for him a brilliant fête, and embellished the musical part of it by his own masterly performance of _Spohr’s_ first trio, and his pianoforte quintet with wind instruments, after which the strains of a choral song, “Honour to _Spohr_,” were suddenly heard from the garden in front of the house, and some of his four-part songs, some of _Mendelssohn’s_ and some of _Hauptmann’s_, were executed in a most effective manner.

The now ensuing stay in Carlsbad, extending to several weeks, was upon this occasion particularly pleasant in many respects. In the intercourse with several distinguished men well known for their public activity, _Spohr_ took great pleasure. Among these especially were _Hansemann_ of Berlin and _Simson_ of Königsberg, to the latter of whom, from the thorough community of sentiment in their mutual political creed, he was especially attracted. As both men evinced at the same time a warm love of music, they, together with their families were soon admitted into the small circle of the elect who had the _entrée_ to the musical performances of _Spohr_ and his wife. With these and other charming families the afternoons were then passed in excursions on all sides into the beautiful environs, in which _Spohr_, although long since well acquainted with every spot, always experienced a new delight and one equally shared by his wife.

From his stay in Carlsbad _Spohr_ also experienced the most desirable benefit to his health, resulting in so complete and permanent a relief to the liver complaint which had recurred at previous frequent intervals, that, grateful as he felt for the pleasant and health-restoring time he had passed there, he had now no further necessity to resort to the wonderful efficacity of its waters.

Strengthened and refreshed in body and mind, he returned to Cassel, and shortly afterwards began the composition of his fifth pianoforte trio (_C minor_, Op. 141, published by _Schuberth_ in Hamburg); which was followed by three duets for two soprani, published by _Peters_ of Leipzic, which for their sweetly expressive melodies and their ease of performance, like those which had previously appeared from the pen of _Mendelssohn_, soon became favorite pieces in musical circles.

Towards the end of the year 1849 _Spohr_ was afflicted by a heavy sorrow, in the sudden illness that befell his wife the day after Christmas Day, and which increased so much in severity as to imperil her life at the entry of the new year. At length, however, her good and unimpaired constitution, aided by the most unremitting care, overcame her malady, and _Spohr_ hailed once more with delight the day when she could again resume her accustomed seat by his side at the dinner-table. But on the next day (January 22) an untoward accident befell himself. While on his usual daily way to the theatre rehearsal, a sharp unexpected frost having set in during the night, he slipped, and fell with such violence as to inflict a very severe blow on his head, from the consequence of which the unremitting care of his experienced medical attendant Dr. _Harnier_ did not re-establish him till after the lapse of several weeks. Shortly after his recovery, he wrote his ninth symphony, “Die Jahreszeiten” (The Seasons), the plan of which had much occupied his mind during his illness, and as he himself complained, “regularly haunted him during the long sleepless and feverish nights.” He gave in so far a new form to it, that he divided it into two grand themes, with the designations: Part I.: Winter, transition to spring, spring. Part II.: Summer, transition to autumn, autumn. Although _Spohr_ wrote the symphony in the dull cold days of winter, the result nevertheless was just the least characteristic of his _winterly_ intentions. While in the _spring_ theme every note rings joyous with the glad awaking of nature,--in that of _summer_, the sultry heat is expressed in tones the effect of which is such, that the astonished hearer positively seems to _feel_ it--and lastly the _autumn_, with its exhilarating music of the chase, and the masterly interwoven Rheinweinlied (vintage song of the Rhine)--can scarcely fail in inspiring the hearer with the most lively enthusiasm.

About this time _Spohr_, with every lover of music in Cassel, experienced great pleasure from the visit of a young female artiste nearly related to him. This was _Rosalie Spohr_, the second daughter of his brother _William_. From early childhood she had evinced a passionate love of music, and subsequently devoted herself with unwearying zeal to the study of the harp. Although at first it was not the wish of her parents that their daughter should perform in public, yet when they had subsequently become convinced of her real artistic talent, they could no longer oppose her ardent wishes, and at the age of 22 she proceeded, accompanied by her father, upon her first musical tour. After she had given proof of her abilities in several public performances at Hamburg and Leipzic, she visited Cassel, where she played several times in private circles, and at one concert at the theatre under the direction of _Spohr_, on which occasion she not only earned the warmest approbation of a delighted auditory but a yet more gratifying reward in the commendatory words of her highly-esteemed uncle. The young musician subsequently achieved many a brilliant triumph in her further visits to the larger cities of Germany and Holland; but her promising artistic career was shortly brought to an unexpectedly early termination, first by deaths in her immediate family circle, and afterwards by her marriage with count _Xavier Sauerma_.

During the summer vacation, in order at length to pay his long-promised visit to Breslau, _Spohr_ proceeded thither by way of Leipzic in the hope of hearing _Schumann’s_ new opera of “Genoveva;” but to his great regret, upon his arrival there, he was informed of the delays that had intervened to defer its performance, and was obliged to content himself with attending several rehearsals, but which, on account of the frequently interrupting repetitions, could naturally afford him but a very imperfect conception of the whole work. Although by no means an admirer of the compositions of _Schumann_ so far known to him, in which he had frequently found a want of euphony and melodious breadth of harmonies, he formed a very favourable opinion of the opera, and it especially pleased him to observe that the same method of treatment which he had resorted to in the composition of the “Crusader” had been followed, in that _Schumann_ did not permit the unnatural interruption of the action by a wearisome and constant repetition of words. It was no less interesting to _Spohr_ to become acquainted with some of his larger pianoforte compositions, the desired opportunity for which was afforded him at the musical parties given to him, at which Mrs. _Clara Schumann_ played a trio and pianoforte-concerto of her husband’s with the most finished excellence, with which exception all the rest were compositions of _Spohr’s_, among which the sextet he wrote during the March revolution: and at an extra-concert at the Gewandhaus his newest symphony, “The seasons,” was performed to the great delight of all who heard it.

The remainder of his stay in Breslau, which was there expressively designated as a “fortnight-long _Spohr_ festival,” was a continuous round of entertainments, musical soirées, &c. The “Neue Oder-Zeitung” describes _Spohr’s_ advent as “an event, that had set all the educated classes of the town in commotion,” and further adds: “Everybody crowds forward to see the German master--all are anxious to say that they have at least had the satisfaction of a personal meeting. There is a peculiar gratification in standing opposite to the man who, though his eye rests upon us with the coldness of the stranger, has been long known to us in spirit as one of our best and dearest friends--whose works have recalled to us the golden dreams of our youth, and whose noble creations purify our souls. All in Germany who love music and who play, recognise the master to whom as musicians they are indebted for a great part of their culture, for many elevating feelings, many hours of happiness. Is it then to be wondered at that every one crowds around the master--that all are ready to acquit part of that debt to him by loud and honourable acknowledgements?”

His festive reception, which commenced at the very railway station, was followed in the evening by a grand serenade and procession by torch-light, for which all the musical and choral societies of Breslau had met to execute the choicest pieces of music, chiefly selected from _Spohr’s_ operas, and which at intervals they gave singly, or executed in combination and _en masse_. At the grand concert that took place under his own direction at the spacious and handsome Aula, his own compositions alone were given: Overture to and air from “_Faust_,” the third symphony, with the “Lord’s Prayer;” and the “Breslauer Zeitung” designates it as “a musical festival singular in its kind in the city of Breslau, for that _Spohr_ at the present time was the _only_ one who had so much distinguished himself in every kind of composition, that the church, the concert room, and the theatre, could equally boast of his works; and that such a performance by such united powers (singing academy, theatrical orchestra, society of musicians, &c.) had never yet taken place there.” At the different banquets that were given to _Spohr_, his music in various ways formed part of the entertainment, and the songs that were written in his honour for the occasion had been adapted to appropriate melodies of his, which greatly increased their effect and frequently took the company by surprise.

At the express wish of the friends of music of Breslau, he determined to assist personally at a concert given in the smaller saloon of the Aula, before a great number of musical amateurs who had been invited; in his sextet and third double quartet, of which the “Breslauer Zeitung” speaks with much enthusiasm, and after dwelling upon the generally acknowledged specialities of his play, says further: “that the master at his _present age_ still possesses all those specialities; that he plays with the fire and energy of a young man, and throws off the greatest difficulties with a power and boldness that are astonishing--that it is a thing quite _unusual_ and was never seen there before.”

On the part of the directors of the theatre the happy selection of _Spohr’s_ opera “Zemire und Azor” was made in his honour, which, with its charming melodies, never fails to make the most pleasing impression on the public on the first time of hearing; and with its music so truly appropriate to its subject, opens to us as it were the bright world of fairy land, which although more than ever fading away from the materialistic age in which we live, yet idealised by such sweet sounds, can never lose its fascination for the mind. This effect was produced on this occasion in Breslau also, as demonstrated by the brilliant reception with which it was welcomed, and the generally expressed wish for its speedy repetition under _Spohr’s_ direction, who then also experienced great pleasure in those two fine performances of his work.--He was no less gratified by the organ concert given him by his friend _Hesse_ in the fine church of St. Bernard, in which he exhibited his great mastery of that grand instrument in every possible manner. Devoted admirer and adherent of _Spohr_ as he was, he was still loathe to part from him, when after a fortnight passed in Breslau he departed with the purpose of making an excursion in the Riesengebirge with his wife. As a guide intimate with the localities _Hesse_ accompanied them, and was not a little gratified in witnessing the feelings of delight with which _Spohr_ was impressed by the natural beauties of his Silesian fatherland. Neither was music, loved music forgotten, for it was not only the subject of daily discourse, but in the Riesengebirge itself the powerful serenades of the music chorists of Warmbrunn and Hirschberg greeted their master, _Spohr_.--The return journey to Cassel was made _viâ_ Berlin, where _Spohr_ found an invitation from the conservatory, which, although but thinly composed in summer, performed nevertheless a part of his oratorio “Calvary” and his psalms with double chorus in a brilliant manner, by way of compensation both to themselves and him for his inability to comply with the invitation they had given him almost every winter to come and either personally direct or hear his oratorio.

Meanwhile the political state of Germany, and more particularly of Hesse greatly grieved _Spohr_, and as the best consolation he abandoned himself to his musical studies, the zest for which did not leave him even in this time of trouble and sorrow. In the course of the months of October and November he composed his seventh quintet for stringed instruments (_G minor_, Op. 144, published by _Peters_), and three songs from “One thousand and one days in the East,” by _Bodenstedt_ (also published by _Peters_).

It was in the summer of this year that _Spohr_ experienced the malice and chicanery of the court. He had intended to start the first day of his vacation for a tour in Switzerland and upper Italy. He accordingly sent in his request to the Elector, which he considered a mere pro-formâ matter. To _Spohr’s_ great surprise the answer was in the negative--no leave of absence would be granted. Hereupon _Spohr_ set off without leave. He passed through the _Via Mala_, over the Splügen to Milan and Venice, and returned over the St. Gotthard pass to Lucern, and so back to Cassel, where he arrived before the vacation had expired. After a short repose he availed himself of the remaining time to pay a long-promised visit to _Wehner_ the director of the orchestra at Göttingen, who, conjointly with all the lovers of music at that place, used every exertion to do honour and afford gratification to their esteemed guest. A serenade given by the members of the choral society on the first evening of his arrival was followed on the next morning by a musical greeting performed by the band of the regiment lying at Nordheim in the immediate neighbourhood. At a grand concert given at the Aula _Spohr_ directed in person his symphony “Die Weihe der Töne,” which was followed by his potpourri on themes from Jessonda, performed by one of his most distinguished pupils, _Auguste Kömpel_, who when a boy had awakened the warmest interest on the part of _Spohr_ by his remarkable talent, and after having studied under him for several years with the greatest success, was first appointed a member of the court orchestra at Cassel and subsequently Kammermusicus and member of the royal orchestra at Hanover.[41] As finale to the concert _Mendelssohn’s_ music to Athalia, combined with a melodramatic poem, was executed by the members of the Göttingen choral society; and thus _Spohr_, who had been present at its grand rehearsal with the greatest interest, had the much desired opportunity of becoming acquainted with the only one of the grander lyrical compositions of _Mendelssohn_ which he had not yet heard. On the following day there was also some excellent music.

[41] To him, as a true representative of the _Spohr_ school was the preference given over all the competitors who bid in emulation of each other and at very high prices for the highly coveted Stradivari violin of his honoured master; and which became his property one year after the decease of the latter.

_Wehner_ had made arrangements for quartet music at his own house, and previous to a large dinner party, which he gave as a mark of respect to _Spohr_, some exceedingly fine music was performed with the most finished excellence, and to the delight of all present _Spohr_ himself took part in his own sextet. The dinner was seasoned by a succession of appropriate toasts and piquante speeches, the chief subjects of which were music and politics, and lastly also “_Spohr’s_ bold stroke”--the journey without leave--was drank amid the clang of glasses and the enthusiastic cheers of the company, who highly approved of the spirit he had shown. But the “bold stroke” was, as may be imagined, considered with much less approbation in Cassel, and a few weeks after _Spohr’s_ return he was officially required by the general-intendant to explain and justify “his absence from Cassel without leave.” His explanation was considered unsatisfactory, and he was condemned to pay a fine of 550 thaler (82 _l._ 10 _s._). He went to law; but the end of it was that he paid the money, which was handed over to the pension fund instituted by him.

* * * * *

It was in the midst of these troubles that he wrote a series of six _pieces de salon_ for violin and piano and the 32nd. violin quartet (Op. 145 and 146; Leipzig, _Peters_).

In the beginning of the year 1852 _Spohr_ received a visit from the director of the Italian opera in London, Mr. _Gye_, who proposed to him to direct there his opera of “Faust” during his summer vacation, and for that purpose to write a connecting recitative instead of the dialogue in the original, by which means alone the urgent wish of the Queen for the performance of the opera on the Italian stage could be gratified. As _Spohr_ at first considered that such a change would be impossible in many of the scenes, he felt compelled to decline the proposal; but they were not so easily to be pacified in London by so unexpected an answer, and after receiving several further pressing letters upon the subject, _Spohr_ set himself to work, and, contrary to his own expectation, with such satisfactory results, that after its completion he expressed himself upon the subject in a letter of the 21st. May to _Hauptmann_ in the following words: “You have no doubt already heard that at the express wish of the Queen of England and of Prince Albert I have remodelled my opera “Faust” for the grand opera. This work has afforded me great pleasure, and agreeably engaged me for a period of three months, in which I have been as it were transported completely back to the happy days of my youth in Vienna. At first, with the assistance of my wife, I had to alter the dialogue scenes in such a manner as to adapt them to composition. In doing this I have endeavoured to impart more interest to them than they previously possessed, and to make elision of those things which from the first had displeased me at many performances I had seen of this opera. I think and hope that I have succeeded in both. I had then to replace myself as it were in the same mood, and style in which I wrote Faust, and I hope that I have succeeded in this also, and that no one will observe a difference of style between the old and the new. The opera consists now of three acts; the second concludes with the wedding scene, and the third begins with a new entr’acte, which depicts with reminiscences from the trio of the torch-dance and the witches’ music the night of debauch passed by Faust, and then passes into a grand recitative by Mephistopheles, to which his air in _E major_ is connected. After the disappearance of the witches a recitative by Faust follows, blended with intonations of former and later conception, and hereupon a shorter one between him and _Wagner_, which is succeeded by the concluding finale. My curiosity is now intense to hear the opera in its new form! Should nothing come of the journey to London, I hope to hear it soon at Weimar, as _Lisst_ has asked for it in its new form for the court theatre there.”--The new recitatives thus reached London so early, that weeks before _Spohr’s_ arrival there the study of the parts could be commenced; but at the first rehearsal he remarked that the in every other respect so greatly distinguished Italian singers, were not all he could have desired in their comprehension of this to them wholly foreign style of music, for which reason he immediately ordered daily thorough rehearsals under his own direction, in which he soon had the satisfaction of seeing that the whole of the singers entered more and more into the conception and spirit of his musical intentions, and submitted with the greatest willingness to his every nod, until every thing went so faultlessly that after the four last grand rehearsals which took place, and the lapse of three weeks, it was possible to give a perfect public performance.

To avoid all seeming reiteration of the numerous musical events and marks of respect, that in the interim were shewn to _Spohr_ on this visit, it will suffice to mention one agreeable surprise only of which _Spohr_ used to speak with delight in after years. This was the magnificent performance of his oratorio “Calvary” (des Heilands letzte Stunden) at Exeter Hall, under the excellent conducting of _Costa_; and which, performed by greater masses of assistants than at the memorable Norwich festival (700 singers and musicians), completely overpowered _Spohr_ himself, as well as the enthusiastically delighted public; in so much, that he was obliged to agree in the remark of his friends, that the effect in many parts, especially that of the powerfully imposing choruses, was more immense than the composer himself had even conceived.

On Sundays, on which days, according to English custom, the theatres are closed, there are no concerts, and even all private music is hushed, _Spohr_ gladly availed himself of the invitations he received to make excursions far away from the gigantic town, to recruit his energies somewhat in the fresh air, from the daily musical fatigue and excitement. Sometimes it was to Clapham and Kensington, on a visit to the _Sillem_ and _Horsley_ families; sometimes farther by railway to Sir _George Smart’s_ pleasant country-house at Chertsey, which _Spohr_ always called “the little paradise;” or to Professor _Owen’s_ in Richmond-park; from which he always returned requickened in mind and body to the wear and tear of London life. _Owen’s_ charming residence and his amiable manners were always subjects of agreeable recollection to _Spohr_, and he would often relate how the celebrated naturalist, in his kindly unassuming manner, would come out to welcome him on a hot summer’s day, clad in a light summer jacket and a broad-brimmed straw hat, but in honour of “his welcome renowned guest,” decorated with the Prussian order “pour le mérite,” and then till late in the evening devise every possible means of affording him pleasure and entertainment.

Meanwhile the rehearsals of Faust had prospered so well, that on the 15th. July the first public performance took place under _Spohr’s_ direction, and a letter written home refers to it in the following manner:

“The opera went off incomparably well, and made a wonderfully powerful effect upon everybody. Indeed to us also it appeared in quite a new light--everything was so grand, so splendid! The new additional themes blend charmingly with the whole, and present singularly fine effects. Decorations, scenery, all are new, exceedingly brilliant and got up at great expense: orchestra, singers, and chorus, did their best, so that the Londoners say, that they have not seen so splendid an operatic performance for many years; and it was received throughout also with the most enthusiastic applause. That the foreign (almost all Italian) singers would have sung this German music with so much zest and pleasure, we could scarcely have believed possible. Those who most distinguished themselves were Mrs. _Castellan_ (Kunigunda), _Ronconi_ (Faust), _Formes_ (Mephistopheles), and _Tamberlik_ (Hugo). The latter charmed every body, for he has a splendid tenor voice with immense power, and he executed the beautiful air, accompanied by a magnificent chorus of forty male voices, with such fire and irresistible power that a _da capo_ was called for by general acclamation. And _Formes_ also, in his song in _A major_, which had greatly gained by the newly composed exceedingly beautiful introduction and recitative scene.... The whole house was in ecstacy, and in the intervals between the acts, and at the end, _Spohr_ was warmly congratulated by a host of friends and admirers.” With similar success and with yet more perfect execution, the second and third performance of Faust, under _Spohr’s_ direction, took place within a few days; after which he once more left England, accompanied to the place of embarcation by numerous lovers of music, who up to the last moment projected the most inviting plans for the next summer.

Agreeably impressed with the successful issue of his journey, he returned to Germany, picturing to himself the happy hours in which, as was his custom, he should again relate amid the expectant circle at home the interesting incidents of his visit. But this time the pleasure of once more meeting the members of his family was but too soon overshadowed, and _Spohr_ beheld with much alarm the suffering constitution of his father-in-law, whose declining bodily strength had for some time past excited the utmost anxiety; but which assumed appearances so threatening during the last few weeks, that the anxious members of his family, despite their tender care and hopefulness, could no longer deceive themselves as to the near approach of his dissolution. With sorrowing hearts they beheld with every day the nearer approach of the long-dreaded moment; till on the 4th. October 1852, the loved and honoured parent breathed his last. This sad event cast an enduring shadow over _Spohr’s_ life, for with his wife he not only lamented the loss of the beloved father, but mourned thenceforth that of the truthful friend whose feelings and sentiments had been so congenial with his own.

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In the autumn of 1852 the duties of _Spohr’s_ office were unexpectedly much alleviated by the nomination of a second director; an appointment which indeed, with his great activity and as yet unimpaired powers, he had never contemplated as a thing to be desired; but which was nevertheless the more agreeable to him from the circumstance that the newly-created appointment was given to his favorite pupil, concert-master _Jean Bott_, in order to secure his rejection of the post of musical director at Hanover, which had been offered to him under very favourable circumstances. By this means the Cassel court orchestra was saved the loss of so distinguished a member, and his services were fully secured. _Spohr_ consented also very willingly to the requisitions of the managers of the theatre to abandon to the direction of the new co-director the operas proposed, and suggested but few modifications in this arrangement. By this means _Bott_ assumed the direction of a number of light operas, chiefly French and Italian, but undertook as heretofore to lead as first violin in the orchestra under _Spohr’s_ direction in all grand German operas, which were reserved to the latter. The repertory of the new and zealous co-director soon received an interesting addition, for in the beginning of the year 1853 _Shakspeare’s_ “Midsummernight’s Dream,” with _Mendelssohn’s_ music, was performed on the Cassel stage for the first time; on which occasion _Spohr_ expressed himself in the following words in a letter to _Hauptmann_: “The most charming music that I know of _Mendelssohn_ is indeed his music to the “Midsummernight’s Dream,” which has at length been performed here also, and right well. _Bott_ practised the orchestra in the music most assiduously, and for me it was a great enjoyment to be enabled for once to listen as auditor to the performance of good music.” In regard to _Spohr’s_ own labours the same letter then speaks further: “We are now studying ‘Tannhäuser,’ (which the Elector has at length permitted), and we shall give that opera for the first time on Whitmonday. It will be put on the stage with the greatest care and both decorations and costumes will be rich. There is much that is new and beautiful in the opera, but much also that is most distressing to the ear. For the violins and basses it is more difficult than anything I ever yet met with,” &c.

After the first performances of this difficult work had passed off in the most successful manner, _Spohr_ wrote again respecting it to his friend _Hauptmann_: “‘Tannhäuser’ was performed last night for the third time, and again to a full house. The opera has gained many admirers, by reason of its earnestness and its subject-matter, and when I compare it with others produced of late years, I am also of their way of thinking. With much of what was at first very disagreeable to me I have become familiarised from frequent hearing; but the want of rhythm, and the frequent absence of rounded periods is still to me very objectionable. The manner in which it is performed here is really very fine, and in few places in Germany can be heard with such precision. In the enormously difficult ‘ensembles’ of the singers in the second act, not one single note was omitted last night. But with all that, in several parts these assume a shape which make a downright horrifying music, particularly just before the part previous to where Elizabeth throws herself upon the singers who rush upon Tannhäuser.--What faces would _Haydn_ and _Mozart_ make, were they obliged to hear the stunning noise that is now given to us for music!--The choruses of pilgrims (but which are here supported by clarinets and bassoons _p_.) were intonated so purely last night, that I became somewhat reconciled for the first time to their unnatural modulations. It is astonishing what the human ear will by degrees become accustomed to!” &c.

Although, as may be inferred from the above remarks, _Spohr_, with his preminent sentiment for harmony and beautiful, regular forms in music, could not readily reconcile himself to the tonic creations of more modern times, which so frequently deviate from them, he nevertheless took a lively interest in them, and was so anxious to become acquainted with _Wagner’s_ newest opera “Lohengrin,” that while awaiting the as yet witheld permission of the Elector for a full theatrical performance, he determined upon giving some scenes from it at the ensuing winter concerts, and wrote to _Hauptmann_ on the subject as follows: “If you wish to afford us a pleasure by sending something for our winter concerts, let me ask of you the music to ‘Lohengrin.’ I was in correspondence with _Wagner_ this summer, and he knows that I am exerting myself to put that opera upon the stage here, also. He will therefore have no objection to a performance of some scenes beforehand. I shall write to inform him of it also upon a fitting occasion, but I do not like to renew the correspondence on the subject, without being empowered to ask at the same time for the score for our theatre, which will not be before next summer, for the birthday of the Elector.” This expectation was nevertheless not realised, for the Elector’s permission was neither granted for the day appointed, nor upon a subsequent reiterated solicitation; and in this manner _Spohr_ was never enabled to hear this opera, which both in Cassel and other places he had repeatedly striven to do.

With the approach of the vacation of the summer 1853 _Spohr_ made preparation once more (for the sixth and last time) for the journey to England, whence in the month of January he had received, (and as chance would have it upon the same day) two letters of invitation from two wholly different parties. One, from the theatre-director _Gye_, contained a recapitulation of the plan formed in the previous summer, of bringing out an Italian translation of _Spohr’s_ “Jessonda” during the approaching season; the other, from Dr. _Wylde_, the director of the recently instituted New Philharmonic Society, contained a pressing invitation to _Spohr_, to undertake the direction of the grand concerts which the society contemplated giving during the summer months. The latter attractive invitation was the one that decided his yet wavering resolution, since it was of the greatest interest to him to procure a hearing for his grander orchestral compositions, which would there be performed with all that power which was already known to him, before a public who, like all the performers, understood so thoroughly the spirit of his music.

Scarcely had he arrived in London than an agreeable musical surprise awaited him, for on his first visit to Dr. _Wylde_ he was pressed by him to proceed immediately to a morning concert then about to take place, and arrived there just in time to hear an excellent performance of his nonett, and at the conclusion was warmly greeted by the audience, to whom the announcement of the presence of the composer was both an agreeable and sudden surprise. Under similar circumstances he was present the next evening at the last Philharmonic concert in the Hanover Square Rooms, where he was greatly gratified by the very successful performance of his historical symphony, which was enthusiastically applauded. A few days afterwards the first of the concerts of the New Philharmonic Society took place under his personal direction, of which mention is made as follows in a letter written home: “Last evening _Spohr_ consummated the first of his great achievements; the direction of the fine New Philharmonic concerts in Exeter-Hall, where he was again received with the same enthusiasm as formerly, and which was manifested throughout the whole performance. We found our exalted expectations of this gigantic orchestra, wholly composed of musicians of high standing, fully realised, and the impression made by the immense mass in the spacious and densely crowded hall was truly grand and imposing. Even the ninth symphony of _Beethoven_, abnormal as are many things therein, and especially the last subject, with the ‘song to pleasure,’ executed in the finished manner it was, afforded a real enjoyment. _Spohr’s_ ‘Overture in the severe style’ opened the concert, and had a grand effect; as also that of ‘Jessonda,’ which was even encored. This was followed by the tenor song in ‘Jessonda,’ splendidly sung by _Th. Formes_, and received with tumultuous applause,” &c.

Not less interesting also was the programme of the last concert directed by _Spohr_; it comprised besides his own compositions--a quartet concerto, a double symphony, and the overture to the “Mountain Sprite,”--the _D major_ symphony of _Beethoven_, the overture to “Fidelio,” the duet for two pianofortes of _Mendelssohn_ and _Moscheles_ (executed by Miss _Claus_ and Miss _Goddard_), and some other pieces. The performance of the whole of the pieces of music was all that could be desired, and in regard to the fine effect of _Spohr’s_ symphony, a letter specially remarks: “The double symphony seemed as though it had been written expressly for such orchestral powers and for this place. The lesser orchestra was, in accordance with several trials made at the rehearsal, placed high up above, and apart; and sometimes between the powerful and imposing masses of tone of the larger orchestra it sounded really like music from another sphere.”