Chapter XXVII: Part 27

The chief object of _Spohr’s_ journey to London was thus once more fully achieved: but on the other hand the projected performance of “Jessonda” during the same time, met with numerous unexpected obstacles. In order to allow _Spohr_ the number of rehearsals he considered necessary for the study of the work, another opera, also a newly studied one, “Benvenuto Cellini,” by _Berlioz_, was selected for performance during the intervening opera nights; and as is the custom, was to be repeated several times without further rehearsal. But upon the very first night of its performance, it met with a very unfavourable reception from the public, and _Spohr_ himself, interested as he felt to hear this much-talked-of music, respecting which opinions were so conflicting, was not much edified thereby, as appears from a letter written to his friend Mr. _Lüder_: “In the opera of _Berlioz_, which I heard in London this summer, there are some fine things, but scarcely has one begun to feel interested in it, than there comes a something so bizarre and harsh, that all the pleasure one has felt is destroyed. I have a special hatred of this eternal speculating upon extraordinary instrumental effects, for his opera contains without doubt many really happy conceptions both melodic and dramatic, and these are always marred by them. This it was also that displeased the London public, which was at first very favourably disposed towards him, and received him upon his entering the orchestra with loud applause; but as the opera proceeded their dissatisfaction increased, until at length, upon its conclusion, the audience broke out into one general storm of hisses and whistling; a circumstance never known to have occured before at the Italian opera in London in presence of the Queen!--It is with _Berlioz_ as with all the other coryphées of the music of the future; they do not abandon themselves to their natural feelings in their work, but speculate on things which have never yet been. That is the reason why these gifted musicians seldom write anything that is enjoyable, particularly for people who in the last century grew up in the knowledge of _Haydn_, _Mozart_ and _Beethoven_,” &c. With so explicit an opinion as that pronounced by the London public, the theatrical direction did not dare risk a second performance of the opera, and other operas were obliged to be substituted, which required also several rehearsals, and “Jessonda,” which was as yet only in the first stage of study, was still farther postponed. This, nevertheless, was no great source of uneasiness to _Spohr_, and the time thus gained was agreeably occupied by him in other musical enjoyments.

On this visit indeed _Spohr_ and his wife found a home replete with every domestic comfort in the house of Dr. _A. Farre_, who emulated with his kind lady in his attentions towards them, and kindly devoted every hour that his professional engagements permitted to the entertainment of his guests; in this manner a warm friendship was soon established between the two families, and the weeks passed under his roof were ever recalled by _Spohr_ as among the most pleasing of his recollections. As Dr. _Farre_ and several of his medical colleague were very musical and good singers, they had formed themselves, in conjunction with some other families devoted to the art, into a musical circle, in which music of a high class was zealously cultivated, and that of _Spohr_ was more especially the favorite. In a soirée of this kind he had one evening the agreeable surprise to hear his oratorio “Die letzten Dinge” performed by eight and twenty dilettanti with faultless precision, a production which, in rare contrast with the habitual English taste for massive instrumentation, appealed to the feelings in the most pleasing manner by the _perfect purity_ and intensity of its expression. At a brilliant musical soirée given by Dr. _Farre_ himself, in compliment to his guests, a succession of pieces selected from _Spohr’s_ different operas was also given in the most efficient manner, and was subject of no small surprise and gratification both to him and the assembled company.

Meanwhile, the rehearsals of “Jessonda” had slowly proceeded, it is true, but there had arisen so many causes for a delay in its production, that before this could take place, the period of his vacation expired, and _Spohr_ was obliged to leave London for Germany; but in doing so he had the satisfaction of leaving his opera in charge of a worthy representative, Mr. _Costa_, under whose direction, a fortnight afterwards, it was performed several times with the most brilliant success.

Upon his landing at Calais _Spohr_ was warmly received by the amateurs of music of that town, who had become apprised of the day of his arrival, and he was invited by them to a grand entertainment given in his honour. Its chief feature was a luxurious banquet, but of which also an agreeable musical surprise formed a part; for at the conclusion of the dinner the pleasing notes of _Spohr’s C minor_ quartet were heard in the adjoining apartment, which was followed by the execution of several other pieces, and continued up to the departure of the delighted guests at a late hour. This day, so unexpectedly passed in Calais in the midst of musical and festive enjoyments, was a subject of special gratification to _Spohr_, as he had least of all expected, here, upon the soil of France, to have met with such proofs of esteem and so much admiration for his music.

On the return journey he was much occupied with an idea which he had conceived in England of a new grand composition for the pianoforte with instrumental accompaniment, and which upon his arrival home he forthwith began with zest and spirit. Thus was produced--in the seventieth year of _Spohr’s_ age--one of his finest masterpieces, the septet for pianoforte, two stringed and four wind instruments, replete with the freshness of youthful thought in every part, with a _larghetto_ which has scarcely its equal in bewitching harmony and beauty of modulations. While yet in manuscript it was publicly performed at the next subscription concert, on which occasion both the composition and the excellence of the execution met with the most favourable reception and acknowledgement. The pianoforte part, which was as grateful as it was difficult, was taken by _J. Bott_, and the audience testified yet more warmly their just appreciation of his execution from his having displayed also on the same evening his brilliant talent as violin player in _Spohr’s_ 15th. violin concerto. By the desire of the lovers of music of Cassel, a repetition of the new septet was given at the next concert; after which, while yet in manuscript, it was performed at one of the quartet soirées in Leipzic, and the fullest justice done to the pianoforte part by the truly artistic execution of _Moscheles_, and received there by the public with the most gratifying applause.

For the next summer vacation (1854) _Spohr_ had contemplated another journey to Switzerland; and so great this time was his desire to pass once more the most pleasant summer month in the undisturbed enjoyment of the beauties of nature, that the numerous invitations he had received to the musical festivals in England and Holland were powerless to induce him to relinquish his long previously projected plan. As he was on the eve of departing, he received by telegraph a farther pressing entreaty from his grand-daughter _Antonia Wolff_ at Ratisbonne, who had there married a collegiate professor, a Mr. _Schmitz_, and who besought him to go by way of the old imperial city, where a visit from him had long been anxiously desired by all lovers of music, and to pass a few days with his grand-children and great-grand-children. Attractive as was this invitation, _Spohr_ with regret felt compelled to decline it, his holidays being so strictly limited; and no railroad existing at that time to Ratisbonne, it would have led him too far out of his projected route.--After a short sojourn at Marburg, Heidelberg, and Baden-Baden--so famed for the beauty of their respective environs--he proceeded to the south of Switzerland, and especially enjoyed the voyage by steamboat upon the magnificent lakes. After a few days’ stay at Lausanne, Geneva, and Vevay, further excursions were then made into the more easily accessible neighbourhood, where all around smiled in summer’s rich attire, while beyond the lake rose in majestic contrast the lofty chain of the Alps, with its snow-capped summits.

Leaving the lake of Geneva the travellers continued their journey to Freiburg and Bern, at both which places quite unexpectedly calls were made upon the interest they took in music. At Freiburg, as soon as they had alighted at the hotel, _Spohr_ was invited to join the other strangers present in a subscription towards the honorarium which it was there customary to tender to the organist of the church of St. Nicholas, for the performance of a piece of music upon its so much celebrated organ. At the appointed hour, just as the shades of evening closed around, the small party assembled, and solemnly pealed the tones of the mighty organ through the spacious and empty aisles of the stately church, producing their wonted powerful effect upon _Spohr_. The organist, either not aware of the high musical authority before whom he was playing, or thinking to impose on him like the other strangers present by the exhibition of his wonderful artistic skill, struck up suddenly in the most inappropriate manner sundry things from modern operas, and then concluded with such a thundering peal on the instrument that the first exalted impression was wholly obliterated and _Spohr_ could not forbear the undisguised expression of his disapproval of such a profanation of the grand fabric of sounds, which, with its inscription: “_In majorem gloriam dei_,” seemed rather to him in a more exalted degree worthy alone to intonate the praises of God.

Scarcely arrived in Bern, _Spohr_ was surprised to see notices stuck up at the corners of the streets announcing two concerts of sacred music in which his oratorio “Die letzten Dinge” formed the chief feature of each, though preceded on the first evening by a cantata by _Sebastian Bach_, and on the second by four of _Marcello’s_ Psalms. The first concert had already taken place the evening before, but as a great number of hearers as well as performers had come in from the neighbouring towns to the second concert, Mr. _Edele_, the director of the “Society of Ancient Classical Music” at Bern, had made arrangements to give a repetition of the oratorio on the next evening, so that at this second performance of it _Spohr_ was enabled to hear it executed with the greater precision. As the news of _Spohr’s_ presence soon spread through the church, the opportunity was seized of giving the composer of the work which had just been performed with such devout inspiration, a public mark of the great esteem in which he was held in Bern; and in the later part of the evening he was suddenly greeted by a quickly improvised serenade, and addressed in several animated speeches. On the following morning _Spohr_ left Bern, and after spending several pleasant days with his female fellow-travellers in the Bernese Oberland and on the shores of the Vierwaldstädter Lake, he continued his journey across the Lake of Constance to Bavaria and its capital, Munich, where the much-talked-of grand exhibition of industry had just been opened. Though the one week spent there may have been found scarcely sufficient to see all the treasure of art and manufacture which had been collected partly for permanent and partly for a short exhibition only, the travellers do not appear to have thought a longer stay desirable, for they soon experienced also the prejudicial influence of the bodily and mental over-exertion, which, combined with the still more injurious climatic influences which during that disastrous summer carried off so many of the visitors to that then overcrowded city. Under such circumstances nothing could be more desirable than a visit to Alexandersbad, where Dr. _Theodor Pfeiffer_, a near relative, and proprietor of the cold-water-cure establishment, had long kindly invited them. A short stay in that place, with its healthful mountain air, sufficed to restore their depressed animal spirits, and _Spohr_ gladly joined in all the social parties in their excursions to the romantic environs, and shared in all the cheerful parties of the company at the baths, which in kindly social spirit lived as one family. All this, together with the whole arrangements and rules of life, which were simple and in accordance with nature, were so much to _Spohr’s_ taste, that from that time he always considered Alexandersbad as the beau-ideal of an invigorating summer residence, and after another visit there he firmly maintained that opinion for the rest of his life.

_Spohr_ commenced the following year (1855) with the composition of six four-voice part-songs for soprano, alto, tenor and bass, which were soon after excellently sung at a private concert of the St. Cecilia society with double vocal support, under his own conducting, and aided by his own powerful bass. They made an unusual sensation among the lovers of music present, above all one entitled “Man’s Consolation” (the words by _von Müller von der Werra_), which went home to all hearts.

In the spring of the same year, _Spohr_ obeyed an invitation from the king of Hanover to direct his double symphony, and several other of his compositions, at a grand concert. Upon his arrival at the railway terminus he was met by music-director _Wehner_, at the head of a numerous body of musicians and friends of the art, and in the evening at the hotel he was saluted with two serenades, by the military band, and the members of the choral society. On the subject of the pleasant days he passed in Hanover upon that occasion both in a musical and festive point of view, _Spohr_ wrote to his friend _Hauptmann_: “I enjoyed myself much on my little excursion to Hanover. I played a quartet at the King’s, and it seemed to me that his musical culture went so far as to like that kind of music. At a morning concert got up by the chapel royal to let me hear two of my compositions which they had very carefully practised, I played also my quartet (_E minor_). The compositions adverted to were the 7th. violin concerto, executed in a very masterly manner by _Joachim_; and the first double quartet, of which _Kömpel_ played the first violin in the first, and _Joachim_ in that of the second quartet. This also, was played in the most finished manner. On the second day the chapel royal gave a first rehearsal of my symphony, “The Terrestrial and Divine in human Life,” which was followed by a grand dinner, which lasted five hours, and during which the speeches, songs and toasts were numerous and varied. Although much exhausted I was obliged to go to a musical party in the evening given by my old friend _Hausmann_, where I played two of my quartets, and as on the previous evening, did not get to bed till two o’clock. On the third day there was a grand rehearsal in the forenoon, and in the evening the concert for the benefit of the poor, for which the King had sent me the invitation to come to Hanover. I conducted the first half, consisting of the overture and duett from ‘Jessonda’ and my symphony. All these, executed in a masterly manner, particularly the double symphony, which I never heard better played, not even in London. The small orchestra led by _Joachim_ was composed of the élite of the chapel royal and was very conveniently placed on the stage, so that it was advantageously separated from the large one. The latter was composed of twenty violins, six viols, five violincellos and five counter-basses. It contrasted well therefore by its imposing power, in the sonorous and not too spacious theatre, with the solo orchestra upon the stage. The effect was very satisfactory. But in fact the orchestra is a very superior one, particularly in the stringed instruments. The harmony comprises certainly several distinguished virtuosi, but in ensemble, it is neither so even in tone, nor so pure in intonation as ours. The second part of the concert was conducted by _Fischer_; it consisted of the overture to “Euryanthe,” _Beethoven’s_ violin concerto (with new, superfluously long, very difficult and ungrateful, cadences by _Joachim_), and some ‘numbers’ of ‘Lohengrin.’ The concert was crowded and must have brought in a round sum to the poor-box.--On the morning before I left a deputation from the chapel royal presented me with a leader’s bâton more rich and tasteful in design than anything of the kind I ever saw. As I afterwards learned, it was made by order of the king, to be presented to me by the chapel royal. It consists of a beautifully grooved ivory staff with a golden handle richly set with coloured stones, with a similar gold ornamentation at the top, ending in a knob set likewise with small stones. The whole thing is extremely tasteful, and has upon the handle in raised letters: ‘The Royal Hanoverian Chapel to Music-director-general Dr. _Spohr_, March 31st. 1855.’ The Elector, who sent for the work of art to inspect it, expressed himself, as I am told, upon returning it, with very unreserved dissatisfaction that the inscription did not express ‘Director-general of Music to the Elector,’ and said, “who will know hereafter whose director general of music he was!”[42] &c.

[42] The leader’s bâton here described with such evident satisfaction, formed a worthy companion to a scarcely less costly and tasteful one that _Spohr_ had been presented with by his faithful pupil _F. Böhme_ of Holland. He was always very proud of such appropriate and artistically executed presents, and it was always his custom to take them out of their respective cases with his own hands, and to replace them after use with equal care.

The first impression experienced by _Spohr_ on his return from Hanover, was also an agreeable one, for he found at home a telegraphic message that had arrived during his absence, to the following effect: “Inspruck, March 27th. 1855, 10 m. p. 10 at night. One hundred and fifty dilettanti of Inspruck, who have just performed the music of “Jessonda” with rapturous applause, send to the master their heartfelt greetings.” The letters which subsequently arrived from Inspruck informed him in a more detailed manner, “that the opera had been three times performed there in the national theatre to crowded houses, for the benefit of the fund for the relief of the poor, and in a manner surpassing all expectation, by musical and vocal dilettanti;” and expressed at the same time “the hope that the friends of music in that place would have the gratification of greeting the honoured and veteran composer in their own mountains in the course of the year, and hear again that classic opera under his own personal direction.”

That hope however was not realised, for the journey contemplated this year was in the opposite direction, towards the north; first to Hamburg, where _Spohr_ had not been since the great fire in 1842, and was therefore greatly interested to see the magnificent manner in which it had been rebuilt. Fully satisfied in that expectation, he had at the same time the pleasure of seeing again several much-loved friends (among whom the family of the _Grunds_), and to hear many successful musical performances, both in private and public circles.--Being so near to the sister town Lubeck, to which his wife was still fondly attached, and for whose kind-hearted inhabitants he himself, since his visit in the year 1840, had a predilection, it was natural that both should much desire to make a trip thither, upon the railway which had since then been opened to connect the two towns. Although it is true that during the fifteen years which had elapsed, many former friends had gone to their last rest, yet the venerable old instructor was still living, and met his former lady pupil and her renowned husband with the same warmth of heart. Verging upon eighty years of age, he had recently retired from professional life, but the institution he had so long successfully directed flourished still, conducted in the same spirit by his worthy son Dr. _Adam Meier_; and _Spohr_ and his wife, deeply moved by his touching kindness, took up their abode beneath the hospitable roof that was so endeared to them by past recollections.--As the interests of music were also well represented by Kapellmeister _Hermann_, a former pupil and a warm partizan of _Spohr_, the days passed agreeably in social intercourse with old friends and new acquaintances.

In the course of the year 1855 _Spohr_ wrote his 33rd. violin quartet (Op. 152, published by _Siegel_ of Leipzic) and three grand duets for two violins (Op. 148, 150 and 153, published by _Peters_ of Leipzic) which last he dedicated to the brothers _Alfred_ and _Henry Holmes_ of London. Neither could he have commended his work to better hands to ensure a performance and publicity worthy of them, for although those young artists never had the advantage of his personal instruction, yet by dint of a diligent study of his “Violin School,” they had become so penetrated with the spirit of his composition and his style of play, that _Spohr_ during his last stay in England had been exceedingly gratified to hear his older violin duets executed by the two talented youths in a really masterly manner; and when a few years afterwards, upon an artistic tour on the continent, they visited Cassel, they caused, as _Spohr_ himself remarks in a letter: “everywhere the greatest sensation by their splendid play, and especially excited admiration by the highly finished and surprising performance of his duets and concertantes.”

In the spring of 1856 _Spohr_ received a letter from a former pupil, the director of music _Kiel_, of Detmold; where upon, at the desire of his Prince, he proposed to _Spohr_ the composition of some songs for a baritone voice, with pianoforte and violin accompaniment. Although doubtful at first that such a combination would be suited to a deep male voice, he nevertheless interested himself in the trial, and in a short time he wrote a collection of six songs of the required kind, with which he himself felt highly satisfied. He then gave a hearing of them in manuscript to his musical friends in his own house, in which he himself took the violin part, which had proved of a somewhat difficult nature, and gave the voice part to _Heinrich Osthoff_ an ex-concert-singer, who for some years past had been settled in Cassel as a teacher of music, and who from his particularly excellent and expressive execution of all _Spohr’s_ song pieces, sacred and otherwise, was a welcome guest in all musical circles. In Detmold also, the new songs dedicated to the Prince were very favorably received, and the Prince, as his director of music informed _Spohr_, sang them every day with increased satisfaction. When _Spohr_ shortly afterwards forwarded the first printed presentation copy (published by _Luckhardt_ of Cassel, Op. 154) to the musical prince, the latter in an autograph letter of thanks thus expressed himself: “that the great pleasure the fine songs already gave him would be yet increased when he should have the opportunity of singing them with _Spohr’s_ own accompaniment.” The obliging letter was at the same time accompanied by a valuable souvenir, in the shape of a shirt-pin with the appropriately selected emblems of an oak-leaf in green gold, with an acorn of pearl set in gold, presented to _Spohr_ as an honourable acknowledgement “of his true _German_ worth as musician and as man.”

The first weeks of the summer vacation were passed by Spohr in a very pleasant and recreative journey to Dresden, Saxon Switzerland and Prague; after which, having reposed a short time in his own beautiful flower-garden, he undertook a journey into the Harz, at the solicitation of an enthusiastic musical friend, the jurisconsult _Haushalter_ of Wernigerode.

The increased leisure time gained by _Spohr_ in consequence of the appointment of his new colleague he now devoted to composition, for which, despite his advanced age, the impulse and love had not yet diminished. Though his musical ideas may no longer have flowed so copiously, and assumed as readily the form he wished, as in former years, and though he himself at times expressed doubts as to whether his later works would take equal rank with his earlier compositions, yet he frequently received an enthusiastic recognition of the merit of his newest compositions from quite unexpected quarters, which always gave him fresh courage to continue his musical creations.

_Spohr_ now determined to write another quartet (his 34th.), upon terminating which he immediately opened the winter series of his still continued quartet circle with it. Although this new composition was considered extremely fresh and charming by both co-operators and auditory, yet he himself was so little satisfied with it, that after repeated alteration, which were rejected as soon as made, he laid aside the whole quartet as a failure; nor did he write another until a whole twelvemonth had elapsed: this differed in every respect from the former, and he substituted it for it under the same number. Upon its first performance at the quartet meeting this piece of music pleased him right well; but shortly afterwards it seemed to him to require many improvements, and as these did not turn out to his satisfaction, sorrowfully, but resigned to the consciousness that he could no longer carry out in a satisfactory manner the ideas which floated before his fancy, he associated the new 34th. quartet with that which he had previously rejected, and expressed the wish to his wife that neither should at any time be made public.

He came to a similar decision in respect to a symphony which he had composed shortly before, which was performed once only in the presence of a few only of his most intimate musical friends, at a rehearsal by the court orchestra of Cassel. Notwithstanding the numerous beauties and novelties in thought which it contains, to him nevertheless it did not appear worthy of being placed in the fine catalogue of his earlier written symphonies, and in this manner by himself was this--his tenth--symphony condemned, not to destruction it is true, but to eternal concealment.

In the summer of 1857 _Spohr_ availed himself of the vacation to go to Holland, his former visit there being still borne by him in pleasing recollection, he had therefore long been desirous of proceeding thither with his wife to shew her that country, as yet unvisited by her, and remarkable for so many peculiarities. Little as he had calculated upon any musical enjoyments there at such a season of the year, his pleasure was great to hear on the very first evening at _Verhulst’s_, in Rotterdam, in a numerous circle of musicians and lovers of music, several quartets both of his own and of _Verhulst’s_ composition, upon which occasion the violinist _Tours_, whose acquaintance he had formerly made, proved himself a great virtuoso, as first violin. The director of music _Böhm_, of Dortrecht, who had shown from his youth a strong attachment to the honoured master, exhibited it anew by the unwearying attention with which he strove to alleviate all the cares and difficulties of travel in a foreign country, and took them wholly upon himself. Willingly following the arrangements of the excellent “travelling marshall,” as _Spohr_ was wont playfully to call him, the travellers were now enabled to see the many remarkable objects in the chief cities of Holland in a comparatively much shorter time, after which a further journey was undertaken from Amsterdam to that part of North Holland lying beyond the Y. The singular topographical feature of the whole country, the meadows intersected by innumerable canals and lakes, meadows covered with grazing cattle, the hundreds of gaily painted windmills, the cheerful blue sky, and the easy travelling upon the smoothly paved highroads, more like the parquetted floors of an apartment--in short, the whole delightful journey, with its interesting final objects, the celebrated places Saardam and Broek, presented a succession of charming pictures that surpassed all expectation and put _Spohr_ in particular in the most cheerful possible mood.

Their kind “marshall” _Böhm_ accompanied the travellers on their return as far back as Utrecht, but placed them there in good hands, under the hospitable roof of one of _Spohr’s_ grateful pupils, the director of music _Kufferath_, with whom they passed some exceedingly pleasant days. As the country round Utrecht abounds with handsome country-seats and parks, these furnished occasion for frequent delightful walks with the family of their host; and the musical entertainments given to _Spohr_--a quickly arranged organ-concert got up by _Nieuvenhuisen_, the organist of the cathedral, and a grand serenade by torch-light in the evening--made the memory of those days worthy of being associated with the pleasing reminiscences of his former visit.

On the return-journey _Spohr_ stopped a day at Cologne, where _Hiller_, the director of music, quickly improvised a brilliant dinner-party in his honour, and afterwards gratified him with the performance of some highly interesting musical pieces in his own house. _Hiller_ himself played with great spirit a recently composed sonata for the pianoforte of extreme difficulty of execution, some numbers of the comic opera composed by him called: “Jest, cunning and revenge,” which was received with universal satisfaction, and by _Spohr_ in particular with lively applause. This was succeeded later in the evening by a musical surprise; the celebrated Cologne choral society, wholly composed of male voices, had assembled in all silence in the hotel, and at the door of their honoured guest sang their finest songs in the most masterly manner, which, together with a spirited address, spoken by professor _Bischof_, afforded him very great pleasure.

Gratified in every respect with his journey, _Spohr_ returned to Cassel, where, reinvigorated and refreshed, he devoted himself with his usual zeal and interest to the materially lightened labours of his office, shared now with his young and active colleague.

Meanwhile, at that time was heard here and there the report that it was contemplated to pension him off; but when he was apprised of this by a friend, and it was put to him whether he would not rather anticipate such an intention by proposing himself to retire upon his pension, he replied with decision, that: his duty and inclination impelled him alike to remain in the performance of his official engagements so long as he could fulfil them satisfactorily. Thus things remained on the old footing, until on the 14th. November, both contrary to his wish and expectation, he received the following rescript from the Elector:

“In pursuance of our most gracious will and pleasure, we have granted to the director-general of music and court Kapellmeister at our court-theatre, Dr. _Louis Spohr_, by reason of his advanced years, permission to retire into private life, and have been further pleased to grant him a yearly pension of 1500 Thalers from our court treasury from the date of the month next ensuing. The department of our lord high marshall of the palace will make the further dispositions to that effect. Cassel, November 12, 1857. _Friedrich Wilhelm._”

Painfully affected as _Spohr_ was upon the receipt of this, he with his usual good sense soon overcame the shock of the first impression and contemplated the matter on its brighter side; in which sense he then gave expression to his sentiments in his letters to distant friends, and among others, in replying shortly afterwards to the director of music _Bott_ respecting other affairs, he wrote as follows; “You do not appear to have yet learned that the Elector, without my solicitation, has placed me in retirement, and although the terms of my engagement specified that my salary should be paid so long as I lived, he has pensioned me off on 1500 Thalers per annum. It has nevertheless appeared in all the newspapers, together with the account of the festive form in which I directed for the last time the opera of Jessonda at the theatre. At first it gave me very great pain, for I felt still perfectly competent to conduct the few operas which latterly fell to my share. But I soon learned to estimate my present freedom at its real value, and now feel very glad that whenever I choose I can get away by rail whithersoever my fancy takes me! I have submitted also to the deduction from my salary, having been informed that I should not be able to compel the payment of the full salary without a new law-suit, and because it was repulsive to my feelings to take the whole amount without performing any service for it, and I can live very well with three-fourths of it by means of my savings!”

Thus terminated _Spohr’s_ personal co-operation at opera and concert. But that he still cherished as warm an interest in the latter his letters to distant friends attest, and in this spirit he wrote on December 22nd. to Mr. _Lüder_: “Since we were at your house, we have had here the second subscription concert! It was the first concert that took place in Cassel without my co-operation, and at which I was present from beginning to end as an auditor. It consisted of carefully rehearsed music: the two finales from “Zemire and Azor” and “Euryanthe;” of instrumental music _Mozart’s C major_ symphony with the fugue (called Jupiter); of concert things _Beethoven’s_ violin concerto with _Joachim’s_ cadences, and a concert piece by _Moscheles_ for two pianofortes, called _Hommage à Händel_, very correctly and effectively played by Messrs. _Reiss_ and _Tivendell_. The concert opened with the overture to “Rosamunda” by _Schubert_, one of his youthful works, but which is very pleasing, and was quite new to me. _Reiss_ has again achieved great praise both by his arrangement and by his careful rehearsal and study of the music.” In the same letter he farther says: “We have also had again two quartet parties, and I am happy to say, that I am still all right at the violin, only I must always prepare myself a few days before, which was not necessary some years ago![43]”

[43] These quartet evenings in the society of a few of the families of his most intimate friends, were always a source of great pleasure to _Spohr_. Every year, on the approach of winter, he took early steps for their re-arrangement, and generally opened the series in his own house. Painful as it was to him whenever the death of one of the members of the circle caused a vacancy therein, the loss of his two oldest and most faithful friends, chief director _von Schmerfeld_ and Lord marshall _von der Malsburg_, who had died in the two previous years, was long and deeply deplored by him.

The at this time still powerful impulse to compose, on the one hand, and the dread of being no longer capable of producing anything good and new on the other, gave rise to many painful struggles in the mind of _Spohr_,--till one morning he entered his wife’s apartment, and with a cheerful countenance announced to her that he had found the right way to get out of the difficulty. He had resolved upon writing a requiem, and had already conceived some fine ideas for it; he had the greatest hopes that he would be able to complete it, and produce a worthy conclusion to his numerous works. In happy and inspired mood he now immediately went to work; and in a few days wrote the first subjects, but this pleasure, like that which he had shortly before boasted of in his quartet play, was soon dissipated. On the second day after Christmas Day, while on his wonted way to the reading room of the museum in the evening twilight he had the misfortune to fall over the stone steps at the entrance, and to break his left arm. Beyond all expectation, nevertheless, the fractured limb was happily healing fast, and when, after a lapse of several months, with anxious fear of the result, he once more took up his violin, to draw the first tones from it, the trial seemed quite satisfactory. But after several days’ practice, followed up with great perseverance, he nevertheless became convinced to his great sorrow that his arm would never recover its lost strength and elasticity; upon which, as in this also he could no longer satisfy himself, deprived of another of the most precious elements of his existence, with a grieving heart he laid by his beloved violin!

Meanwhile, notwithstanding, many wished-for opportunities presented themselves elsewhere to _Spohr_, to keep alive his interest in musical enjoyments and to cheer him with the performance of his greater works. Scarcely was he recovered from the fracture of his arm, than he accepted an invitation to Magdeburg, to hear the performance of his oratorio, “Des Heilands letzte Stunden,” which was to take place there on Good Friday. With this performance he expressed himself highly pleased, in a letter to Mr. _Lüders_: “Orchestra, choruses, and solo-singers were alike excellently practised in their respective parts, and the effect, in the church of St. Ulrich, which is so favorably constructed for sound, was indeed heavenly. The solo-voices, for the most part belonging to the _Seebach_ choral society, were particularly fine, harmonious and powerful dilettante singers, and led by their director _Mühling_ they were so penetrated with the true spirit of the composition, that I was quite taken by surprise, and delighted!

The accompaniment also of the solo instruments in the grand air of Mary in the second part was very fine; for _Grimm_ the harpist had been sent for from Berlin, and the other solo instruments--violin, violincello and horn--were played by members of the present orchestra of the Magdeburg theatre, who are, as luck would have it, virtuosi.”

In a similar letter of the 6th. April to _Hauptmann_, in speaking of his further contemplated plans of journey, he says: “Whether all these excursions will be carried into effect, is not yet decided; but for the rest of my life my artistic enjoyments are limited to them; for I am now perfectly convinced, that I cannot accomplish any great work more. I regret to say, that my last attempt of the kind failed, and my requiem remains a fragment; nevertheless, as the subject as far as the _Lacrimosa dies illa_, at which I stuck fast, pleases me well, and seems to have much that is new and ingenious in it, I shall not destroy it, as I should like to take it up again, and will make another attempt to complete it.”

This attempt, to which with much perseverance he devoted half a day, proved however a failure, and brought him finally to the avowed painful determination to relinquish composition entirely; as he did not feel capable of putting his musical ideas into a distinct shape. At the conclusion of the letter adverted to, he says further: “I thank you heartily for your kind wishes upon my birth-day! Notwithstanding my present low spirits on account of my artistic impotency, I nevertheless passed it agreeably enough. That may have arisen from my happily performed journey.” Scarcely three weeks afterwards, _Spohr_, again full of pleasurable anticipation, set out anew, and this time to Bremen, where the director of music _Engel_ purposed to open his recently established choral society with the public performance of _Spohr’s_ oratorio, “The Fall of Babylon,” a great undertaking, but so worthily executed that _Spohr_ himself was greatly surprised and deeply moved.

For the beginning of July _Spohr_ had been invited to Prague, where the half-centennial anniversary of the Conservatory of that city was to be celebrated by three grand musical performances--among which was his opera “Jessonda.” The celebration of divine service in the cathedral on the first morning was followed in the evening by a grand concert in the theatre. It began with a new Symphony by _Kittl_, the director of the conservatory, which, like the other _Pièces d’Ensemble_, was performed by the pupils of the institution; while the solo-pieces were executed by foreign resident musicians who had received their education there; among these, the celebrated violinists _Dreyschock_ and _Laub_. “On the second evening,” in the words of the “Tagesboten aus Böhmen,” “not only in honour of the great musician present, but in order to give every true lover of art a right festive evening, the ‘Jessonda’ of _Dr. Louis Spohr_ was selected, and Prague had this time the satisfaction of seeing the inspired and still vigorous veteran conduct the performance of his work himself.... As _Spohr_ took his place at the conductor’s desk, which was hung with wreaths of laurel and ornamented with a crown of the same, he was received by the densely crowded house, which comprised all the leading artists and lovers of music of Prague, with long and enthusiastic applause. At every moment of interest, of which the fascinating “Jessonda,” (the not yet surpassed model of German lyrical opera) is one uninterrupted beautiful chain, the most gratifying acclamations were first directed to the master, and then to the singers. After the second act, the venerable poet of sweet sounds was vehemently called forward upon the stage, as also after the last act, when another crown of laurel was thrown to him.... The conducting of the honoured master _Spohr_ is still marked by unimpaired vigour, and attention to every detail; his stroke of the baton has its usual characteristic stamp” &c. The _concert spirituel_, which had been arranged for the third evening, as the finale to the musical part of the festival, comprised as chief subject, the ninth Symphony of _Beethoven_; but at the grand dinner given on the following day, a series of select musical pieces was performed, and the opportunity seized, both by loud calls for the repetition of the overture to “Jessonda,” and every possible mode of demonstration, to honour _Spohr_, the Nestor of the numerously congregated musicians, as the king of the feast. Not less however than by all these demonstrations was he gratified by the kind anticipation of his wishes with the invitation to visit the country-house in the neighbourhood of Prague which had been hallowed by _Mozart’s_ lengthened residence; to which the present proprietor Herr _Popelka_ himself accompanied him, to shew him the room, which _Spohr_ also looked upon as sacred ground, where _Mozart_ had composed his “Don Juan.”

_Spohr_ was less fortunate upon his return journey in realising a long-cherished and ardent wish. He had for several years vainly endeavoured to hear upon a foreign stage _Mozart’s_ opera “Idomeneo,” which he had never been able to give a performance of in Cassel, and which was known to him only in the pianoforte selection. With this object also, already in the beginning of the summer, apart from and independent of his subsequently promised visit to Prague, he had projected a journey to Dresden, for the reason, as he then expressed in a letter to his friend _Lüder_--“that with the constantly increasing dearth in the repertory of modern operas, an as yet unheard opera of _Mozart_ was too important an event, and for him an artistic necessity too great, that he should not joyfully undertake even a much longer journey to hear it.” Long previously he had written on the subject to his friend the director of music _Reissiger_, and at length thought to see his hope realized in Dresden, either before or after the Prague musical festival. Unfortunately, however, owing to the absence of the chief singers of the opera, it could not be carried out, and so, consoling himself meanwhile till the autumn, he took the road to Alexandersbad, where during a pleasant sojourn of a week, he reposed from the exertion of the previous journey in the enjoyment of the quiet relaxation he so much desired.

Greatly gratified, and visibly refreshed as _Spohr_ again returned from this pleasant excursion to Alexandersbad, yet from that period he exhibited a constantly increasing low-spirited and thoughtful mood, which was so opposite to his former manner. To his wife, who vainly tried every means to cheer him, he would then reply after a protracted and earnest silence, that he was weary of life, as he could no longer be doing; that he had enjoyed to exhaustion all that mortal life could given, and lived to see a more widely spread recognition and love for his music than he even could have hoped for,--that now he ardently wished for death, before the infirmities of old age completely prostrated him. Nevertheless he always felt cheerfully moved again by invitations to new journeys, and musical enjoyments, of which several presented themselves in the autumn. In September namely, the journey to Wiesbaden to the musical festival of the Middle-Rhine, and in October to Leipsic, to the performance of his own and other works which particularly interested him, at the Gewandhaus concert, at the conservatory and at the church,--on which occasions he at both places followed the musical performances with persevering interest and pleasure, and received with lively satisfaction the various ovations of which he was the object. Although upon this journey to Leipsic, and lastly also to Dresden, he found no opportunity to realise his _most ardent expectation_ to hear the “Idomeneo,” he nevertheless was somewhat compensated for the disappointment by the kindness of the Frankfort theatrical Intendant, who on his previously expressed wish, announced _Cherubini’s_ opera of “Medea” for the evening of his arrival there, on his way through to Wiesbaden, and thus afforded him the high enjoyment of hearing that classically beautiful music.

As with the decrease in the length of the days and with the gloom of winter, the sleeplessness and nervous excitement which had affected him so prejudicially at Leipsic also, increased during the long nights, and from that time slowly but obviously augmented; leaving as their result a still greater debility and uneasiness during the day; his cheerfulness abandoned him entirely.--Shortly after his visit to Leipsic, where the orchestral pieces under the excellent direction of _Rietz_ gave him especial pleasure, he wrote among other things to _Hauptmann_.... “I cannot express to you how this time all the music I heard in Leipsic pleased me.... From the devotional sentiment which your motette raised in me on Sunday, I envy you not a little the energy with which you still continue to work, while with me it is all over with composing and with violin play! Yesterday I received from _Zellner_, the musical critic at Vienna, the intelligence that one of my oratorios is to be performed there, and he invited me on the part of the originators of the design, to come and direct it myself. For several years the Austrian society had contemplated giving my ‘Fall of Babylon’ as a musical festival in the Imperial Riding School; but then, even with the aid of _Metternich_, I could not get permission to go there. Now, when I could get away, as I am an invalid, and the journey too far and fatiguing, I am obliged to renounce it. I shall therefore decline the invitation and content myself with shorter journeys in the fine season of the year. But on such occasions, struggles with my inclinations and low spirits always follow! and so one is induced to envy the lot of several who were personally known to me, who of late died suddenly....” Impressed with similar painful thoughts and not without many inward struggles, _Spohr_ wrote the letter to decline the invitation that he received at that time to Königsberg, to the centenary _Händel_ Festival, where he had been chosen to direct the magnificent “Messiah” and one of his own works; and where it was intended to pay to him, as sole worthy representative of the great _Händel_, all the homage and honours which could not be rendered to _Händel_ personally, in all the overflowing fulness of their warmth.[44]

[44] To the many marks of honour which _Spohr_ still received in the latter years of his life must be added also his nomination to the honorary membership of the “Musical Society,” which had just previously been instituted in London. Upon the occasion of his presentation with this diploma, an enumeration of the various diplomas which he had already been presented with gave an amount of _Thirty-eight_, among which was one from New York, from Buenos-Ayres, St. Petersburg, and Stockholm, with two from Rome and two from Holland.

As _Spohr_ for many years had been considered by the whole musical world as the highest authority in everything that pertained to his art, a day seldom passed without bringing applications or requests of some kind, frequently from the most distant localities, which his ever-ready disposition to oblige never permitted him to leave unnoticed, but to which, now although with a heavy heart, he was more and more compelled to waive replying. One application nevertheless may here be mentioned, which, coming at a particularly favourable moment, rekindled his zest to make a last essay at composition, and which in reality also was his last! For many years he had been repeatedly solicited in the most irresistible words by Mr. _Chr. Schad_, the publisher of the Almanack of the German Muses, to write a few little songs for it, and _Spohr_ had each time the satisfaction to learn that those willingly bestowed little contributions were received with a more than usual approbation. In the autumn of 1857, when with considerable timidity he had endeavoured to satisfy Mr _Schad’s_ urgent wish for a composition for the words of the old ballad of _Walter von der Vogelweide_, “the silent nightingale,” he received a very poetical letter of thanks expressing the writers “admiration of the musical sentiment and depth of feeling with which the beautiful ballad had been rendered by the composer,” and that “it is a great satisfaction for a German heart that two masters of his nation, although separated by an interval of six hundred years, should have exhibited the rich treasures of their inmost feelings, in so noble, so simple and so harmonious a form of words and tone,” &c. Now at length, in October 1858, six months after having laid aside his incompleted requiem as his last composition, he received another letter, beginning with the words: “Your silent nightingale which built her harmonious nest in the thick verdure of last year’s Almanack of the Muses, has met with the loudest approbation of the German nation for the very eloquence of that silence. And who better than the loved great master _Spohr_ would know how to utter sounds more replete with the soul’s harmony,--who know how to move more deeply and purely a German heart! No wonder is it that I again knock at your door to-day. I come in the name of, and at the request of, more than eighty of the best hearts and heads in Germany, who have chosen me as their standard-bearer for a noble patriotic object.... I lay before you three of the most beautiful of _Göthe’s_ songs for your unrestricted choice, and resign myself to the pleasing hope of seeing one or the other enveloped in a melodious garb by your master-hand.” And, indeed, already on the following morning his wife heard with joyful emotion the sound of the long-silent keys of the pianoforte, in his room, and his still pleasing voice as he sang in accompaniment. A few hours afterwards he came also with a look of pleasure to fetch her, to sing to her forthwith the new music he had composed to _Goethe’s_ “Herz, mein Herz, was soll das geben,” having already completed it as regarded the chief thing; though the rhythm and conclusion not being yet to his fancy, would require a longer time to finish. When however, his wife, greatly pleased with the lively, pretty melody, could not refrain from making the observation that it had a very striking resemblance to _Beethoven’s_ composition to the same words, he assured her that he had no knowledge of it, or at least no recollection of it at all, but expressed the wish to have it procured, in order to satisfy himself of the resemblance.--With his own song he was now tolerably satisfied, and said, with truth also, that it would have a very good effect, if those who sung it did not _spoil it by too slow a Tempo_, as was so frequently the case with his compositions, a remark which is in so far characteristic, as _Spohr_, so often as he heard his works performed abroad, or not under his own immediate direction, always felt annoyed by the time being taken frequently _too slow_, but scarcely ever complained of one taken _too fast_. When at length the new song was studied under his superintendance by his niece _Emma Spohr_, who, gifted with a fine voice, always sung songs of the kind in the family-circle, he sang to her himself with the most lively emotion, and with almost breathless rapidity, the three closely following strophes, without interlude, to encourage her to a similar execution. But a few weeks afterwards, when he again caught sight of the manuscript, he said, with a sorrowful expression of face, that the song was worthless, and regretted that he had sent it for publication in the Almanack of the Muses!

As evidence of his restless impulse to be usefully active, one instance may here be adduced: