Chronological Index of Contents. (continued 13)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Queen Square Select Society.

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

Sunday July 2, 1843.

Act. 1.

Double Quartet No. 1Spohr.

Quintet-Pianoforte, Flute, Clarinet, Horn and BassoonSpohr.

Double Quartet No. 2Spohr.

NonettoSpohr.

Déjeuner à la fourchette.

Act. 2.

QuintetSpohr.

OttettoSpohr.

Double Quartet No. 3Spohr.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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