In the course of the year 1836 I wrote also a number of songs, six of which, in one book, were published byBreitkopf & Härtelas Op. 101, and among the rest “Sangeslust” (The love of song) given inBreitkopf & Härtel’smusical album, with four-handed accompaniment; furthermore a Psalm for chorus and soli with orchestral accompaniment, and a fantasia in the shape of an overture toRaupach’smythical tragedy “Die Tochter der Luft” (“The Daughter of the Air”) which was shortly afterwards performed at one of our subscription concerts. But as in this shape it did not altogether please me, I afterwards worked it up as the first theme of my fifth symphony, which I composed for the “concerts spirituels” at Vienna and which was shortly afterwards published byHaslingeras Op. 102.[35]In the beginning of the followingyear (1837) I wrote my third duet for pianoforte and violin inE major, which was afterwards published byPaulof Dresden as Op. 112.
About this same time I made earnest preparations to carry out an idea which had long occupied my thought, namely to give a musical festival, for which Cassel seemed to me in many respects exceedingly well adapted. My plan of this was as follows, on Whitsunday afternoon to giveMendelssohn’soratorio of “Paulus” (St. Paul) in the church of St. Martin; on Whitmonday evening, with the church lighted up, to perform my symphony “Die Weihe der Töne” and my oratorio of “Die letzten Dinge;” on Whittuesday in the forenoon, at the theatre, a concert of foreign and native singers and virtuosi, and on the same evening, as was usual on the second festival day, a new opera.
The invitations abroad, the assembling of the musicians, and the rehearsal of the oratorios by the choral-society had already begun, when to my application to the Princefor permission I received the following authoritative decision from his private secretary: “The days of performance must be changed, as the evening of Whitsunday could not be granted without disturbing those who had prepared themselves to receive the holy sacrament on that evening; neither could any concert be allowed on Whitmonday (on account of the church service and the opera); nor could any scaffolding be erected in the large church for the chorus, as it would be unbecoming in the locality of the burial vault of the electoral family. His highness must await other proposals, before he could graciously condescend to grant his permission.”
To this I replied that a musical festival in Cassel could alone prove successful, and the risk of the very considerable expense could alone be safely incurred if it were permitted, as at other places, and as is the custom at the musical festivals on the lower Rhine, to take place in the Whitsuntide holidays, when a great number of strangers would flock to the town and the lovers of music of the neighbouring places would not be prevented by business from attending. That if Whitsunday evening could not be granted, no other two succeeding evenings of that time could be found for performances in the church. As, furthermore, no other appropriate place was to be found in Cassel, than the large church, and that the erection of seats therein could not be allowed, I found myself compelled to abandon totally the projected musical festival.
Unpleasant to all parties as was this complete failure of the plan, I was compelled to abide by it, despite the somewhat considerable expense I had already incurred, and of which I could reimburse myself but a very small part only by the re-sale of the procured song-parts to the choral society. As meanwhile, however, we had industriously practisedMendelssohn’soratorio, and become more and more delighted with it, I proposed to give it on Whitsunday at the concert which had been permitted for the benefit of the relief fund; but this was refused also by the Prince, so that we were obliged to content ourselves with gratifying the loversof music with two private performances of the oratorio upon the pianoforte at the society of St. Cecilia.
In the summer of 1837 I received an invitation to go to Prague to direct the performance of my opera “Der Berg-Geist” (The Spirit of the Mountain) and for that purpose I thought of proceeding thither at the commencement of the holidays. But as the permission had not been received at the treasury of the theatre on the evening before, I addressed myself to the Prince between the acts of the opera, and enquired of him, Whether he had any orders for me to execute upon the journey. In the somewhat indistinct answer I received from him I understood, it is true, something about my permission not having been made out; but as I had no time to lose, I found myself under the necessity of setting out without it at 4 o’clock the next morning. SeeingFeige, the director of the theatre, walking in the neighbourhood of my house at that early hour, I thought he might have been sent to ascertain whether I really had the boldness to set out on my journey without the written permission. On the first day’s journey indeed, I was not without some uneasiness lest a mounted messenger might be sent after us to order our return. I therefore hastened as much as possible at every post-station the putting-to of fresh horses, and we thus crossed the frontier without molestation. After a journey of six days we at length reached Prague, whereMarianneandTheresawere greatly struck by the beauty of the city and had moreover the gratification to learn from the theatre bills placarded at the corners of the streets, that my opera Jessonda was to be given that evening, in which a foreign singer was to make her debut. That the opera was a great favorite here was evident from the fact that immediately after the performance of the overture, the public encored it. The “Blumenduet” (flower duet) and the duet “Schönes Mädchen” (lovely maiden) were also encored. But I was very much annoyed at several omissions, for which however the director of the Prague orchestra was not to blame, being omissions which were customary in Vienna,from whence the score had been supplied. The principal singers were very good, so that a favourable result was also to be anticipated for the “Berg-Geist.”
On the following morning I was taken by surprise by a visit from a zealous lover of music, Dr.Hutzelmann, who had been informed that I was fond of swimming, and had for that reason come to take me to the military school of natation on the Moldau; the officer attached to that establishment, who accompanied me, soon remarked that I was a practised swimmer, and proposed a swimming excursion outside the school, in which he ordered me to be accompanied by two soldiers in a boat. They took my clothes with them, and after I had swum for about half an hour with the stream, they assisted me into the boat, in which I dressed myself while the soldiers rowed us back to the town. While I was swimming near the boat, our conversation turned more and more upon my compositions, with which the musical instructor in swimming was almost as well acquainted as myself. He proposed to me a similar enjoyment every day in the Moldau, and next morning found him already waiting for me with his boat near the swimming-school. Meanwhile the rehearsals of the “Berg-Geist” went on exceedingly well. The director of the orchestra had very carefully managed the private rehearsals, and studied everything so well, that in two performances which I myself conducted the opera was eminently successful. Upon my entering the orchestra I was not only received by the public in the most enthusiastic manner, but loudly called for each time at the conclusion of the opera. The singers who supported the chief characters were madamePodhorskias Alma, Messrs.PöckandEmminger, asBerg-Geistand Oskar, who sang and performed exceedingly well, and the opera maintained its place in the repertory of Prague theatre for a long time. We remained a few days longer in Prague, and I played at several private parties not only quartets but also my sonatas and solo-music with my wife’s accompaniment, who likewise played some quite new composition ofKittlandKleinwächterfor four hands,in which she displayed great ability and quickness in reading at sight. TheKleinwächterfamily made several excursions with us into the beautiful environs of Prague, by which means we became intimately acquainted with all the attractions of that fine city. At length however we were obliged to tear ourselves away from these enjoyments and resumed our journey. Now also came the most fatiguing part of our tour, that to Vienna, in which we suffered exceedingly from the heat and dust, as also from the dirty and wretched accommodation of the inns where we passed the night. On the fourth day we arrived half dead at Vienna and put up at the “Erzherzog Carl” hotel. After I had called upon my former friends, we passed some very pleasant days there, for which we had to thank my Cassel friendsvon Steuber, the ambassador from the Elector of Hesse, the Baronvon Lannoy, and particularly my Viennese publisher,Haslinger. The latter took us every evening to some new gardens, whereStraussandLannergave their concerts, and where we supped exceedingly wellà la carteat the little tables spread for the entertainment of the guests. Sometimes, also, we went to the theatre, to see the real Viennese popular farces, but my female companions were not sufficiently acquainted with the Viennese dialect, to relish them thoroughly.
After the lapse of a fortnight, in which we participated in all the amusements of Vienna, we took leave of our kind friends and resumed our journey towards the beautifully situated Salzburg, which is one of the finest possible, particularly the first half, the way across the lake to the Ischl baths. In Salzburg, which as the birth-place ofMozartwas to me sacred ground, we first of all visited his widow, the present wife of Privy Councillorvon Nissen, who was very pleased at our calling upon her, and in whose house we made the acquaintance of her two sons. In the excursions we made into the neighbourhood in one of the customary light, one-horse vehicles of the country, we were most pleased at the celebrated Gollinger waterfall, and with a sliding trip throughthe rock-salt-works at Hallein, which was something quite new for my female fellow travellers. From Salzburg we now went on to Munich, where I learned to my great surprise, that the Prince of Hesse had just arrived there. As it was now necessary for me to apologise to him for my departure from Cassel, I addressed myself for that purpose to the Marshal of the court,von der Malsburg, and at the same time informed him that I had been requested by the intendant of the Munich theatre to conduct there the performance of my opera “Jessonda,” but for which I would first request the Prince’s permission. On the following morning the Prince sent word to me that it would be very agreeable to him that I should direct the opera, and in that case he would prolong his stay to hear it. Adorned with a hat lent to me by Mr.von der Malsburgand a little bit cut off from the ribbon of his order, I repaired the next day to the appointed audience, and was received by the Prince with the following words: “Why, you disappeared from Cassel all at once.” To which I replied: “I thought I had taken my leave in the form prescribed,” and as he said nothing further on the subject, the matter was so far settled for this time. But the contemplated representation of “Jessonda” did not take place during my presence in Munich, as the king expected some days after a visit from the Prince, and had deferred the opera till then, and in the meantime my leave of absence had expired. We therefore left Munich before. On our way back we paid a visit to my uncle ProfessorAdolphus Henckein Erlangen, where we made the acquaintance of the present CouncillorRudolph Wagnerof Göttingen, and returned to Cassel before the Prince arrived.
Shortly afterwards, I received a letter fromHermstedt, wherein, by request of the Princess von Sondershausen, he commissioned me to write some soprano songs for her with pianoforte and clarinet accompaniment. As this task was much to my liking, I composed in the course of a few weeks six songs of this kind (Op. 103, published byBreitkopf & Härtelof Leipzic) which by the express desire of the Princess I dedicated to her, and for which I received from her the present of a very costly ring.
I began the year 1838 with the composition of the “Vaterunser” [Lord’s Prayer] ofKlopstock(Op. 104,Breitkopf & Härtel, Leipzic) which I wrote with a double chorus for men’s voices; at first only for pianoforte accompaniment, and afterwards instrumentated for orchestra, as it was intended to be performed at the singing festival for the benefit of theMozartinstitution at Frankfort, where though I was obliged to decline directing in person, it was first performed on the 29th July, and having been well studied, produced, according to the reports from there, a very solemn and imposing effect.
In the succeeding months I again composed several songs for soprani or tenori, which appeared as Op. 105, atHellmuth’sin Halle.
Meanwhile the first public performance of “Paulus” took place at last on Good Friday in the garrison-church, and we were looking forward with pleasure to its repetition on Whitsunday, when our goodTheresafell suddenly ill of a malignant nervous fever, which in a short time brought her blooming life to a close. On the Tuesday before Ascension Day we had, chiefly atTheresa’sown wish, made a pleasant excursion to Wilhelmshöhe; there she first complained of indisposition, and on our return home she was immediately obliged to take to her bed. As Dr.Ludwig Pfeiffer, our then attendant physician and second brother of my wife, was just then absent from Cassel, we called in once more her uncle, Dr.Harnier, who although no alarming symptoms as yet shewed themselves, visited the patient several times daily, until after the lapse of a week, to our great terror he pronounced her complaint to be nervous fever. This now constantly increased in vehemence, and as in her fits of delirium she spoke continually of a journey we had contemplated to Carlsbad, the idea of which had greatly pleased her, I promised her that she should go thither as soon as she recovered. This greatlysoothed her, but nevertheless did not diminish the fever, and on Whitsunday morning the blooming maiden of nineteen succumbed to the fearful malady. The loss of the talented amiable girl plunged us in such misery that we looked forward with earnest longing to the approaching theatrical vacation, in order to leave immediately the mournful surroundings of our home, and seek far away from Cassel some respite from the constant remembrance of our anguish.
After we had been delayed another eight days in Cassel by the reiterated retarding of my leave of absence, we were enabled to set out for Carlsbad on the 23rd June, accompanied by my mother-in-law, to whom the use of the waters had also been recommended, which was exceedingly welcome to me, particularly on account of my wife, who had taken very much to heart the loss of ourTheresa. No sooner were we arrived in Carlsbad than we met withHesseof Breslau, and in our walks to the springs soon made the acquaintance of other warm lovers of music, with whom on dull days, when the weather would permit of no excursions together to the charming environs, we made up small music parties at our lodgings. As a young lady from Breslau, MissOttilia Schubert, sang most charmingly, my wife practised her in my new songs with clarinet accompaniment, at which a first-rate clarinet player, Mr.Seemannfrom Hannover, took the clarinet part; in this manner our hearers became acquainted with a new style of songs which they had not known before, and which interested them exceedingly. Somewhat later,De Beriotalso arrived with his sister-in-lawPauline Garcia, in Carlsbad, and the concert which he gave at the theatre afforded us very great enjoyment. He played with great purity, brilliancy and execution, but his compositions did not altogether please us, and MissGarcia, afterwards the so-celebrated Mrs.Viardot-Garcia, sang with a voice of great compass, though not exactly a very fine one, and with great artistic skill. She especially delighted her hearers with the execution of her Spanish romances and ballads, in which she accompanied herself very well on the pianoforte.
[Here, unfortunately,Spohr’sown narrative of his life closes for ever!—To the subsequent encouragements of his relatives to resume it he used to reply: “I take no pleasure in writing now; and there are sufficient materials for the continuance of the Biography at any time, in the diaries and papers of my wife.”—Hereupon, this latter, mindful of this express indication of her husband’s, resolved to place notes, journals, and letters of every kind, and even memoranda jotted down for her sole private use and edification, at the disposal of those members of the family who undertook by means of extracts, without any pretence to literary skill—in simple, unadorned truthfulness, afterSpohr’sown example—to carry out the history of his life to the end.]
[Here, unfortunately,Spohr’sown narrative of his life closes for ever!—To the subsequent encouragements of his relatives to resume it he used to reply: “I take no pleasure in writing now; and there are sufficient materials for the continuance of the Biography at any time, in the diaries and papers of my wife.”—Hereupon, this latter, mindful of this express indication of her husband’s, resolved to place notes, journals, and letters of every kind, and even memoranda jotted down for her sole private use and edification, at the disposal of those members of the family who undertook by means of extracts, without any pretence to literary skill—in simple, unadorned truthfulness, afterSpohr’sown example—to carry out the history of his life to the end.]
After a beneficial use of the waters,Spohrleft Carlsbad, and on his way back stopped at Leipzic, where some musical parties quickly got up by the families of his acquaintance enabled him to pass some very agreeable days, and at which he played his favorite quartet inA minor, with his newest concertino, to the great delight of his hearers. Upon this occasion, it was a source of great pleasure to him to make the long desired acquaintance ofRobert Schumann, who though in other respects exceedingly quiet and reserved, yet evinced his admiration ofSpohrwith great warmth, and gratified him by the performance of several of his interesting fantasias.
Mendelssohnwas at the time unfortunately absent, and in his next letter toSpohrexpressed his great regret thereat; and requested him at the same time to send him his last symphony (No. 5,C minor), as it was intended to perform it at the opening of the approaching season in the first concert of the Leipzic Gewandhaus. While expressing his thanks for it beforehand, he says at the same time, in reference to a song ofSpohr’swith which he had just previously become acquainted: “As I am now on the subject of thanks, I must thank you many times and with all my heart for the beautiful song inF sharpwith clarinet accompaniment, the “Zwiegesang,” which pleases me exceedingly and has so completely charmedme with its prettyness, that I both sing and play it every day. It is not on account of any one particular feature that I admire it, but for its perfectly natural sweetness as a whole, and which from beginning to end flows so lightly and gratefully to the feelings. How often have I sung it with my sisters, and each time with renewed pleasure! And for that I must now also thank you....”
The first work with whichSpohroccupied himself after his return to Cassel, was a fourth quartet for stringed instruments (G minor), which was published byPaulof Dresden as Op. 106, both in its original form and as arranged bySpohrhimself for the pianoforte for four hands.—About the same time he received the very unusual order to make arrangements for a concert at court, which after frequent and long deliberations, at length took place on the 19th. September at the palace of Wilhelmshöhe. The instrumental pieces were performed by the members of the electoral chapel, but the vocal subjects were atSpohr’srecommendation confided toFirnhaber, a distinguished dilettant professor from Hildesheim, who himself had a court appointment, and had been for some years tutor to BaronScholley, stepson to the Prince. With a very fine high tenor voice, he combined a good musical education, and a lively sentiment for art, andSpohr’scompositions, with the manifold beauties of which he had made himself more and more acquainted during his residence in Cassel, soon inspired him with real enthusiasm. AsSpohralso took as much pleasure in his society as in his charming style of singing, he was a constant assistant at all music parties, and his presence in Cassel suggested toSpohrmany of his most pleasing and favorite songs, of which were: the book of songs from Op. 101 to 105; the duet for soprano and tenor Op. 107, (both published bySimrock) andFranz Dingelstedt’s“Mitternacht” (midnight), which song was published by itself byPaulof Dresden. Respecting the last, the author of the words, who had then an appointment at the gymnasium of Fulda, wrote toSpohrat a subsequent period, expressing the greatestsatisfaction: “Yesterday evening I heard your song ‘Mitternacht’ sung, and still deeply impressed by it, I hasten to thank you, and to express both my delight and my pride therein. I will not say that you have entered into the spirit ofmy words—for what are they after all? No, it is you who have caught the long, low, solemn whisperings of midnight. For the first time I regret that I am not sufficiently acquainted with music to understand and express the enthusiasm of the initiated in matters of change of tempi, tone &c.; in your art I am a naturalist merely, but I enjoy this production of it yet more deeply and intimately than they all; for I feel as a poet in the matter!—Not a word more now of common-place praise and song of thanksgiving! You have afforded me an hour of delight, and stirred within me emotions such as alas! I can feel here but seldom: a reward for my aspirations, an incentive to future efforts! You, I am sure, understand me!”....
In October 1838Spohr, following the example set by many of the larger towns of Germany, succeeded at length in carrying out his reiterated proposition to give a concert at the theatre in aid of the funds for the erection of the testimonial to the memory of Mozart. The first part of the concert comprised among other thingsMozart’ssymphony inD minor; and in the second, tableaux vivants, with appropriate music, fromMozart’soperas, in which at the conclusion, the last chorus of the requiem resounded, and the bust ofMozart, placed in the foreground of the stage, was crowned by genii with wreaths of laurel.—A similar festival took place the following spring in aid of the fund for the memorial toBeethoven, but with this difference, that the programme contained besides the choicest selection from the works of that honoured maestro, a composition ofSpohr’salso, his most recent concertino: “Sonst und Jetzt,” which he had performed for the first time shortly before at one of the regular winter concerts, and upon this occasion reproduced at the express desire of the Prince. The success upon both occasions was extremely great.
At the commencement of the same year, several other remarkable concerts took place, and among others,Ole Bullperformed twice in the theatre, to overflowing houses, notwithstanding the increased prices of admission, and filled the public with astonishment and admiration of his play.Spohrhimself took the warmest interest in the wonderful play of his colleague in art, and gave a musical party at his own house in his honour, in which he first played one of his own quartets, but in the following he resigned the first place toOle Bull, and even took the second violin. His opinion respectingOle Bull’splay may here be given in his own words, when writing to his friendSpeyerupon the subject: “Ole Bullhas lately given two concerts at the theatre and greatly charmed the public. His many-toned strokes and the accurate certainty of the left hand are remarkable, but likePaganini, he sacrifices too much to the tricks of the art. His tone on the weak strings is bad, and he can only use theAandDstring on the lower part andpianissimo. This gives to his play a great monotony when he cannot bring in his tricks of art. We found this in two ofMozart’squartets, which he played at my house. On the other hand, he plays with much feeling, but not with a cultivated taste.” With every acknowledgment made bySpohrof the extraordinary performances ofOle Bull, certain features of charlatanism, so foreign to his ownsimplenature, did not escape him, and he frequently related at a subsequent period with a good-natured smile to his own friends, and to others, howOle Bullat a passage which offered him an opportunity of shining in one of his incomparablepp, kept his bow hovering over the strings for several seconds, so that the public who listened in breathless silence for the last sound of his constantly decreasing tones, might believe they still continued dying away inppp.
About this time also, the representation of a small opera: “Der Matrose,” in the composition of whichSpohrhad assisted, was frequently repeated. The text, adopted from the French, was written by the admired comedianBirnbaum, and at hiswish set to music by four composers of this place,Spohr,Hauptmann,Baldewein(director of music), and the song-writer and teacher of musicGrenzebach, collectively. Besides the overture,Spohrhad undertaken the song of a home-returning mariner, together with the finale and all these “numbers,” and the whole operetta met with lively approbation from the public. UnfortunatelySpohr, at a later period, was no longer in possession of these, as they remained in the hands of Mr.Birnbaum, for whose benefit the first representation of the opera was intended. The highly characteristic mariner’s song only appeared some time afterwards, arranged by himself with four-handed accompaniment for the pianoforte, and was published byPaulof Dresden.
In April 1839Spohrreceived a pressing invitation from England to direct the performance of his oratorio “Des Heiland’s letzte Stunden” at the grand musical festival which was to take place in September at Norwich. After he had succeeded in obtaining the requisite leave of absence from the Prince, the customary tour during the summer holidays was this time limited to a shorter excursion, in which he made visits to his relatives and friends. He next proceeded to Holzminden—whereSpohr’syounger brothersAugustusandCharlesresided with their families, the former, as a fiscal assessor, and the latter a law official of the duchy of Brunswick. Thence he went on to Gandersheim to visit his venerable parents, and lastly to Catlenburg, to CouncillorLüder. As a matter of course on this journey he was not without his violin, and whereverSpohrcame he found grateful hearers, who considered themselves superlatively happy in listening to his play. More than any of the other pieces that he executed, his newest, charming composition, a Spanish rondo for pianoforte and violin, afforded them delight; this soon became one of the most favorite pieces of music in Cassel also, and remained so up to a very recent period. At a later period, when it was published byMechettiin Vienna as Op. 111, there appeared simultaneously a pianoforte arrangement of itfor four hands byCzerny, which was certainly most welcome to all who had not the advantage of hearing the original composition executed by a distinguished violinist.
Returned to Cassel,Spohrfinished his “Historical Symphony in the style and taste of four different periods” which he had begun before he set out on his journey. (Theme the first: The period ofBach-Händel, 1720. Adagio:Haydn-Mozart1780. Scherzo:Beethovenperiod 1810. Finale: The most modern period 1840) a work, which afforded him not only during its creation, but also upon the occasions of its closely following performances in Cassel, the greatest satisfaction. Abroad also, and first in London, where he sold it to the Philharmonic Society for the term of one year, and subsequently in Germany, where he was permitted to make it known after the lapse of that period, it met with the most lively reception. Many voices were, however, raised in blame, and of these that ofSchumann, in his musical journal, was the severest in tone. On the other hand BaronLannoy, in Vienna, reported that the work had been received with great favour:Mendelssohnsent in a most flattering account of its reception at Leipzic; and many letters full of praise arrived from England.
In the beginning of SeptemberSpohrset out upon the journey to England, accompanied by his wife and his friend Mrs.von Malsburg, with whom he had been many years acquainted.[36]
After an exceedingly rough passage, which delayed his arrival in London by six hours,Spohrwas very agreeably surprised in the midst of the confusion incidental to such circumstances, on being addressed by a gentleman, a stranger to him, exhibiting an order from the custom-house authorities, to deliverSpohr’sluggage without examination, and who then tookhim and his female fellow-travellers speedily and safely to land in a boat, where a coach was in waiting to take him to the hospitable house of professorEdward Taylor. In the amiable family-circle of that gentleman and surrounded by the genuine English usages and comforts which had so many charms for the guests, they soon found themselves at home, and a few days sufficed to lay the foundation of a life-long friendship. As their farther journey permitted but a short stay in London, it was necessary to make the best use of the time to see the objects most worthy of notice in the metropolis, which filled the travellers with wonder and admiration. The visit to Westminster Abbey made a deep impression upon all, and this was expressed in the letters they sent home:[37]“The very entry into this majestic structure, which is certainly the finest of all the objects of note in London, makes an impression so deep and solemn upon the mind, that we could scarcely repress our emotion; and in reality one seems to move no longer among things of this world. The tones of a splendid organ may have contributed to this feeling,—for divine service was just being performed,—and this was followed by sacred psalmody sung in double chorus so pure, so sweet and executed with such feeling, that they seemed like the voices of angels from the realms of bliss. We had neither of us ever heard any thing like it before. Now again the notes of the organ pealed forth, and we distinguished harmonies ofSpohr’s, and soon recognised the touching sounds of his mass for ten voices; and then the grand overture to “Des Heilands letzten Stunden” was splendidly performed by the celebrated organistTarle....”
But the time pressed for the departure to Norwich, whereprofessorTaylor,[38]the chief director of the whole musical festival, had already made the necessary preliminary rehearsals ofSpohr’soratorio, 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 subjectSpohr’srelative thus expresses herself: “Ofsucha 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 onSpohrhimself. 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 thesermon. 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 atSpohras something wonderful; many also, requested to be introduced toSpohr, and our kind mayor, who accompanied us and conductedSpohr, was quite happy, and proud of the whole scene. His daughterMary, a charmingmaiden of fifteen, is also enthusiastically fond of music and particularly ofSpohr’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 withSpohr, he accompanied her in one of his favorite sonatas ofMozart...”
IfSpohrhad 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 whichSpohrvisited 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 thegreat composer, with ears happily deaf to theEnglishtongue; 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 thespiritof 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 ofSpohra 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 thatSpohrshould 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 approachSpohr.
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 thatSpohr, 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 asyet 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 greetedSpohrupon 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 whichSpohrwas 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, andSpohrwas 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 bySpohrin the French language, with many scientific expressions which were quite unintelligible to herself; but which at length she effected with a result so accordant withSpohr’swishes, 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 ofHaydnand 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 expectancytowards the orchestra in order to greetSpohrupon 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 uponSpohr’splay 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 hismens 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 fromSpohr’spen; 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 ofPurcell,Palästrinaand others; and in the second and third parts the magnificent oratorio ofHändel: “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.Spohrwas inexpressibly delighted with it, and said, “English church-singers only are capable of renderingHändel’ssublime 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 itstanding.—The order of the musical pieces in the evening concert was very much the same as in the previous one. It began withMozart’ssymphony inE flat major, which was followed by twenty other different subjects, among which were some pieces from operas byMozartandWeber, andSpohr’sterzet from “Zemira and Azor,” which is never omitted at any Englishmusical festival.Spohrplayed with his former pupilBlagrovehis 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 accompaniesSpohrevery 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 whichSpohr’soratorio 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 washere, 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 uponSpohr, 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, whichSpohrlistened to with us with the greatest delight, comprised the requiem ofMozartand other pieces of sacred-music byMozartandBach....”
The public papers gave a detailed account of the deep impression made bySpohr’soratorio, 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 aninstant 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 thanSpohrhas 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 inour 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;Spohrhimself 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 fromSpohr’sseizing 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 forearthly utterance,—but it was a lasting one, and will assuredly never be forgotten.”
The English newspapers spoke also respectingSpohr’smanner 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 inSpohr, 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 uponSpohrwith 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-dayHändel’ssplendid “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 asSpohrfortunately 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 ofleavetaking, 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 ofSpohr, which even extended itself to me. But the estimation in whichSpohris held here in England, and the manner in which this is evinced on all sides is almost incredible”....
After so brilliant a success ofSpohr’soratorio, 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 professorTaylorsent him the English text of “The fall of Babylon,” of his composition, the text of which, though much toSpohr’sliking, 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 thatSpohrcould 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 bothlanguages.—
But to return to the year 1840, whichSpohrentered 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 satisfactionSpohrhad derived from the success of his opera, which had met with a most gratifying reception from the public.
About this timeSpohrreceived 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 forSpohr, 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,Spohrset 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 notaryPascal, in which Mr. and Mrs.Spohrfounda 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: “WhenSpohrentered 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,AlbertazziandMüller, Mr.de Vruchtfrom Amsterdam and Mr.Fischer—good as they were on the whole, did not make upon us the same impression offinishedexcellence as did the choruses, which completely charmed us. In the second concert also, in which besidesSpohr’s“Lord’s Prayer,” the overture to “Medea,” theA majorsymphony ofBeethoven, andMozart’s Davidde penitente, were performed,Spohrupon 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, andAlbertazzi, with the celebratedStaudiglof 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 fromSpohr’s“Lord’s Prayer” followed, which again drew from the audience the most enthusiastic bursts of applause....”
As on the following forenoon the brothersMüllerof Brunswick gave a quartet concert in the “Redoutensaal,”Spohrdelayed 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, whosecartes de visitesmade him known as “ami de Beethoven,” and who in previous musical festivals had begun to distinguish himself by his disputes withMendelssohnrespecting his slow tempi in the conducting of works ofBeethoven’s, and now also in a similar manner found fault withSpohrfor his manner of conducting theA majorsymphony. This—with the exception of the general disapprobation that it elicited—had no further result than thatSpohr, at the urgent and reiterated desire of the committee, replied toSchindlerin a short but decisive letter, but which, couched inSpohr’susual 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,Spohrset 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 thatSpohrwas 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 placeSpohr, 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 LübeckSpohrproceeded to Hamburg, where hearrived just in time to undertake the direction of his opera “Jessonda.” The performance of the opera, in which Mrs.Walkeras Jessonda, and Mr.Reichelas Dandau, especially distinguished themselves, was in every respect a great success, and there were immense applause and loud demonstrations in honour ofSpohr. 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,Spohrthe German master took the director’s chair in the town theatre to conduct his splendid “Jessonda” in person. With theformer, abundance of noise, merriment, and somewhat of dissension, to-do, and submissive politeness—buthere, 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 ofSpohrthan his enthusiastic admirerJulius Schuberth, the well-known music publisher, under whose hospitable roofSpohrand 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 whichSpohrperformed some of his quartetts, and was greatly charmed with MissUnna’sbeautiful execution in his quintet for the pianoforte.
Upon this occasionSchuberthexpressed so great a wish to publish some similar grander pianoforte pieces ofSpohr’scomposition, 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 bySpohr(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 newgenrewith true artistic consciousness of power, and with genial freedom. The trio is one of the finest productions of the genius ofSpohr, 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 howSpohrhere understood the way to unite two elements which are otherwise strangers and indeed usually antagonistic to each other: thehumoristicand theimpassioned,elegiacally tenderelement offeeling....”
At the commencement of the year 1841Spohrwrote 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 byMechetti); an English psalm for soli, with chorus and organ accompaniment (Op. 122, published bySimrockof Bonn); and a song,“Schill,” for men’s voices, with accompaniment of military music, written for the inauguration ofSchill’sasylum 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 thatSpohrconceived the idea of sending it to Frankfort and therewith fulfil his promise of a contribution to the “Collection of small compositions to theMozartinstitution.” 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 recommendingJean Bottof Cassel, although but 14 years of age, and wrote of him in the following terms: “Bottis 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 underSpohrandHauptmannwith great zeal, and while yet a boy received an appointment in the Cassel “Hofkapelle.”
AsSpohrhad 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 ofSpohr’s“Weihe der Töne” in terms of great praise.
AsSpohr’sintended 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 KapellmeisterTäglichsbeckand Court-CouncillorSchillingcame 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 ledSpohrto an elevated platform, upon which the whole orchestra were assembled, and in front thehead Pastor, Reiners(who was also contrebassist in the orchestra), who then adressedSpohrin 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 nearSpohr, 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; heldSpohrconstantly 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 whetherSpohrwould sup or not in the dining-room below, he gave orders for a place to be reserved for him next toSpohr, 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 andSpohr, and was very lively, the wholebeau mondeof Hechingen was assembled to seeSpohr, and each ordered supper according to his own fancy. Gentlemen of the chamber, clergymen, councillors, and their wives, mingledpêle mêle, did and said a thousand humorous things, and evinced an extraordinary musical enthusiasm.Spohralso was greatly pleased to have made the acquaintance of this happy, music-mad little spot of Germany. Music, particularly that ofSpohr, is everything here, and ladies and gentlemen know his symphonies and quartets in amanner 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 withSpohr. 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 atTäglichsbeck’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, andSpohrespecially, 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 bySpohrin 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 tableSpohrwas 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 withSpohr, 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 gentlemenwere 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 embracedSpohrrepeatedly, 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,Spohrand 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. AlthoughSpohrhad 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 satisfySpohr’sartistic 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 byLindpaintnerand another oratorio, the “Christi Himmelfahrt” (the Ascension), byNeukomm, at which the composer was also present, and was greatly gratified bySpohr’sapprobation, 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, doctorZieglerand his sister, from Winterthur, were likewise much applauded in the duet from “Jessonda.”