Scarcely hadSpohrreturned to Cassel than he was again upon the move, and this time to Bonn, where on the 11th. of August the inauguration of the monument toBeethovenwas to be celebrated. To the invitation that had been sent to him many weeks before, to conduct a portion of the musical performance upon the occasion, he had at first, it is true, replied declining it, as a special leave of absence would have been necessary for him to proceed thither, and after having already applied for one the year before to direct the Brunswick musical festival, he did not like to make a similar application so soon. It was however shortly announced to him in a second letter, that the committee of the festival having been informed that thePrince was then staying at Cologne for a few days, they had despatched a deputation thither to invite him and the CountessSchaumburgto the approaching ceremony in her native town of Bonn, and to solicit at the same a leave of absence forSpohr, which had been graciously granted. As no further obstacle now intervened,Spohrlost no time in proceeding thither, to lend his personal assistance at the grand festival, which had drawn together from far and near the musical youth of Germany, to do honour to the great master whose memorial was to be inaugurated.
Of the festivities preceding and subsequent to the uncovering of the statue—the launching of the steam-boat “Ludwig van Beethoven,” the excursion to Nonnenwerth, the grand procession, the pyrotechnic display, illumination, banquet and ball—all these things have been so frequently described verbally and in writing by many who were present at the festival, that we will here only concisely advert to its musical features.
In the first grand concertBeethoven’smass inD majorand the ninth symphony were performed underSpohr’sdirection, and as the published accounts of the festival express it, “both these works, which present very great difficulties, were performed with the most finished execution, so that this concert alone, combined with the sight of the hall in which it took place, was well worth the journey to Bonn.” On the following day,Beethoven’sgrand mass inC majorwas performed at the celebration of divine service in the minster church, and upon the uncovering of the statue a festive cantata byBreitensteinwas performed under his direction. At the second grand concert in the hallSpohr, by the desire ofLisst, again directed a part, while the services of the latter, as an active member of the committee, being continually required in various departments, with the exception of his performance ofBeethoven’spianoforte concerto inE major, he confined himself to the direction of theC minorsymphony and some “numbers” of the Fidelio. The third, so-called musicians’ concert, was subjected of a necessity to many changes of the fourteen pieces of whichits programme consisted, as, besides the Princes who were already arrived, the King and Queen of Prussia, the Queen of England with her consort, and other exalted personages were expected at the solemnities of the inauguration of the statue, andLisstdid not like to begin his festive cantata before their arrival. But it became at length necessary to make a beginning, and scarcely was the first “number” ofLisst’scantata concluded, than the royal personages made their appearance, and the assembled company saluted them with the national-hymn: “Heil Dir im Siegerkranz;” after whichLissthad the whole cantata repeated; upon the conclusion of which it was left to the two Queens to make the selection of the next musical-pieces which were to be performed in their presence. It was thus, that not only the pieces of the programme were changed from their announced order of succession, but several of the pieces were necessarily wholly omitted on account of the delay that had thus occurred; and the musical part of the festival was brought to a termination in a somewhat unsatisfactory manner, and without a real and proper conclusion in the opinion of a majority of the auditory. A chosen few, however, among whom wasSpohr, received an invitation to the grand court concert, given by the King of Prussia in honour of his exalted guests at his palace of the Brühl, in the neighbourhood.Meyerbeerdirected, and the programme consisted, with the exception of some pianoforte-pieces performed byLisst, of song-pieces only, sung by the most eminent vocalists, Messrs.Mantius,PischeckandStaudigl, with Mdmes.Lind,GarciaandTuczek.
After a summer so busily occupied, and in whichSpohrwas deprived of all leisure for composing, the impulse to write something new was awakened but the more strongly upon his return to Cassel, and several instrumental compositions followed each other in quick succession, to which style of art, since the termination of his opera, his whole mind again more especially addressed itself. About this period he wrote his 15th. violin-concerto (E minor, Op. 128, published bySchuberth),which he first played at the subscription-concerts in Cassel, and in July 1845 at the previously mentioned musical festival at Oldenburg, and then in commemoration of that event dedicated it toPollthe music director of that place. This was followed by the sixth quintet for stringed instruments (E minorOp. 129, published byBreitkopf & Härtel); and in the course of the winter by a quintet for pianoforte, two violins, viola and violincello, inD minor(Op. 130, published bySchuberth); the 30th. quartet for stringed instruments (Op. 132, published byBreitkopf); and a quartet concerto for two violins, viola and violincello, with orchestra—the latter of which was played at the next subscription concerts, and by the addition of the rich instrumental accompaniment proved especially adapted as a simple quartet for performance at a concert in a spacious building. Before it had appeared in print (Op. 130, atSchuberth’s), it was sent for from London and Vienna, and especially asked for at Leipzic, at which place the directors of the Gewandhaus concerts were always extremely desirous of being able to announce in their programme a new composition in manuscript bySpohr. Such upon this occasion was also the sentiment ofM. Hauptmannin a letter toSpohr: “Everything coming from you, old or new, always finds the most favourable reception here: one can easily judge from the applause whether a thing merely pleases, or whether it makes a deep pleasurable impression, and that is always the case with your things. Either song or instrumental music of yours is always listened to with real predilection, the concert-loving public finds itself then in an atmosphere that suits it; and in this manner also the quartet concerto (with the execution of which I was not altogether satisfied) met with a very warm approval. To my mind it is perfectlySpohrisch, i. e. as masterly, as it is replete with feeling: the great difficulties attending such an undertaking are not in the least perceptible when listening to it, and as in your double quartets, the greatest clearness is always apparent in the most scientific combinations, which cannot always be said of other compositions that overstep the limits of the ordinary;that is, what the initiated understand and consider as high art, but which the mere hearer of feeling finds pleasing and which put him in good humour,” &c. The correspondence upon these subjects was chiefly conducted byMendelssohn, who also made the proposition to introduce the third act of the Crusaders as a whole, in one of the concerts there, and afterwards announced toSpohr, who was of opinion thatthisopera in particular was not very suited to the purpose, his entire satisfaction: “The first time I saw your work in Berlin, the third act appeared to me the most spirited, and finest in the whole opera, and I was convinced that it would be very effective in a concert. You seemed to doubt it, and therefore I am the more pleased that yesterday’s performance of it made so great an impression, which, to judge from the attention of the auditory, the applause and their observations, appears to me very evident... The chorus was about two hundred strong, and the hymn inH major, the chorus for male voices inC major, and then the scene in the convent, sounded wonderfully fine. A thousand hearty thanks for this enjoyment, and for all the many beautiful things for which we are indebted to you.... Unfortunately I was not able so to manage that the direction of this concert would fall to me; but it went so well underGade, and he had made himself so well acquainted with the whole work, that even you would scarcely have desired more,” &c.
In striking contrast with these friendly words of acknowledgement from so competent a judge, a circumstance occurred about the same time, which from being considered bySpohrhimself as the only one of the kind throughout his long musical career, may not be undeserving of special mention here. Though the opera of the Crusaders had been sent by special request to Dresden for performance there, upwards of a twelvemonth, it had never yet been put upon the stage; and during that time the directorsReissigerandWagner, as also the celebrated tenorTichatscheck, for whose splendid voice the part of Balduin seemed almost purposely written, had repeatedly expressed by letter their pleasure with the work, and theirregret at the constantly recurring delays, which deprived them of all hope ofSpohr’sproceeding there to direct it—when suddenly, to his great astonishment, the score, not a little worn and defaced, was sent back from Dresden, without honorarium, and even without the libretto, to whichSpohrhad with much trouble appended many remarks and directions in writing; accompanied only with a letter from the manager, Mr.von Lüttichau, the very unsatisfactory contents of which may be inferred from the following accidentally preserved copy ofSpohr’sreply:
“Your Excellency’s letter of the 15th. inst. has very much surprised me. I never could have believed, after my long, and I think I may say honourable, career as a musician, that I should have lived to experience the indignity to have the score of one of my works—not sent in as the first essay of a beginner for examination and trial, butorderedby previous application—sent back to me in such a manner. What you are pleased to assign by way of explanation or excuse for so strange a proceeding, I cannot possibly accept; for it was no fault of mine that the opera was not brought out at the appointed time, and both soon enough and frequently enough had I drawn attention to the circumstance that I could obtain no leave of absence out of my vacation time. How the opera, which is known by nobody in Dresden, should now have lost the charm of novelty I can as little understand, as that the contents of the opera, which were already known to you when you ordered it, should now all at once be found objectionable, while here and in Berlin, it has not met with the least objection in its present form, nor formerly, when performed in the shape of a play throughout Germany. Had your excellency felt any anxiety lest the opera would not remunerate for the time given to its study, and the expenses it might entail, you could assuredly have found some relief for your doubts in the many numerously attended performances which have already taken place here, in Berlin, Brunswick, &c. It is difficult for me also to conceive how the work of an old experienced composer should be rejected by a theatre which does not disdain the rapid works of beginners and dilettanti such as .... and .... The insult that has been offered to me is therefore wholly inexplicable, and I must console myself with the reflexion,that it is the only one of the kind offered to me during my long career as a composer, and I congratulate myself that I am not under a theatrical directorship which so little understands how to respect the feelings of a veteran artist,” &c. To this a reply was received from the vice-manager,K. Winkler, who at the request of Mr.von Lüttichau, expressed his regret that the return of his score, which had become necessary, should have so much offendedSpohr, assuring him furthermore, that the chief reason for it was the words and subject of the opera, during the ecclesiastical excitement.
But thatSpohr’sview of the matter was not much changed by this attempt at exculpation is evident from a letter he wrote toRichard Wagner, in which he opens his whole mind to him, and having first expressed his disappointment thatWagner’sopera “Tannhäuser,” which he had proposed to the Prince to have performed in celebration of his birth day, had not received the official sanction, he avails himself of the opportunity to detail fully to him the incomprehensible conduct of the Dresden theatrical directorship.Wagner, who then first was made acquainted with all the particulars, gave expression to his anger thereat, in so plainspoken a manner, that the publication of his letter, highly interesting as it is, would perhaps be unadvisable. After the prospect of a meeting withWagnerin Dresden had been dispelled in so vexatious a manner,Spohrproposed to him arendez-vousat Leipzic, where he intended making a stay of a few days on his contemplated journey with his wife to Carlsbad. AsWagnerseized the idea with much pleasure, the long desired personal acquaintance was at length made with the greatest mutual satisfaction, and letters addressed to the family at home speak among other things of this meeting, and other interesting circumstances that occurred during their stay there:
“We are passing our time here most delightfully, and enjoying a very feast of the finest music. On the very first evening we had a music party atHauptmann’s, where trios byMendelssohnandSpohr, in which each master took part, were played; and the company, consisting chiefly of connoisseurs in art, were highly delighted indeed. On the following day a very charming dinner-party was given atWagner’ssuggestion, who has himself no means of entertaining friends at Leipzic, by his brother-in-law, ProfessorBrockhaus, in honour ofSpohr. We there made the acquaintance of his sister and several others of his relatives, all of them most intellectual creatures, and enjoyed ourselves greatly. Besides the members of the family,Heinrich Laube, the author, and his very learned wife, were present, who gave a yet more lively impress to the conversation. We were most pleased withWagner, who seems every time more and more amiable, and whose intellectual culture on every variety of subject is really wonderful. Among other things he gave expression to his sentiments on political matters with a warmth and depth of interest that quite surprised us, and pleased us of course the more from the great liberality of feeling he displayed. We passed the evening most delightfully atMendelssohn’s, who did his utmost to entertain and pleaseSpohr. This family has for me something very idealistic about them, they present a combination of inward and external features, and withal so much beautiful domestic happiness, that one seldom sees the like of in actual life. In their establishment and whole manner of living there is so much unassuming modesty amid all the obvious luxury and wealth around them, that one cannot but feel at one’s ease. And to me most gratifying is his unmistakable attachment to and esteem forSpohr. He himself played a most extremely difficult and highly characteristic composition of his own, called ‘Siebenzehn ernste Variationen’ (seventeen serious variations), with immense effect; then followed two ofSpohr’squartets—among them the newest (the 30th.)—on which occasionMendelssohnandWagnerread from the score with countenancesexpressive of their delight. Besides these, the wife of doctorFregesang some ofSpohr’ssongs, whichMendelssohnaccompanied beautifully; and in this manner the hours passed rapidly and delightfully with alternate music and lively conversation, till midnight drew on unobserved, and at length gave impressive warning to break up.Wagner, who was obliged to return to Dresden the following day, came to take leave of us, which both to us and to him was a sad moment. But after he had left, he was frequently the subject of our conversation, for he left us the words of a new opera which he had written (Lohengrin) to read, and which is exceedingly original and interesting.... Yesterday at the dinner-table we made another agreeable acquaintance, that of the poetRobert Prutz, who being seated exactly opposite to us, introduced himself, sustained a very lively conversation, and appeared quite charmed at meeting withSpohr. After dinner a performance was arranged in the church by the pupils of the Thomas School, where, without any accompanimentSpohr’spsalm with double choir, ‘Aus der Tiefe’ (out of the deep) and his favorite motet byBach: ‘Ich lasse Dich nicht’ (I will not leave thee) were sung.... Last evening an extra concert was given forSpohrin the well-known Gewandhaus, which, underMendelssohn’sdirection, was in every respect a brilliant entertainment. The programme consisted wholly ofSpohr’scompositions, of which we had not been apprized before hand, and which was on purpose to take us by surprise. It comprised: 1stly. The overture to Faust; 2dly. An air from Jessonda sung by the prima donna, Mrs.Meyer; 3dly. Grand violin concerto played toSpohr’scomplete satisfaction by the wonderful boyJoachim; 4thly. Songs with clarinet accompaniment, by the wife of doctorFrege,Mendelssohn, and a first-rate clarinetist, so wonderfully executed that it went to the very heart; 5thly. ‘Weihe der Töne,’ which for years has been a bright-shining star with the Leipzic orchestra. At the request ofMendelssohn,Spohr, although he would rather have remained a hearer only, took the direction of the two lastsubjects, on which occasion he was greeted by the orchestra and the auditory, which consisted of about two hundred select guests, with a storm of applause, as he had also been saluted with upon his entrance. The whole was a grand elevating festival, and forSpohra deeply-felt gratification.Mendelssohnwas extremely amiable, and the whole evening as though intensely happy, which proved how foreign to his mind is every feeling of jealousy. This evening the last music party will meet atVogt’s, whereMendelssohnproposes to himself an especial pleasure, not only in taking part inSpohr’sfirst trio as pianist, but asviolin his splendid third double quartet.”
In this manner up to the last moment wasMendelssohn’sthoughtful and kind attention evinced toSpohr, and upon his departure on the following morning, when the numerous friends who had accompanied us to the railway-station had taken leave of him, he was, as the further accounts of the journey express it, “the last of all, who, as the train at first proceeded slowly, ran for a considerable distance by the side of the carriage, until he could no longer keep up with it, and his kindly beaming eyes were the last that left their expression on the minds of the travellers from Leipzic,” little anticipating indeed that it was to be their last meeting on this side of the grave!
Scarcely hadSpohrarrived in Carlsbad, than he received a pressing invitation from the Landgrave ofFürstenberg, president of the society of music of Vienna, to direct there two grand performances of his renowned oratorio, “The Fall of Babylon,” upon the occasion of a festival at which 1000 singers would assist. But as this was to take place in November, and it would be necessary to ask for another “extraordinary” leave of absence to comply with the invitation, this was applied for through the Austrian embassy. But notwithstanding the signature of “Metternich” gave its imposing weight to the application, the Prince refused compliance, and thus not only wasSpohrprevented going, but the performance of his oratorio was necessarily deferred to a more favourable opportunity.
Among the various incidents which this time occurred in agreeable relief and interruption to the daily routine prescribed for taking the baths, was first a concert given by the violinistErnst, of which a letter speaks as follows: “The concert of so celebrated a virtuoso was quite an event for Carlsbad, and afforded us much pleasure. Besides the song scene ofSpohr, he played several of his own things, some of which were very beautiful, curious compositions replete with all manner of difficulties and wonderful artistic resorts for display, and which he executed with great precision and ease; but although he playedSpohr’sconcerts with much care and great expression, yet we have not only heard it played bySpohrhimself, but by his talented pupilJean Bott, much more correctly. The overcrowded house presented a curious spectacle, for not only was the space allotted to the spectators, but the whole stage also, occupied by the public, which sat round disposed in a large semi-circle,” &c. But amusing scenes of another kind also occurred at Carlsbad. One day a good-natured invalid visitor of the baths took it into his head to give a little treat to the fifteen young serving-women attached to the baths, at which several hundred spectators were present; and above all,Spohr, with his characteristic good humour, took great pleasure at the sight of the assembled girls, dressed in their uniform (white gowns, green spencers, and pink aprons), each with a fresh-gathered rose in her hair, seated at a long table, and looking around on all the spectators with eyes beaming with pleasure as they partook of their treat of coffee and cake. At another time, by a similar but anonymous kind-hearted individual a parcel was sent toSpohrcontaining two enormous herrings, remarkable samples of their species, with the laconic inscription appended to them: “I loveSpohr’smusic! The great GermanSpohrwill not despise the accompanying quite fresh herrings, a very rare, but permitted dish here. Carlsbad June 6.” ThoughSpohrhad always been used to receive a great variety of presents, and frequently of the strangest kind, as tokens ofesteem and admiration, yet he had never before received one of so surprising and comical a kind, at which, withErnst, who happened to be present at the moment he received them, he laughed very heartily, and then without much speculation or care as to who the anonymous donor might be, ate with much relish the delicious fish, as a change from the scant prescriptive supper permitted to the bath patients. As the greatest moderation not only in physical but mental exertions and enjoyments formed part of the bathing cure,Spohr, as a conscientious patient, had at first considered it a duty to refrain from every musical excitement, particularly from that of composing, until the impulse became so strong within him that he thought it more prejudicial to suppress by force than to give some form to the vivid ideas that floated across his fancy; and thus with unforced readiness flowed from his pen the last part yet wanting to complete the fourth pianoforte trio which he had already begun in Cassel; and it being as it were the bubbling and overflow of the gaiety of his spirits, he was accustomed to call it by way of souvenir of the benefit he derived from the bubbling springs of Carlsbad, “Der Sprudelsatz” (The bubble piece). As however there was no good player on the violincello in Carlsbad, he thought he should be obliged to wait till his return to Cassel for a thorough performance of the trio; but during a short stay at Meiningen on his return journey,Edward Grund, the already frequently mentioned music director, with incredible diligence took all the requisite measures for getting up a quartet party on the same evening in his house, whereSpohrhad the unexpected opportunity of hearing his trio, with the aid of his wife and the distinguished violincellistMetzner, for the first time, which afforded also no little delight to the company present. As it also soon became a favorite piece with the musical circles of Cassel,Spohrkept it by him for a long time in manuscript, before he sent it to his publisher,Schuberth, who looked forward with truly restless impatience to the appearance of this trio ofSpohr’sin order to make it public. (Op. 135.)
In the beginning of the year 1847 the day drew near at length, the celebration of which had for weeks beforehand set the natives of Cassel on the tip-toe of pleasurable expectation, that, namely, of his twenty-fifth year’s jubilee as director at the court theatre of Cassel. The lively interest taken far and near in this festival evinced itself in so many demonstrations of attachment and esteem towards the individual thus honoured, that a published account of them written by Dr.Frederick Oetker, the proceeds of which were devoted to charitable purposes, formed a complete pamphlet, for a short extract from which we have alone room here:
“Early on the morning of the 20th. January, the recipient of the day’s honours was awakened from his slumbers by a serenade played by his pupilsJean BottandA. Malibran, who, assisted by musicians of the court orchestra, performed his second double quartet. This was followed by a long succession of congratulatory visits from relatives, friends, pupils, and admirers of all classes and from every quarter, who came to express their wishes for his health and happiness. From the society of St. Cecilia there came a well selected deputation, composed of representatives of soprani, alti, tenori and bass, in whose name the secretaryKnyrim, the only remaining original member, expressed in hearty words their grateful acknowledgement of the many services rendered to art, and to the society in particular, by the honoured jubilant. These were succeeded by the postmaster-generalNebelthau, as member of the council of state, who presentedSpohra congratulatory address in writing from the chief magistrate of Cassel, and then the music director from Göttingen, Mr.Wehner, delivered a wreath of laurel from that place, accompanied with a congratulatory poem, and with a diploma nominatingSpohran honorary member of the singing association of Göttingen. Accompanied with a most obliging letter the King of Prussia sent to him the order of the red eagle, third class, and the Prince, who had some years before already conferred upon him the Hessian order of the lion, forwarded to him upon this occasion afurther mark of distinction, nominating him music director-general, with grant of official character at court. The rescript of this patent was personally handed toSpohrby the chamberlainvon Heeringen, who the previous year had been nominated intendant-general of the court theatre, in order at the same time to express both his good wishes and the high esteem he felt forSpohras a man and as an artist, which he moreover proved upon this occasion by the splendid festal performances he had ordered at the theatre in celebration of this day. This consisted in a musical-dramatic production “of scenically connected music-pieces from the operas ofSpohr,” the tickets of admission to which, besides those to the extra standing places, had been issued many days before, so that the house was actually crammed. WhenSpohrmade his appearance in the box in the first tier, which had been appropriated to him and his family, he was received with the most tumultuous demonstrations of joy, with which the strains of his overture to the opera of “Alruna” soon mingled. This was followed by a tableau from “Zemira and Azor,” representing the union of the lovers. After the conclusion of this tableau, as also after each of the following scenes fromSpohr’soperas: “Zemira”, “Zweikampf,” “Jessonda,” “Berggeist,” “Pietro von Abano,” “Alchymist,” and “Kreuzfahrer,” the fairy with her golden magic wand came upon the stage and introduced the succeeding scene each time with appropriate verses. After each piece of music the outburst of applause was repeated, and at its conclusion redoubled in energy, to be again resumed with equal perseverance as in succession the two overtures to the “Mountain Sprite” and to “Faust” were executed with remarkable precision under the direction ofBochmannthe military band-master. Then followed an appropriately conceived festal-play called “Die Huldigung” (The Homage). The scene represented a handsome park ornamented with statues, vases and garlands; in the back ground a modest dwelling, but richly decorated with garlands of flowers:The house, in which Spohr was born, in Brunswick. Gardeners and maidens arebusied in decorating the garden; to their question as to the purpose and occasion of the festival the steward informs them, telling them the name of the honoured jubilant, and in citing his works speaks also of ‘Die letzten Dinge’ and ‘Der Fall Babylons.’
“All now set up a shout of joy, and from every part of the house rang the enthusiastic cheers of the excited assembly. Upon this the orchestra struck up the polonaise in “Faust,” while the committee of the fete waited onSpohrto conduct him to a throne of flowers, where he was again greeted with a poetical address, and a crown of laurel placed upon his head “as Apollo’s favoured son,” amid the joyful vivats of the public. After the fete at the theatre was over, and he proceeded to partake of a family supper at the house of his son-in-lawWolff, he received late in the evening a brilliant serenade from the members of the lyrical association, who had assembled before the house by the light of numerous coloured lamps. The singing being concluded they then sent up a deputation to present the diploma of an honorary member of the society to the jubilant. Thus terminated this eventful day, but not the festivities; for the following day brought further congratulatory addresses in prosa and verse with honours of every kind, among which the presentation of the freedom of the city from the chief magistrate of Cassel, and as also worthy of mention, the gift of a costly silver vase from the joint members of the orchestra and theatrical company, presented by the committee of the festival.”
On the twenty-second of January another grand fete took place, given as a surprise to their friend and master by the members of the quartet circle, so frequently adverted to. AfterSpohrhad been conducted with great ceremony into the presence of the company, composed of about seventy persons, a congratulatory poem composed by Dr.Oetkerwas read.
The musical part of the fete which now followed consisted ofSpohr’sthird double quartet, executed under the direction of his pupilJean Bott; of two of his incomparable songs withclarinet accompaniment, sung by a distinguished dilettante; and the pianoforte quintet with wind-instrument accompaniment. After the conclusion of these extremely successful performances, all adjourned in the best spirits to the supper-room, where, seasoned with toasts both of earnest and mirthful import, the happy evening was brought to a close in an appropriate manner.
The account of this jubilee published shortly after byFr. Oetkergave occasion at the same time toSpohrfor the commencement of his autobiography. The author of that pamphlet having at the same time expressed the intention of following it up with a detailed account of his life, requestedSpohrto furnish him first with the necessary notes; but he himself, while making the necessary sketch of it, took so much pleasure in recalling the varied events of each year as they presented themselves to his memory, that he conceived the idea of preferring to undertake its full detail himself.[40]With a lively interest he now immediately set himself to this work, which nevertheless proceeded but slowly, when the impulse for musical composition assumed again its mastery. He then first wrote sixpièces de salonfor violin and pianoforte, distinguished by the titles:Barcarole,Scherzo,Sarabande,Siciliano,Air variéandMazurka, collected in one volume as Op. 135, published byJ. Schuberth; these were followed by his fourth double quartet, and some months later, at the express wish of the Philharmonic Society of London, by the eighth symphony (G minor), which appeared at Leipzic as Op. 137 (Peters), in score and arranged for four hands for the pianoforte.
Subsequently also,Spohr’sactivity was unusually taxed at the theatre, as he was required for the approaching Whitsuntide holidays to prepare not only the usual opera but also (an exceptional case) a grand concert, in which among other things his double symphony and his first concertante were executed by himself and his pupilJean Bott. For Whitmonday a new opera, “Arria,” byHugo Stähle, had been selected, which as the maiden-work of a young composer who had grown up amid them had greatly awakened the interest of all lovers of music in Cassel. Already when a boy the young musician had exhibited such prominent talent, thatSpohrwas induced, at the wish of his father, MajorStähleof Cassel, to take him as a pupil in composition. With constantly increasing interest he now watched the progress of his talented pupil, who, already a good pianist, soon tried his hand at greater pianoforte-compositions, among which a quartet inA major(Op. 1, published bySchuberth) is especially remarkable as a success. Encouraged by this, he then, though not yet one and twenty years of age, ventured underSpohr’sguidance upon the composition of music to the opera above named, written by his friendJac. Hofmeister, and that so fully satisfiedSpohr, that upon his pressing recommendation its performance was determined upon and soon put in process of execution. ThoughSpohrexperienced real satisfaction at the highly favourable reception this opera met with from the public, and looked forward hopefully to a brilliant future for the young composer, this first triumph was unhappily his last; for after the lapse of a year, he was seized with an inflammatory fever, which arrested his career of promise by an early death!
AfterSpohrhad several times deferred his last visit to England to direct according to invitation the performance of some of his works, he at length resolved in the summer of 1847, to yield once more to the reiterated invitations he had received, and to direct the three grand concerts, in which the Sacred Harmonic Society proposed to give the whole of his sacred pieces—oratorios, psalms, &c. At the commencement of thetheatrical vacation he therefore set out, accompanied on the journey to England by his wife and sister-in-law, and this time by way of the interesting cities of Brussel and Ghent to Ostend, where he proposed to embark. A letter written home adverts as follows to their stay in Ghent: “On our way we had been informed that upon the very day of our arrival a grand singing festival was to take place, of the united Flemish and German lyrical societies; but as we did not arrive here before 7 o’clock in the evening, some time after the chief part of the concert had begun, we thought to avail ourselves of the fine summer evening to take a walk through the town, which we found large and handsome beyond our expectation. Scarcely however had we proceeded above a hundred yards whenSpohrwas recognised by some gentlemen, who hastened towards him with the greatest surprise, and compelled us almost by force to go with them and hear the second part of the concert, the first part being just finished. In this manner we were all three hurried into a fine building, the ‘Palais de Justice’ and stood suddenly in the immense hall filled with several thousand persons, when at the same moment one of the gentlemen who brought us in, a member of the committee of the festival, with a loud voice called out: ‘Messieurs, le grand compositeurSpohrvient d’arriver dans notre ville, le voici!’ At this announcement the whole assembly rose from their seats, and clapping their hands cried: ‘ViveSpohr, le grandSpohr!’ and a perfect shower of flowers in the shape of bouquets large and small were showered upon him from all sides. It was long before the tumultuous applause ceased; meanwhile seats were yielded to us in the best places, and there we sat somewhat out of countenance in our dusty travelling costume in the midst of handsomely dressed ladies. But the whole scene, from its very unexpectedness, had something extremely original and almost overpowering about it. We then heard, with the rest, the second part of the concert, in which the different lyrical associations sung in part with, and partly without, orchestral accompaniment. They all met with themost lively applause, which their execution in reality also deserved.
“It lasted until past 9 o’clock, and then a crowd of persons pressed forward to saluteSpohrand to speak to him, so that it was late enough before we got home to supper, and retired to rest. But this was again to be of short duration, for between 11 and 12 o’clock we heard all manner of noises and preparations for a grand serenade, which the Ghent society ‘Des Mélomanes’ had resolved upon giving toSpohr.Nolens volenshe was obliged to get out of bed and dress anew not only in acknowledgement of the fine music and tremendous vivats of the assembled crowd, but also to receive a deputation, which at the solemn midnight hour announced to him his nomination as honorary member of the society,” &c.
UponSpohr’sarrival in London he and his travelling companions were again hospitably received in the friendly family of ProfessorTaylor, and for them now began in every respect a period of great enjoyment. The oratorio performances in Exeter-Hall appointed for every Friday, went off with their usual finished perfection; but the programme that had been previously determined upon had suffered from the alteration, that in place of the “Calvary,” which it was feared would here also excite objection on the part of the clergy, a second performance of the “Fall of Babylon” was announced; while in the third concert, as it had been previously determined, “Die letzten Dinge,” the “Lord’s Prayer,” andSpohr’srecently composed 84th. Psalm afterMilton’smetrical translation, were given. The enthusiasm at all the three concerts, which was scarcely susceptible of increase on all that had previously been shewn, was evinced this time more particularly by rapturous encores of a great number of choruses and solo pieces. The intervening days were passed in a no less satisfactory manner, in which all emulated in affording some enjoyment, or in testifying their respect forSpohrin various ways. In varied and constant interchange, invitations, festivities, promenades and railway excursions succeeded each other, one ofwhich extended as far as 70 English miles, to the celebrated university city of Cambridge, with its grand and peculiar style of architecture; and another to the city of Ely, remarkable for its situation upon a beautiful and fruitful hill rising from the midst of a low moorland, and yet more for its beautiful cathedral, considered one of the finest specimens of Gothic architecture in England. In this, as a remains of its former splendour, the finest ecclesiastical psalmody is still chanted during divine service by sixteen singers especially maintained for that purpose, and seldom in that solitary place could perhaps be found hearers so devoutly attentive and edified as wereSpohrand his travelling companions.
In pleasant reunions with theHorsley,BenedictandTaylorfamilies, his most intimately known friends,Spohrespecially passed many happy hours, in whose circles allied so intimately to art and artists, fine music was a never-failing enjoyment, and in which frequently, to the delight of his hearers,Spohrcontributed his personal aid. The more decidedly however, did he decline every request to perform in public, and in one exceptional instance only consented to assist at a concert given in his honour by theBeethovenquartet society. The programme of this concert, which displayed the heading “Homage toSpohr,” comprised however on this occasion nothing ofBeethoven, and three compositions ofSpohronly, selected from different periods of his life, viz: 1st. A quartet (G minor), a production of his early youth; 2dly. A duet composed about 20 years later, played byJoachimandSaintonin a masterly manner, and 3rdly. The third double quartet (E minor), in whichSpohrtook the first violin part, and by his play and by the whole composition, the first “number” of which alone had kindled the admiration of the public, drew down a very storm of applause. The newspapers adverted in terms of the highest praise to the selection of the three compositions and to their separate beauties. Upon this occasion, respecting the duets the “Times” said as follows: “These duets for two violins belong to the greatest productions ofSpohr’srichly inventive genius.Out of seemingly small materials the great composer has achieved harmonic effects scarcely inferior in richness and fullness to the quartet. The duet inE flatis positively overflowing with beauties of melody and counterpoint, a perfect masterpiece.”... And added further on: “The double quartet inE minoris one ofSpohr’smost surpassingly rich compositions.... Every separate theme bears the stamp of genius, and is worked out with a perfection of finish that displays the highest degree of intelligence.”... “IfSpohrhad never written anything else, his fame would have been established by this work alone, as one of the greatest composers in the world.”... “Spohrplays now but seldom in public, but both musicians, and the general public alike, eagerly seize the rare opportunity of hearing the greatest violinist of the present day. His style is a pattern of purity and taste.... He not alone produces difficulties of every kind, and handles them with the ease of mere play toys,—but in his execution displays moreover the full energy and inspiration of youth.”...
The end of the vacation was now rapidly drawing near, and with it once more the hour of parting; and on the last days of his sojourn so manifold were the demands made upon his time and attention that all his habitual calm self possession was taxed to the utmost. With heart and mind impressed with happy and elevating reminiscences he returned to his native country, where with his accustomed cheerfulness and zeal he was soon re-engaged in the performance of the duties of his post.
In the beginning of November he was plunged into grief by the sudden intelligence of the death of his friendMendelssohn, deeply lamenting whose loss both as a man and a musician, he expressed himself as follows in a letter toM. Hauptmann: “What mightMendelssohnin the full maturity of his genius not have written, had fate permitted him a longer life! For his delicate frame the mental exertion was too great and therefore destructive! His loss to art is much to be lamented, for he was the most gifted of then living composers, and hisefforts in art were of the noblest!”—His next thought was to institute a festivalin memoriamof the too early departed one, but as he received for answer to his proposal to that effect, from the intendant of the court theatre, that: “the proposed festival in memory of the deceased could not be permitted at the concerts of the court theatre, as it did not find approval in the highest quarters,” he determined to give it on a smaller scale at a private concert in celebration of the 25th. anniversary of the St. Cecilia society on the 22nd. November, and upon the occasion to inaugurate the fete with a poem composed for the occasion with a chorus fromMendelssohn’s“Paulus.” But after everything had been arranged for the best and the grand rehearsal been held, intelligence was suddenly received of the dangerous illness of the Elector Wilhelm II., who resided in Frankfort, which was followed by that of his death, and the order for a general mourning throughout the Electorate and a desistance from every kind of music on the following days. Hereupon, after a delay of a month, the performance of the projected festival was again about to take place, andSpohrhad once more fixed the day for it, when death once more intervened—this time afflicting his own family with a very painful loss. On the 18th. DecemberSpohr’smother-in-law was seized with illness, and after a few days’ suffering was snatched from the disconsolate family to which she had been bound by ties of the tenderest affection. The Christmas holidays, which had usually been with them a period of happy festivity, were now changed to days of gloom and mourning, and the more so from the circumstance that Mr.Pfeiffer(father) was laid on a sick-bed by the unexpected blow, and the happy reunion in the paternal house, whereSpohralways felt so happy, and so well knew how to make others so, seemed to be interrupted for a long time, if not for ever! The subsequent weeks passed amid cares and anxieties, and not until his father-in-law’s convalescence couldSpohrthink of celebrating the long-prepared-for festival.
The programme was so arranged, that it presented in chronological order twelve music pieces ofBach,Händel,Haydn,Mozart,Beethoven,Hauptmann,MendelssohnandSpohr, as specimens of the style of each of those masters, to whose works the St. Cecilia society during its existence of twenty-five years had especially devoted its efforts. After the last song piece but one: “Wir preisen selig die” &c., from “Paulus,” a poem was recited, entitled: Feeling of sorrow upon the early death ofFelix Mendelssohn-Bartholdy.
This was followed by the presentation of a double breast-pin set with diamonds, accompanied with a poetical address toSpohr—the subject represented by the pin being a violin, and bass-clef. A “Hymn toSpohr,” composed byH. Stähle, was then sung; and in conclusion, at the banquet which followed, a discourse was delivered relative to the origin and services of the society for the prosperity of which the speaker himself (Mr.Weinrich), in the triple character of singer, librarian, and treasurer, had laboured with unwearied zeal for many years.
In 1848, shortly after the outbreak of the disturbances in France,Spohr, somewhat under the influence of ideas of liberty, &c., composed his sextet for two violins, two viols and two violincellos (Op. 140, published byC. Luckhardtof Cassel), on making entry of which in the list of his compositions, he appended the words: “Written in March and April, at the time of the glorious revolution of the peoples for the liberty, unity and grandeur of Germany.” And this composition, so rich in freshness of melodies, in genuine ætherial harmony, that scarcely any other ofSpohr’sworks surpasses it, furnishes an eloquent testimony to the state of his feelings and his aspirations, which, soaring above the storms of the present, speak only of peace, hope and concord, as in spirit he beheld them spring out of the momentary struggles. Satisfied asSpohrmight feel with this composition—the first since the dawning of the new æra upon Germany—he nevertheless for some time wholly abandoned all further composition, feeling, as he complainedin a letter to his friendHauptmann, that “the excitement of politics and the constant reading of the newspapers incapacitated him from giving his attention to any serious and quiet study.”
On the 6th. August a grand popular festival took place in Cassel, which kept the whole of the inhabitants in a state of joyous mobility for the day. It commenced early in the morning, with the public recognition of the imperial administrator by the garrison assembled upon the “Forst.” This was followed by the consecration and presentation of colours to the newly-formed corps of body-guards, combined with a grand church service in the presence of the Electoral family upon the Bowling-green in the Karlsaue, and in the afternoon there was a people’s festival, in which the whole population of Cassel—a mixed troop of all classes—flocked to the Aue, either as participators in, or spectators of, the popular games, the dancing and the music. Towards evening, to the surprise of everybody the Elector, in plain black dress-coat, was seen threading his way among the joyous crowd, with looks expressive of the cheerful interest with which he acknowledged the cheers of the people who thronged every part of the park. The festivities of the day were terminated by a concert underSpohr’sdirection, executed by the singers and members of the choral societies of Cassel in front of the orangery, at which also the Elector appeared, and after a lengthened conversation withSpohr, asked him expressly for the song “Was ist des Deutschen Vaterland.”
In June 1849Spohrset out for Carlsbad, and stopped on his way thither a few days at Leipzic, where in the circle of his musical friends, he again passed many happy hours devoted to his noble art. On the first evening, at the house of his friend Mr.Vogt, two of his latest and as yet unpublished compositions—the fourth double quartet (G minor) and the but recently finished 31st. quartet (C major)—both of which were subsequently published byC. Luckhardtin Cassel as Op. 136 and 141. The double quartet was received more especially with such warm admiration, thatSpohrgratifiedthe wish expressed by several of his auditors to repeat it once more on the following day at the conservatory before a large circle, among whom were the teachers and pupils of that institution. On the last evening, his old friendMoschelesprepared for him a brilliant fête, and embellished the musical part of it by his own masterly performance ofSpohr’sfirst trio, and his pianoforte quintet with wind instruments, after which the strains of a choral song, “Honour toSpohr,” were suddenly heard from the garden in front of the house, and some of his four-part songs, some ofMendelssohn’sand some ofHauptmann’s, were executed in a most effective manner.
The now ensuing stay in Carlsbad, extending to several weeks, was upon this occasion particularly pleasant in many respects. In the intercourse with several distinguished men well known for their public activity,Spohrtook great pleasure. Among these especially wereHansemannof Berlin andSimsonof Königsberg, to the latter of whom, from the thorough community of sentiment in their mutual political creed, he was especially attracted. As both men evinced at the same time a warm love of music, they, together with their families were soon admitted into the small circle of the elect who had theentréeto the musical performances ofSpohrand his wife. With these and other charming families the afternoons were then passed in excursions on all sides into the beautiful environs, in whichSpohr, although long since well acquainted with every spot, always experienced a new delight and one equally shared by his wife.
From his stay in CarlsbadSpohralso experienced the most desirable benefit to his health, resulting in so complete and permanent a relief to the liver complaint which had recurred at previous frequent intervals, that, grateful as he felt for the pleasant and health-restoring time he had passed there, he had now no further necessity to resort to the wonderful efficacity of its waters.
Strengthened and refreshed in body and mind, he returned to Cassel, and shortly afterwards began the composition of hisfifth pianoforte trio (C minor, Op. 141, published bySchuberthin Hamburg); which was followed by three duets for two soprani, published byPetersof Leipzic, which for their sweetly expressive melodies and their ease of performance, like those which had previously appeared from the pen ofMendelssohn, soon became favorite pieces in musical circles.
Towards the end of the year 1849Spohrwas afflicted by a heavy sorrow, in the sudden illness that befell his wife the day after Christmas Day, and which increased so much in severity as to imperil her life at the entry of the new year. At length, however, her good and unimpaired constitution, aided by the most unremitting care, overcame her malady, andSpohrhailed once more with delight the day when she could again resume her accustomed seat by his side at the dinner-table. But on the next day (January 22) an untoward accident befell himself. While on his usual daily way to the theatre rehearsal, a sharp unexpected frost having set in during the night, he slipped, and fell with such violence as to inflict a very severe blow on his head, from the consequence of which the unremitting care of his experienced medical attendant Dr.Harnierdid not re-establish him till after the lapse of several weeks. Shortly after his recovery, he wrote his ninth symphony, “Die Jahreszeiten” (The Seasons), the plan of which had much occupied his mind during his illness, and as he himself complained, “regularly haunted him during the long sleepless and feverish nights.” He gave in so far a new form to it, that he divided it into two grand themes, with the designations: Part I.: Winter, transition to spring, spring. Part II.: Summer, transition to autumn, autumn. AlthoughSpohrwrote the symphony in the dull cold days of winter, the result nevertheless was just the least characteristic of hiswinterlyintentions. While in thespringtheme every note rings joyous with the glad awaking of nature,—in that ofsummer, the sultry heat is expressed in tones the effect of which is such, that the astonished hearer positively seems tofeelit—and lastly theautumn, with its exhilarating music of the chase,and the masterly interwovenRheinweinlied(vintage song of the Rhine)—can scarcely fail in inspiring the hearer with the most lively enthusiasm.
About this timeSpohr, with every lover of music in Cassel, experienced great pleasure from the visit of a young female artiste nearly related to him. This wasRosalie Spohr, the second daughter of his brotherWilliam. From early childhood she had evinced a passionate love of music, and subsequently devoted herself with unwearying zeal to the study of the harp. Although at first it was not the wish of her parents that their daughter should perform in public, yet when they had subsequently become convinced of her real artistic talent, they could no longer oppose her ardent wishes, and at the age of 22 she proceeded, accompanied by her father, upon her first musical tour. After she had given proof of her abilities in several public performances at Hamburg and Leipzic, she visited Cassel, where she played several times in private circles, and at one concert at the theatre under the direction ofSpohr, on which occasion she not only earned the warmest approbation of a delighted auditory but a yet more gratifying reward in the commendatory words of her highly-esteemed uncle. The young musician subsequently achieved many a brilliant triumph in her further visits to the larger cities of Germany and Holland; but her promising artistic career was shortly brought to an unexpectedly early termination, first by deaths in her immediate family circle, and afterwards by her marriage with countXavier Sauerma.
During the summer vacation, in order at length to pay his long-promised visit to Breslau,Spohrproceeded thither by way of Leipzic in the hope of hearingSchumann’snew opera of “Genoveva;” but to his great regret, upon his arrival there, he was informed of the delays that had intervened to defer its performance, and was obliged to content himself with attending several rehearsals, but which, on account of the frequently interrupting repetitions, could naturally afford him but a very imperfect conception of the whole work. Although by nomeans an admirer of the compositions ofSchumannso far known to him, in which he had frequently found a want of euphony and melodious breadth of harmonies, he formed a very favourable opinion of the opera, and it especially pleased him to observe that the same method of treatment which he had resorted to in the composition of the “Crusader” had been followed, in thatSchumanndid not permit the unnatural interruption of the action by a wearisome and constant repetition of words. It was no less interesting toSpohrto become acquainted with some of his larger pianoforte compositions, the desired opportunity for which was afforded him at the musical parties given to him, at which Mrs.Clara Schumannplayed a trio and pianoforte-concerto of her husband’s with the most finished excellence, with which exception all the rest were compositions ofSpohr’s, among which the sextet he wrote during the March revolution: and at an extra-concert at the Gewandhaus his newest symphony, “The seasons,” was performed to the great delight of all who heard it.
The remainder of his stay in Breslau, which was there expressively designated as a “fortnight-longSpohrfestival,” was a continuous round of entertainments, musical soirées, &c. The “Neue Oder-Zeitung” describesSpohr’sadvent as “an event, that had set all the educated classes of the town in commotion,” and further adds: “Everybody crowds forward to see the German master—all are anxious to say that they have at least had the satisfaction of a personal meeting. There is a peculiar gratification in standing opposite to the man who, though his eye rests upon us with the coldness of the stranger, has been long known to us in spirit as one of our best and dearest friends—whose works have recalled to us the golden dreams of our youth, and whose noble creations purify our souls. All in Germany who love music and who play, recognise the master to whom as musicians they are indebted for a great part of their culture, for many elevating feelings, many hours of happiness. Is it then to be wondered at that everyone crowds around the master—that all are ready to acquit part of that debt to him by loud and honourable acknowledgements?”
His festive reception, which commenced at the very railway station, was followed in the evening by a grand serenade and procession by torch-light, for which all the musical and choral societies of Breslau had met to execute the choicest pieces of music, chiefly selected fromSpohr’soperas, and which at intervals they gave singly, or executed in combination anden masse. At the grand concert that took place under his own direction at the spacious and handsome Aula, his own compositions alone were given: Overture to and air from “Faust,” the third symphony, with the “Lord’s Prayer;” and the “Breslauer Zeitung” designates it as “a musical festival singular in its kind in the city of Breslau, for thatSpohrat the present time was theonlyone who had so much distinguished himself in every kind of composition, that the church, the concert room, and the theatre, could equally boast of his works; and that such a performance by such united powers (singing academy, theatrical orchestra, society of musicians, &c.) had never yet taken place there.” At the different banquets that were given toSpohr, his music in various ways formed part of the entertainment, and the songs that were written in his honour for the occasion had been adapted to appropriate melodies of his, which greatly increased their effect and frequently took the company by surprise.
At the express wish of the friends of music of Breslau, he determined to assist personally at a concert given in the smaller saloon of the Aula, before a great number of musical amateurs who had been invited; in his sextet and third double quartet, of which the “Breslauer Zeitung” speaks with much enthusiasm, and after dwelling upon the generally acknowledged specialities of his play, says further: “that the master at hispresent agestill possesses all those specialities; that he plays with the fire and energy of a young man, and throws off the greatest difficulties with a power and boldness that are astonishing—thatit is a thing quiteunusualand was never seen there before.”
On the part of the directors of the theatre the happy selection ofSpohr’sopera “Zemire und Azor” was made in his honour, which, with its charming melodies, never fails to make the most pleasing impression on the public on the first time of hearing; and with its music so truly appropriate to its subject, opens to us as it were the bright world of fairy land, which although more than ever fading away from the materialistic age in which we live, yet idealised by such sweet sounds, can never lose its fascination for the mind. This effect was produced on this occasion in Breslau also, as demonstrated by the brilliant reception with which it was welcomed, and the generally expressed wish for its speedy repetition underSpohr’sdirection, who then also experienced great pleasure in those two fine performances of his work.—He was no less gratified by the organ concert given him by his friendHessein the fine church of St. Bernard, in which he exhibited his great mastery of that grand instrument in every possible manner. Devoted admirer and adherent ofSpohras he was, he was still loathe to part from him, when after a fortnight passed in Breslau he departed with the purpose of making an excursion in the Riesengebirge with his wife. As a guide intimate with the localitiesHesseaccompanied them, and was not a little gratified in witnessing the feelings of delight with whichSpohrwas impressed by the natural beauties of his Silesian fatherland. Neither was music, loved music forgotten, for it was not only the subject of daily discourse, but in the Riesengebirge itself the powerful serenades of the music chorists of Warmbrunn and Hirschberg greeted their master,Spohr.—The return journey to Cassel was madeviâBerlin, whereSpohrfound an invitation from the conservatory, which, although but thinly composed in summer, performed nevertheless a part of his oratorio “Calvary” and his psalms with double chorus in a brilliant manner, by way of compensation both to themselves and him for his inability to comply withthe invitation they had given him almost every winter to come and either personally direct or hear his oratorio.
Meanwhile the political state of Germany, and more particularly of Hesse greatly grievedSpohr, and as the best consolation he abandoned himself to his musical studies, the zest for which did not leave him even in this time of trouble and sorrow. In the course of the months of October and November he composed his seventh quintet for stringed instruments (G minor, Op. 144, published byPeters), and three songs from “One thousand and one days in the East,” byBodenstedt(also published byPeters).
It was in the summer of this year thatSpohrexperienced the malice and chicanery of the court. He had intended to start the first day of his vacation for a tour in Switzerland and upper Italy. He accordingly sent in his request to the Elector, which he considered a mere pro-formâ matter. ToSpohr’sgreat surprise the answer was in the negative—no leave of absence would be granted. HereuponSpohrset off without leave. He passed through theVia Mala, over the Splügen to Milan and Venice, and returned over the St. Gotthard pass to Lucern, and so back to Cassel, where he arrived before the vacation had expired. After a short repose he availed himself of the remaining time to pay a long-promised visit toWehnerthe director of the orchestra at Göttingen, who, conjointly with all the lovers of music at that place, used every exertion to do honour and afford gratification to their esteemed guest. A serenade given by the members of the choral society on the first evening of his arrival was followed on the next morning by a musical greeting performed by the band of the regiment lying at Nordheim in the immediate neighbourhood. At a grand concert given at the AulaSpohrdirected in person his symphony “Die Weihe der Töne,” which was followed by his potpourri on themes from Jessonda, performed by one of his most distinguished pupils,Auguste Kömpel, who when a boy had awakened the warmest interest on the part ofSpohrby his remarkable talent, and after having studied under him for severalyears with the greatest success, was first appointed a member of the court orchestra at Cassel and subsequently Kammermusicus and member of the royal orchestra at Hanover.[41]As finale to the concertMendelssohn’smusic to Athalia, combined with a melodramatic poem, was executed by the members of the Göttingen choral society; and thusSpohr, who had been present at its grand rehearsal with the greatest interest, had the much desired opportunity of becoming acquainted with the only one of the grander lyrical compositions ofMendelssohnwhich he had not yet heard. On the following day there was also some excellent music.
Wehnerhad made arrangements for quartet music at his own house, and previous to a large dinner party, which he gave as a mark of respect toSpohr, some exceedingly fine music was performed with the most finished excellence, and to the delight of all presentSpohrhimself took part in his own sextet. The dinner was seasoned by a succession of appropriate toasts and piquante speeches, the chief subjects of which were music and politics, and lastly also “Spohr’sbold stroke”—the journey without leave—was drank amid the clang of glasses and the enthusiastic cheers of the company, who highly approved of the spirit he had shown. But the “bold stroke” was, as may be imagined, considered with much less approbation in Cassel, and a few weeks afterSpohr’sreturn he was officially required by the general-intendant to explain and justify “his absence from Cassel without leave.” His explanation was considered unsatisfactory, and he was condemned to pay a fine of 550 thaler (82l.10s.). He went to law; but the end of it was that he paid the money, which was handed over to the pension fund instituted by him.
It was in the midst of these troubles that he wrote a series of sixpieces de salonfor violin and piano and the 32nd. violin quartet (Op. 145 and 146; Leipzig,Peters).
In the beginning of the year 1852Spohrreceived a visit from the director of the Italian opera in London, Mr.Gye, who proposed to him to direct there his opera of “Faust” during his summer vacation, and for that purpose to write a connecting recitative instead of the dialogue in the original, by which means alone the urgent wish of the Queen for the performance of the opera on the Italian stage could be gratified. AsSpohrat first considered that such a change would be impossible in many of the scenes, he felt compelled to decline the proposal; but they were not so easily to be pacified in London by so unexpected an answer, and after receiving several further pressing letters upon the subject,Spohrset himself to work, and, contrary to his own expectation, with such satisfactory results, that after its completion he expressed himself upon the subject in a letter of the 21st. May toHauptmannin the following words: “You have no doubt already heard that at the express wish of the Queen of England and of Prince Albert I have remodelled my opera “Faust” for the grand opera. This work has afforded me great pleasure, and agreeably engaged me for a period of three months, in which I have been as it were transported completely back to the happy days of my youth in Vienna. At first, with the assistance of my wife, I had to alter the dialogue scenes in such a manner as to adapt them to composition. In doing this I have endeavoured to impart more interest to them than they previously possessed, and to make elision of those things which from the first had displeased me at many performances I had seen of this opera. I think and hope that I have succeeded in both. I had then to replace myself as it were in the same mood, and style in which I wrote Faust, and I hope that I have succeeded in this also, and that no one will observe a difference of style between the old and the new. The opera consists now of three acts; the second concludes withthe wedding scene, and the third begins with a new entr’acte, which depicts with reminiscences from the trio of the torch-dance and the witches’ music the night of debauch passed by Faust, and then passes into a grand recitative by Mephistopheles, to which his air inE majoris connected. After the disappearance of the witches a recitative by Faust follows, blended with intonations of former and later conception, and hereupon a shorter one between him andWagner, which is succeeded by the concluding finale. My curiosity is now intense to hear the opera in its new form! Should nothing come of the journey to London, I hope to hear it soon at Weimar, asLissthas asked for it in its new form for the court theatre there.”—The new recitatives thus reached London so early, that weeks beforeSpohr’sarrival there the study of the parts could be commenced; but at the first rehearsal he remarked that the in every other respect so greatly distinguished Italian singers, were not all he could have desired in their comprehension of this to them wholly foreign style of music, for which reason he immediately ordered daily thorough rehearsals under his own direction, in which he soon had the satisfaction of seeing that the whole of the singers entered more and more into the conception and spirit of his musical intentions, and submitted with the greatest willingness to his every nod, until every thing went so faultlessly that after the four last grand rehearsals which took place, and the lapse of three weeks, it was possible to give a perfect public performance.
To avoid all seeming reiteration of the numerous musical events and marks of respect, that in the interim were shewn toSpohron this visit, it will suffice to mention one agreeable surprise only of whichSpohrused to speak with delight in after years. This was the magnificent performance of his oratorio “Calvary” (des Heilands letzte Stunden) at Exeter Hall, under the excellent conducting ofCosta; and which, performed by greater masses of assistants than at the memorable Norwich festival (700 singers and musicians), completely overpoweredSpohrhimself, as well as the enthusiastically delightedpublic; in so much, that he was obliged to agree in the remark of his friends, that the effect in many parts, especially that of the powerfully imposing choruses, was more immense than the composer himself had even conceived.
On Sundays, on which days, according to English custom, the theatres are closed, there are no concerts, and even all private music is hushed,Spohrgladly availed himself of the invitations he received to make excursions far away from the gigantic town, to recruit his energies somewhat in the fresh air, from the daily musical fatigue and excitement. Sometimes it was to Clapham and Kensington, on a visit to theSillemandHorsleyfamilies; sometimes farther by railway to SirGeorge Smart’spleasant country-house at Chertsey, whichSpohralways called “the little paradise;” or to ProfessorOwen’sin Richmond-park; from which he always returned requickened in mind and body to the wear and tear of London life.Owen’scharming residence and his amiable manners were always subjects of agreeable recollection toSpohr, and he would often relate how the celebrated naturalist, in his kindly unassuming manner, would come out to welcome him on a hot summer’s day, clad in a light summer jacket and a broad-brimmed straw hat, but in honour of “his welcome renowned guest,” decorated with the Prussian order “pour le mérite,” and then till late in the evening devise every possible means of affording him pleasure and entertainment.