Meanwhile the rehearsals of Faust had prospered so well, that on the 15th. July the first public performance took place underSpohr’sdirection, and a letter written home refers to it in the following manner:
“The opera went off incomparably well, and made a wonderfully powerful effect upon everybody. Indeed to us also it appeared in quite a new light—everything was so grand, so splendid! The new additional themes blend charmingly with the whole, and present singularly fine effects. Decorations, scenery, all are new, exceedingly brilliant and got up at great expense: orchestra, singers, and chorus, did their best, so thatthe Londoners say, that they have not seen so splendid an operatic performance for many years; and it was received throughout also with the most enthusiastic applause. That the foreign (almost all Italian) singers would have sung this German music with so much zest and pleasure, we could scarcely have believed possible. Those who most distinguished themselves were Mrs.Castellan(Kunigunda),Ronconi(Faust),Formes(Mephistopheles), andTamberlik(Hugo). The latter charmed every body, for he has a splendid tenor voice with immense power, and he executed the beautiful air, accompanied by a magnificent chorus of forty male voices, with such fire and irresistible power that ada capowas called for by general acclamation. AndFormesalso, in his song inA major, which had greatly gained by the newly composed exceedingly beautiful introduction and recitative scene.... The whole house was in ecstacy, and in the intervals between the acts, and at the end,Spohrwas warmly congratulated by a host of friends and admirers.” With similar success and with yet more perfect execution, the second and third performance of Faust, underSpohr’sdirection, took place within a few days; after which he once more left England, accompanied to the place of embarcation by numerous lovers of music, who up to the last moment projected the most inviting plans for the next summer.
Agreeably impressed with the successful issue of his journey, he returned to Germany, picturing to himself the happy hours in which, as was his custom, he should again relate amid the expectant circle at home the interesting incidents of his visit. But this time the pleasure of once more meeting the members of his family was but too soon overshadowed, andSpohrbeheld with much alarm the suffering constitution of his father-in-law, whose declining bodily strength had for some time past excited the utmost anxiety; but which assumed appearances so threatening during the last few weeks, that the anxious members of his family, despite their tender care and hopefulness, could no longer deceive themselves as to the near approach of his dissolution. With sorrowing hearts they beheld with every daythe nearer approach of the long-dreaded moment; till on the 4th. October 1852, the loved and honoured parent breathed his last. This sad event cast an enduring shadow overSpohr’slife, for with his wife he not only lamented the loss of the beloved father, but mourned thenceforth that of the truthful friend whose feelings and sentiments had been so congenial with his own.
In the autumn of 1852 the duties ofSpohr’soffice were unexpectedly much alleviated by the nomination of a second director; an appointment which indeed, with his great activity and as yet unimpaired powers, he had never contemplated as a thing to be desired; but which was nevertheless the more agreeable to him from the circumstance that the newly-created appointment was given to his favorite pupil, concert-masterJean Bott, in order to secure his rejection of the post of musical director at Hanover, which had been offered to him under very favourable circumstances. By this means the Cassel court orchestra was saved the loss of so distinguished a member, and his services were fully secured.Spohrconsented also very willingly to the requisitions of the managers of the theatre to abandon to the direction of the new co-director the operas proposed, and suggested but few modifications in this arrangement. By this meansBottassumed the direction of a number of light operas, chiefly French and Italian, but undertook as heretofore to lead as first violin in the orchestra underSpohr’sdirection in all grand German operas, which were reserved to the latter. The repertory of the new and zealous co-director soon received an interesting addition, for in the beginning of the year 1853Shakspeare’s“Midsummernight’s Dream,” withMendelssohn’smusic, was performed on the Cassel stage for the first time; on which occasionSpohrexpressed himself in the following words in a letter toHauptmann: “The most charming music that I knowofMendelssohnis indeed his music to the “Midsummernight’s Dream,” which has at length been performed here also, and right well.Bottpractised the orchestra in the music most assiduously, and for me it was a great enjoyment to be enabled for once to listen as auditor to the performance of good music.” In regard toSpohr’sown labours the same letter then speaks further: “We are now studying ‘Tannhäuser,’ (which the Elector has at length permitted), and we shall give that opera for the first time on Whitmonday. It will be put on the stage with the greatest care and both decorations and costumes will be rich. There is much that is new and beautiful in the opera, but much also that is most distressing to the ear. For the violins and basses it is more difficult than anything I ever yet met with,” &c.
After the first performances of this difficult work had passed off in the most successful manner,Spohrwrote again respecting it to his friendHauptmann: “‘Tannhäuser’ was performed last night for the third time, and again to a full house. The opera has gained many admirers, by reason of its earnestness and its subject-matter, and when I compare it with others produced of late years, I am also of their way of thinking. With much of what was at first very disagreeable to me I have become familiarised from frequent hearing; but the want of rhythm, and the frequent absence of rounded periods is still to me very objectionable. The manner in which it is performed here is really very fine, and in few places in Germany can be heard with such precision. In the enormously difficult ‘ensembles’ of the singers in the second act, not one single note was omitted last night. But with all that, in several parts these assume a shape which make a downright horrifying music, particularly just before the part previous to where Elizabeth throws herself upon the singers who rush upon Tannhäuser.—What faces wouldHaydnandMozartmake, were they obliged to hear the stunning noise that is now given to us for music!—The choruses of pilgrims (but which are here supported by clarinets and bassoonsp.) were intonated so purely last night, that I became somewhat reconciled for the first time to their unnatural modulations. It is astonishing what the human ear will by degrees become accustomed to!” &c.
Although, as may be inferred from the above remarks,Spohr, with his preminent sentiment for harmony and beautiful, regular forms in music, could not readily reconcile himself to the tonic creations of more modern times, which so frequently deviate from them, he nevertheless took a lively interest in them, and was so anxious to become acquainted withWagner’snewest opera “Lohengrin,” that while awaiting the as yet witheld permission of the Elector for a full theatrical performance, he determined upon giving some scenes from it at the ensuing winter concerts, and wrote toHauptmannon the subject as follows: “If you wish to afford us a pleasure by sending something for our winter concerts, let me ask of you the music to ‘Lohengrin.’ I was in correspondence withWagnerthis summer, and he knows that I am exerting myself to put that opera upon the stage here, also. He will therefore have no objection to a performance of some scenes beforehand. I shall write to inform him of it also upon a fitting occasion, but I do not like to renew the correspondence on the subject, without being empowered to ask at the same time for the score for our theatre, which will not be before next summer, for the birthday of the Elector.” This expectation was nevertheless not realised, for the Elector’s permission was neither granted for the day appointed, nor upon a subsequent reiterated solicitation; and in this mannerSpohrwas never enabled to hear this opera, which both in Cassel and other places he had repeatedly striven to do.
With the approach of the vacation of the summer 1853Spohrmade preparation once more (for the sixth and last time) for the journey to England, whence in the month of January he had received, (and as chance would have it upon the same day) two letters of invitation from two wholly different parties. One, from the theatre-directorGye, containeda recapitulation of the plan formed in the previous summer, of bringing out an Italian translation ofSpohr’s“Jessonda” during the approaching season; the other, from Dr.Wylde, the director of the recently instituted New Philharmonic Society, contained a pressing invitation toSpohr, to undertake the direction of the grand concerts which the society contemplated giving during the summer months. The latter attractive invitation was the one that decided his yet wavering resolution, since it was of the greatest interest to him to procure a hearing for his grander orchestral compositions, which would there be performed with all that power which was already known to him, before a public who, like all the performers, understood so thoroughly the spirit of his music.
Scarcely had he arrived in London than an agreeable musical surprise awaited him, for on his first visit to Dr.Wyldehe was pressed by him to proceed immediately to a morning concert then about to take place, and arrived there just in time to hear an excellent performance of his nonett, and at the conclusion was warmly greeted by the audience, to whom the announcement of the presence of the composer was both an agreeable and sudden surprise. Under similar circumstances he was present the next evening at the last Philharmonic concert in the Hanover Square Rooms, where he was greatly gratified by the very successful performance of his historical symphony, which was enthusiastically applauded. A few days afterwards the first of the concerts of the New Philharmonic Society took place under his personal direction, of which mention is made as follows in a letter written home: “Last eveningSpohrconsummated the first of his great achievements; the direction of the fine New Philharmonic concerts in Exeter-Hall, where he was again received with the same enthusiasm as formerly, and which was manifested throughout the whole performance. We found our exalted expectations of this gigantic orchestra, wholly composed of musicians of high standing, fully realised, and the impression made by the immense mass in the spacious and densely crowded hall wastruly grand and imposing. Even the ninth symphony ofBeethoven, abnormal as are many things therein, and especially the last subject, with the ‘song to pleasure,’ executed in the finished manner it was, afforded a real enjoyment.Spohr’s‘Overture in the severe style’ opened the concert, and had a grand effect; as also that of ‘Jessonda,’ which was even encored. This was followed by the tenor song in ‘Jessonda,’ splendidly sung byTh. Formes, and received with tumultuous applause,” &c.
Not less interesting also was the programme of the last concert directed bySpohr; it comprised besides his own compositions—a quartet concerto, a double symphony, and the overture to the “Mountain Sprite,”—theD majorsymphony ofBeethoven, the overture to “Fidelio,” the duet for two pianofortes ofMendelssohnandMoscheles(executed by MissClausand MissGoddard), and some other pieces. The performance of the whole of the pieces of music was all that could be desired, and in regard to the fine effect ofSpohr’ssymphony, a letter specially remarks: “The double symphony seemed as though it had been written expressly for such orchestral powers and for this place. The lesser orchestra was, in accordance with several trials made at the rehearsal, placed high up above, and apart; and sometimes between the powerful and imposing masses of tone of the larger orchestra it sounded really like music from another sphere.”
The chief object ofSpohr’sjourney to London was thus once more fully achieved: but on the other hand the projected performance of “Jessonda” during the same time, met with numerous unexpected obstacles. In order to allowSpohrthe number of rehearsals he considered necessary for the study of the work, another opera, also a newly studied one, “Benvenuto Cellini,” byBerlioz, was selected for performance during the intervening opera nights; and as is the custom, was to be repeated several times without further rehearsal. But upon the very first night of its performance, it met with a very unfavourable reception from the public, andSpohrhimself,interested as he felt to hear this much-talked-of music, respecting which opinions were so conflicting, was not much edified thereby, as appears from a letter written to his friend Mr.Lüder: “In the opera ofBerlioz, which I heard in London this summer, there are some fine things, but scarcely has one begun to feel interested in it, than there comes a something so bizarre and harsh, that all the pleasure one has felt is destroyed. I have a special hatred of this eternal speculating upon extraordinary instrumental effects, for his opera contains without doubt many really happy conceptions both melodic and dramatic, and these are always marred by them. This it was also that displeased the London public, which was at first very favourably disposed towards him, and received him upon his entering the orchestra with loud applause; but as the opera proceeded their dissatisfaction increased, until at length, upon its conclusion, the audience broke out into one general storm of hisses and whistling; a circumstance never known to have occured before at the Italian opera in London in presence of the Queen!—It is withBerliozas with all the other coryphées of the music of the future; they do not abandon themselves to their natural feelings in their work, but speculate on things which have never yet been. That is the reason why these gifted musicians seldom write anything that is enjoyable, particularly for people who in the last century grew up in the knowledge ofHaydn,MozartandBeethoven,” &c. With so explicit an opinion as that pronounced by the London public, the theatrical direction did not dare risk a second performance of the opera, and other operas were obliged to be substituted, which required also several rehearsals, and “Jessonda,” which was as yet only in the first stage of study, was still farther postponed. This, nevertheless, was no great source of uneasiness toSpohr, and the time thus gained was agreeably occupied by him in other musical enjoyments.
On this visit indeedSpohrand his wife found a home replete with every domestic comfort in the house of Dr.A. Farre, who emulated with his kind lady in his attentions towardsthem, and kindly devoted every hour that his professional engagements permitted to the entertainment of his guests; in this manner a warm friendship was soon established between the two families, and the weeks passed under his roof were ever recalled bySpohras among the most pleasing of his recollections. As Dr.Farreand several of his medical colleague were very musical and good singers, they had formed themselves, in conjunction with some other families devoted to the art, into a musical circle, in which music of a high class was zealously cultivated, and that ofSpohrwas more especially the favorite. In a soirée of this kind he had one evening the agreeable surprise to hear his oratorio “Die letzten Dinge” performed by eight and twenty dilettanti with faultless precision, a production which, in rare contrast with the habitual English taste for massive instrumentation, appealed to the feelings in the most pleasing manner by theperfect purityand intensity of its expression. At a brilliant musical soirée given by Dr.Farrehimself, in compliment to his guests, a succession of pieces selected fromSpohr’sdifferent operas was also given in the most efficient manner, and was subject of no small surprise and gratification both to him and the assembled company.
Meanwhile, the rehearsals of “Jessonda” had slowly proceeded, it is true, but there had arisen so many causes for a delay in its production, that before this could take place, the period of his vacation expired, andSpohrwas obliged to leave London for Germany; but in doing so he had the satisfaction of leaving his opera in charge of a worthy representative, Mr.Costa, under whose direction, a fortnight afterwards, it was performed several times with the most brilliant success.
Upon his landing at CalaisSpohrwas warmly received by the amateurs of music of that town, who had become apprised of the day of his arrival, and he was invited by them to a grand entertainment given in his honour. Its chief feature was a luxurious banquet, but of which also an agreeable musical surprise formed a part; for at the conclusion of the dinnerthe pleasing notes ofSpohr’s C minorquartet were heard in the adjoining apartment, which was followed by the execution of several other pieces, and continued up to the departure of the delighted guests at a late hour. This day, so unexpectedly passed in Calais in the midst of musical and festive enjoyments, was a subject of special gratification toSpohr, as he had least of all expected, here, upon the soil of France, to have met with such proofs of esteem and so much admiration for his music.
On the return journey he was much occupied with an idea which he had conceived in England of a new grand composition for the pianoforte with instrumental accompaniment, and which upon his arrival home he forthwith began with zest and spirit. Thus was produced—in the seventieth year ofSpohr’sage—one of his finest masterpieces, the septet for pianoforte, two stringed and four wind instruments, replete with the freshness of youthful thought in every part, with alarghettowhich has scarcely its equal in bewitching harmony and beauty of modulations. While yet in manuscript it was publicly performed at the next subscription concert, on which occasion both the composition and the excellence of the execution met with the most favourable reception and acknowledgement. The pianoforte part, which was as grateful as it was difficult, was taken byJ. Bott, and the audience testified yet more warmly their just appreciation of his execution from his having displayed also on the same evening his brilliant talent as violin player inSpohr’s15th. violin concerto. By the desire of the lovers of music of Cassel, a repetition of the new septet was given at the next concert; after which, while yet in manuscript, it was performed at one of the quartet soirées in Leipzic, and the fullest justice done to the pianoforte part by the truly artistic execution ofMoscheles, and received there by the public with the most gratifying applause.
For the next summer vacation (1854)Spohrhad contemplated another journey to Switzerland; and so great this time was his desire to pass once more the most pleasantsummer month in the undisturbed enjoyment of the beauties of nature, that the numerous invitations he had received to the musical festivals in England and Holland were powerless to induce him to relinquish his long previously projected plan. As he was on the eve of departing, he received by telegraph a farther pressing entreaty from his grand-daughterAntonia Wolffat Ratisbonne, who had there married a collegiate professor, a Mr.Schmitz, and who besought him to go by way of the old imperial city, where a visit from him had long been anxiously desired by all lovers of music, and to pass a few days with his grand-children and great-grand-children. Attractive as was this invitation,Spohrwith regret felt compelled to decline it, his holidays being so strictly limited; and no railroad existing at that time to Ratisbonne, it would have led him too far out of his projected route.—After a short sojourn at Marburg, Heidelberg, and Baden-Baden—so famed for the beauty of their respective environs—he proceeded to the south of Switzerland, and especially enjoyed the voyage by steamboat upon the magnificent lakes. After a few days’ stay at Lausanne, Geneva, and Vevay, further excursions were then made into the more easily accessible neighbourhood, where all around smiled in summer’s rich attire, while beyond the lake rose in majestic contrast the lofty chain of the Alps, with its snow-capped summits.
Leaving the lake of Geneva the travellers continued their journey to Freiburg and Bern, at both which places quite unexpectedly calls were made upon the interest they took in music. At Freiburg, as soon as they had alighted at the hotel,Spohrwas invited to join the other strangers present in a subscription towards the honorarium which it was there customary to tender to the organist of the church of St. Nicholas, for the performance of a piece of music upon its so much celebrated organ. At the appointed hour, just as the shades of evening closed around, the small party assembled, and solemnly pealed the tones of the mighty organ through the spacious and empty aisles of the stately church, producing theirwonted powerful effect uponSpohr. The organist, either not aware of the high musical authority before whom he was playing, or thinking to impose on him like the other strangers present by the exhibition of his wonderful artistic skill, struck up suddenly in the most inappropriate manner sundry things from modern operas, and then concluded with such a thundering peal on the instrument that the first exalted impression was wholly obliterated andSpohrcould not forbear the undisguised expression of his disapproval of such a profanation of the grand fabric of sounds, which, with its inscription: “In majorem gloriam dei,” seemed rather to him in a more exalted degree worthy alone to intonate the praises of God.
Scarcely arrived in Bern,Spohrwas surprised to see notices stuck up at the corners of the streets announcing two concerts of sacred music in which his oratorio “Die letzten Dinge” formed the chief feature of each, though preceded on the first evening by a cantata bySebastian Bach, and on the second by four ofMarcello’sPsalms. The first concert had already taken place the evening before, but as a great number of hearers as well as performers had come in from the neighbouring towns to the second concert, Mr.Edele, the director of the “Society of Ancient Classical Music” at Bern, had made arrangements to give a repetition of the oratorio on the next evening, so that at this second performance of itSpohrwas enabled to hear it executed with the greater precision. As the news ofSpohr’spresence soon spread through the church, the opportunity was seized of giving the composer of the work which had just been performed with such devout inspiration, a public mark of the great esteem in which he was held in Bern; and in the later part of the evening he was suddenly greeted by a quickly improvised serenade, and addressed in several animated speeches. On the following morningSpohrleft Bern, and after spending several pleasant days with his female fellow-travellers in the Bernese Oberland and on the shores of the Vierwaldstädter Lake, he continued his journey across the Lake of Constance to Bavaria and its capital,Munich, where the much-talked-of grand exhibition of industry had just been opened. Though the one week spent there may have been found scarcely sufficient to see all the treasure of art and manufacture which had been collected partly for permanent and partly for a short exhibition only, the travellers do not appear to have thought a longer stay desirable, for they soon experienced also the prejudicial influence of the bodily and mental over-exertion, which, combined with the still more injurious climatic influences which during that disastrous summer carried off so many of the visitors to that then overcrowded city. Under such circumstances nothing could be more desirable than a visit to Alexandersbad, where Dr.Theodor Pfeiffer, a near relative, and proprietor of the cold-water-cure establishment, had long kindly invited them. A short stay in that place, with its healthful mountain air, sufficed to restore their depressed animal spirits, andSpohrgladly joined in all the social parties in their excursions to the romantic environs, and shared in all the cheerful parties of the company at the baths, which in kindly social spirit lived as one family. All this, together with the whole arrangements and rules of life, which were simple and in accordance with nature, were so much toSpohr’staste, that from that time he always considered Alexandersbad as the beau-ideal of an invigorating summer residence, and after another visit there he firmly maintained that opinion for the rest of his life.
Spohrcommenced the following year (1855) with the composition of six four-voice part-songs for soprano, alto, tenor and bass, which were soon after excellently sung at a private concert of the St. Cecilia society with double vocal support, under his own conducting, and aided by his own powerful bass. They made an unusual sensation among the lovers of music present, above all one entitled “Man’s Consolation” (the words byvon Müller von der Werra), which went home to all hearts.
In the spring of the same year,Spohrobeyed an invitation from the king of Hanover to direct his double symphony,and several other of his compositions, at a grand concert. Upon his arrival at the railway terminus he was met by music-directorWehner, at the head of a numerous body of musicians and friends of the art, and in the evening at the hotel he was saluted with two serenades, by the military band, and the members of the choral society. On the subject of the pleasant days he passed in Hanover upon that occasion both in a musical and festive point of view,Spohrwrote to his friendHauptmann: “I enjoyed myself much on my little excursion to Hanover. I played a quartet at the King’s, and it seemed to me that his musical culture went so far as to like that kind of music. At a morning concert got up by the chapel royal to let me hear two of my compositions which they had very carefully practised, I played also my quartet (E minor). The compositions adverted to were the 7th. violin concerto, executed in a very masterly manner byJoachim; and the first double quartet, of whichKömpelplayed the first violin in the first, andJoachimin that of the second quartet. This also, was played in the most finished manner. On the second day the chapel royal gave a first rehearsal of my symphony, “The Terrestrial and Divine in human Life,” which was followed by a grand dinner, which lasted five hours, and during which the speeches, songs and toasts were numerous and varied. Although much exhausted I was obliged to go to a musical party in the evening given by my old friendHausmann, where I played two of my quartets, and as on the previous evening, did not get to bed till two o’clock. On the third day there was a grand rehearsal in the forenoon, and in the evening the concert for the benefit of the poor, for which the King had sent me the invitation to come to Hanover. I conducted the first half, consisting of the overture and duett from ‘Jessonda’ and my symphony. All these, executed in a masterly manner, particularly the double symphony, which I never heard better played, not even in London. The small orchestra led byJoachimwas composed of the élite of the chapel royal and was very conveniently placed on the stage, so that it wasadvantageously separated from the large one. The latter was composed of twenty violins, six viols, five violincellos and five counter-basses. It contrasted well therefore by its imposing power, in the sonorous and not too spacious theatre, with the solo orchestra upon the stage. The effect was very satisfactory. But in fact the orchestra is a very superior one, particularly in the stringed instruments. The harmony comprises certainly several distinguished virtuosi, but in ensemble, it is neither so even in tone, nor so pure in intonation as ours. The second part of the concert was conducted byFischer; it consisted of the overture to “Euryanthe,”Beethoven’sviolin concerto (with new, superfluously long, very difficult and ungrateful, cadences byJoachim), and some ‘numbers’ of ‘Lohengrin.’ The concert was crowded and must have brought in a round sum to the poor-box.—On the morning before I left a deputation from the chapel royal presented me with a leader’s bâton more rich and tasteful in design than anything of the kind I ever saw. As I afterwards learned, it was made by order of the king, to be presented to me by the chapel royal. It consists of a beautifully grooved ivory staff with a golden handle richly set with coloured stones, with a similar gold ornamentation at the top, ending in a knob set likewise with small stones. The whole thing is extremely tasteful, and has upon the handle in raised letters: ‘The Royal Hanoverian Chapel to Music-director-general Dr.Spohr, March 31st. 1855.’ The Elector, who sent for the work of art to inspect it, expressed himself, as I am told, upon returning it, with very unreserved dissatisfaction that the inscription did not express ‘Director-general of Music to the Elector,’ and said, “who will know hereafter whose director general of music he was!”[42]&c.
The first impression experienced bySpohron his return from Hanover, was also an agreeable one, for he found at home a telegraphic message that had arrived during his absence, to the following effect: “Inspruck, March 27th. 1855, 10 m. p. 10 at night. One hundred and fifty dilettanti of Inspruck, who have just performed the music of “Jessonda” with rapturous applause, send to the master their heartfelt greetings.” The letters which subsequently arrived from Inspruck informed him in a more detailed manner, “that the opera had been three times performed there in the national theatre to crowded houses, for the benefit of the fund for the relief of the poor, and in a manner surpassing all expectation, by musical and vocal dilettanti;” and expressed at the same time “the hope that the friends of music in that place would have the gratification of greeting the honoured and veteran composer in their own mountains in the course of the year, and hear again that classic opera under his own personal direction.”
That hope however was not realised, for the journey contemplated this year was in the opposite direction, towards the north; first to Hamburg, whereSpohrhad not been since the great fire in 1842, and was therefore greatly interested to see the magnificent manner in which it had been rebuilt. Fully satisfied in that expectation, he had at the same time the pleasure of seeing again several much-loved friends (among whom the family of theGrunds), and to hear many successful musical performances, both in private and public circles.—Being so near to the sister town Lubeck, to which his wife was still fondly attached, and for whose kind-hearted inhabitants he himself, since his visit in the year 1840, had a predilection, it was natural that both should much desire to make a trip thither, upon the railway which had since then been opened to connect the two towns. Although it is true that during the fifteen years which had elapsed, many former friends had gone to their last rest, yet the venerable old instructor was still living, and met his former lady pupil and her renowned husband with the same warmth of heart.Verging upon eighty years of age, he had recently retired from professional life, but the institution he had so long successfully directed flourished still, conducted in the same spirit by his worthy son Dr.Adam Meier; andSpohrand his wife, deeply moved by his touching kindness, took up their abode beneath the hospitable roof that was so endeared to them by past recollections.—As the interests of music were also well represented by KapellmeisterHermann, a former pupil and a warm partizan ofSpohr, the days passed agreeably in social intercourse with old friends and new acquaintances.
In the course of the year 1855Spohrwrote his 33rd. violin quartet (Op. 152, published bySiegelof Leipzic) and three grand duets for two violins (Op. 148, 150 and 153, published byPetersof Leipzic) which last he dedicated to the brothersAlfredandHenry Holmesof London. Neither could he have commended his work to better hands to ensure a performance and publicity worthy of them, for although those young artists never had the advantage of his personal instruction, yet by dint of a diligent study of his “Violin School,” they had become so penetrated with the spirit of his composition and his style of play, thatSpohrduring his last stay in England had been exceedingly gratified to hear his older violin duets executed by the two talented youths in a really masterly manner; and when a few years afterwards, upon an artistic tour on the continent, they visited Cassel, they caused, asSpohrhimself remarks in a letter: “everywhere the greatest sensation by their splendid play, and especially excited admiration by the highly finished and surprising performance of his duets and concertantes.”
In the spring of 1856Spohrreceived a letter from a former pupil, the director of musicKiel, of Detmold; where upon, at the desire of his Prince, he proposed toSpohrthe composition of some songs for a baritone voice, with pianoforte and violin accompaniment. Although doubtful at first that such a combination would be suited to a deep male voice, he nevertheless interested himself in the trial, and in a short timehe wrote a collection of six songs of the required kind, with which he himself felt highly satisfied. He then gave a hearing of them in manuscript to his musical friends in his own house, in which he himself took the violin part, which had proved of a somewhat difficult nature, and gave the voice part toHeinrich Osthoffan ex-concert-singer, who for some years past had been settled in Cassel as a teacher of music, and who from his particularly excellent and expressive execution of allSpohr’ssong pieces, sacred and otherwise, was a welcome guest in all musical circles. In Detmold also, the new songs dedicated to the Prince were very favorably received, and the Prince, as his director of music informedSpohr, sang them every day with increased satisfaction. WhenSpohrshortly afterwards forwarded the first printed presentation copy (published byLuckhardtof Cassel, Op. 154) to the musical prince, the latter in an autograph letter of thanks thus expressed himself: “that the great pleasure the fine songs already gave him would be yet increased when he should have the opportunity of singing them withSpohr’sown accompaniment.” The obliging letter was at the same time accompanied by a valuable souvenir, in the shape of a shirt-pin with the appropriately selected emblems of an oak-leaf in green gold, with an acorn of pearl set in gold, presented toSpohras an honourable acknowledgement “of his trueGermanworth as musician and as man.”
The first weeks of the summer vacation were passed by Spohr in a very pleasant and recreative journey to Dresden, Saxon Switzerland and Prague; after which, having reposed a short time in his own beautiful flower-garden, he undertook a journey into the Harz, at the solicitation of an enthusiastic musical friend, the jurisconsultHaushalterof Wernigerode.
The increased leisure time gained bySpohrin consequence of the appointment of his new colleague he now devoted to composition, for which, despite his advanced age, the impulse and love had not yet diminished. Though his musical ideas may no longerhave flowed so copiously, and assumed as readily the form he wished, as in former years, and though he himself at times expressed doubts as to whether his later works would take equal rank with his earlier compositions, yet he frequently received an enthusiastic recognition of the merit of his newest compositions from quite unexpected quarters, which always gave him fresh courage to continue his musical creations.
Spohrnow determined to write another quartet (his 34th.), upon terminating which he immediately opened the winter series of his still continued quartet circle with it. Although this new composition was considered extremely fresh and charming by both co-operators and auditory, yet he himself was so little satisfied with it, that after repeated alteration, which were rejected as soon as made, he laid aside the whole quartet as a failure; nor did he write another until a whole twelvemonth had elapsed: this differed in every respect from the former, and he substituted it for it under the same number. Upon its first performance at the quartet meeting this piece of music pleased him right well; but shortly afterwards it seemed to him to require many improvements, and as these did not turn out to his satisfaction, sorrowfully, but resigned to the consciousness that he could no longer carry out in a satisfactory manner the ideas which floated before his fancy, he associated the new 34th. quartet with that which he had previously rejected, and expressed the wish to his wife that neither should at any time be made public.
He came to a similar decision in respect to a symphony which he had composed shortly before, which was performed once only in the presence of a few only of his most intimate musical friends, at a rehearsal by the court orchestra of Cassel. Notwithstanding the numerous beauties and novelties in thought which it contains, to him nevertheless it did not appear worthy of being placed in the fine catalogue of his earlier written symphonies, and in this manner by himself was this—his tenth—symphony condemned, not to destruction it is true, but to eternal concealment.
In the summer of 1857Spohravailed himself of the vacation to go to Holland, his former visit there being still borne by him in pleasing recollection, he had therefore long been desirous of proceeding thither with his wife to shew her that country, as yet unvisited by her, and remarkable for so many peculiarities. Little as he had calculated upon any musical enjoyments there at such a season of the year, his pleasure was great to hear on the very first evening atVerhulst’s, in Rotterdam, in a numerous circle of musicians and lovers of music, several quartets both of his own and ofVerhulst’scomposition, upon which occasion the violinistTours, whose acquaintance he had formerly made, proved himself a great virtuoso, as first violin. The director of musicBöhm, of Dortrecht, who had shown from his youth a strong attachment to the honoured master, exhibited it anew by the unwearying attention with which he strove to alleviate all the cares and difficulties of travel in a foreign country, and took them wholly upon himself. Willingly following the arrangements of the excellent “travelling marshall,” asSpohrwas wont playfully to call him, the travellers were now enabled to see the many remarkable objects in the chief cities of Holland in a comparatively much shorter time, after which a further journey was undertaken from Amsterdam to that part of North Holland lying beyond the Y. The singular topographical feature of the whole country, the meadows intersected by innumerable canals and lakes, meadows covered with grazing cattle, the hundreds of gaily painted windmills, the cheerful blue sky, and the easy travelling upon the smoothly paved highroads, more like the parquetted floors of an apartment—in short, the whole delightful journey, with its interesting final objects, the celebrated places Saardam and Broek, presented a succession of charming pictures that surpassed all expectation and putSpohrin particular in the most cheerful possible mood.
Their kind “marshall”Böhmaccompanied the travellers on their return as far back as Utrecht, but placed them there in good hands, under the hospitable roof of one ofSpohr’sgrateful pupils, the director of musicKufferath, with whom they passed some exceedingly pleasant days. As the country round Utrecht abounds with handsome country-seats and parks, these furnished occasion for frequent delightful walks with the family of their host; and the musical entertainments given toSpohr—a quickly arranged organ-concert got up byNieuvenhuisen, the organist of the cathedral, and a grand serenade by torch-light in the evening—made the memory of those days worthy of being associated with the pleasing reminiscences of his former visit.
On the return-journeySpohrstopped a day at Cologne, whereHiller, the director of music, quickly improvised a brilliant dinner-party in his honour, and afterwards gratified him with the performance of some highly interesting musical pieces in his own house.Hillerhimself played with great spirit a recently composed sonata for the pianoforte of extreme difficulty of execution, some numbers of the comic opera composed by him called: “Jest, cunning and revenge,” which was received with universal satisfaction, and bySpohrin particular with lively applause. This was succeeded later in the evening by a musical surprise; the celebrated Cologne choral society, wholly composed of male voices, had assembled in all silence in the hotel, and at the door of their honoured guest sang their finest songs in the most masterly manner, which, together with a spirited address, spoken by professorBischof, afforded him very great pleasure.
Gratified in every respect with his journey,Spohrreturned to Cassel, where, reinvigorated and refreshed, he devoted himself with his usual zeal and interest to the materially lightened labours of his office, shared now with his young and active colleague.
Meanwhile, at that time was heard here and there the report that it was contemplated to pension him off; but when he was apprised of this by a friend, and it was put to him whether he would not rather anticipate such an intention by proposing himself to retire upon his pension, hereplied with decision, that: his duty and inclination impelled him alike to remain in the performance of his official engagements so long as he could fulfil them satisfactorily. Thus things remained on the old footing, until on the 14th. November, both contrary to his wish and expectation, he received the following rescript from the Elector:
“In pursuance of our most gracious will and pleasure, we have granted to the director-general of music and court Kapellmeister at our court-theatre, Dr.Louis Spohr, by reason of his advanced years, permission to retire into private life, and have been further pleased to grant him a yearly pension of 1500 Thalers from our court treasury from the date of the month next ensuing. The department of our lord high marshall of the palace will make the further dispositions to that effect. Cassel, November 12, 1857.Friedrich Wilhelm.”
Painfully affected asSpohrwas upon the receipt of this, he with his usual good sense soon overcame the shock of the first impression and contemplated the matter on its brighter side; in which sense he then gave expression to his sentiments in his letters to distant friends, and among others, in replying shortly afterwards to the director of musicBottrespecting other affairs, he wrote as follows; “You do not appear to have yet learned that the Elector, without my solicitation, has placed me in retirement, and although the terms of my engagement specified that my salary should be paid so long as I lived, he has pensioned me off on 1500 Thalers per annum. It has nevertheless appeared in all the newspapers, together with the account of the festive form in which I directed for the last time the opera of Jessonda at the theatre. At first it gave me very great pain, for I felt still perfectly competent to conduct the few operas which latterly fell to my share. But I soon learned to estimate my present freedom at its real value, and now feel very glad that whenever I choose I can get away by rail whithersoever my fancy takes me! I have submitted also to the deduction from my salary, having been informed that I should not be able to compel the paymentof the full salary without a new law-suit, and because it was repulsive to my feelings to take the whole amount without performing any service for it, and I can live very well with three-fourths of it by means of my savings!”
Thus terminatedSpohr’spersonal co-operation at opera and concert. But that he still cherished as warm an interest in the latter his letters to distant friends attest, and in this spirit he wrote on December 22nd. to Mr.Lüder: “Since we were at your house, we have had here the second subscription concert! It was the first concert that took place in Cassel without my co-operation, and at which I was present from beginning to end as an auditor. It consisted of carefully rehearsed music: the two finales from “Zemire and Azor” and “Euryanthe;” of instrumental musicMozart’s C majorsymphony with the fugue (called Jupiter); of concert thingsBeethoven’sviolin concerto withJoachim’scadences, and a concert piece byMoschelesfor two pianofortes, calledHommage à Händel, very correctly and effectively played by Messrs.ReissandTivendell. The concert opened with the overture to “Rosamunda” bySchubert, one of his youthful works, but which is very pleasing, and was quite new to me.Reisshas again achieved great praise both by his arrangement and by his careful rehearsal and study of the music.” In the same letter he farther says: “We have also had again two quartet parties, and I am happy to say, that I am still all right at the violin, only I must always prepare myself a few days before, which was not necessary some years ago![43]”
The at this time still powerful impulse to compose, on the one hand, and the dread of being no longer capable of producing anything good and new on the other, gave rise to many painful struggles in the mind ofSpohr,—till one morning he entered his wife’s apartment, and with a cheerful countenance announced to her that he had found the right way to get out of the difficulty. He had resolved upon writing a requiem, and had already conceived some fine ideas for it; he had the greatest hopes that he would be able to complete it, and produce a worthy conclusion to his numerous works. In happy and inspired mood he now immediately went to work; and in a few days wrote the first subjects, but this pleasure, like that which he had shortly before boasted of in his quartet play, was soon dissipated. On the second day after Christmas Day, while on his wonted way to the reading room of the museum in the evening twilight he had the misfortune to fall over the stone steps at the entrance, and to break his left arm. Beyond all expectation, nevertheless, the fractured limb was happily healing fast, and when, after a lapse of several months, with anxious fear of the result, he once more took up his violin, to draw the first tones from it, the trial seemed quite satisfactory. But after several days’ practice, followed up with great perseverance, he nevertheless became convinced to his great sorrow that his arm would never recover its lost strength and elasticity; upon which, as in this also he could no longer satisfy himself, deprived of another of the most precious elements of his existence, with a grieving heart he laid by his beloved violin!
Meanwhile, notwithstanding, many wished-for opportunities presented themselves elsewhere toSpohr, to keep alive his interest in musical enjoyments and to cheer him with the performance of his greater works. Scarcely was he recovered from the fracture of his arm, than he accepted an invitation to Magdeburg, to hear the performance of his oratorio, “Des Heilands letzte Stunden,” which was to take place there on Good Friday. With this performance he expressed himselfhighly pleased, in a letter to Mr.Lüders: “Orchestra, choruses, and solo-singers were alike excellently practised in their respective parts, and the effect, in the church of St. Ulrich, which is so favorably constructed for sound, was indeed heavenly. The solo-voices, for the most part belonging to theSeebachchoral society, were particularly fine, harmonious and powerful dilettante singers, and led by their directorMühlingthey were so penetrated with the true spirit of the composition, that I was quite taken by surprise, and delighted!
The accompaniment also of the solo instruments in the grand air of Mary in the second part was very fine; forGrimmthe harpist had been sent for from Berlin, and the other solo instruments—violin, violincello and horn—were played by members of the present orchestra of the Magdeburg theatre, who are, as luck would have it, virtuosi.”
In a similar letter of the 6th. April toHauptmann, in speaking of his further contemplated plans of journey, he says: “Whether all these excursions will be carried into effect, is not yet decided; but for the rest of my life my artistic enjoyments are limited to them; for I am now perfectly convinced, that I cannot accomplish any great work more. I regret to say, that my last attempt of the kind failed, and my requiem remains a fragment; nevertheless, as the subject as far as theLacrimosa dies illa, at which I stuck fast, pleases me well, and seems to have much that is new and ingenious in it, I shall not destroy it, as I should like to take it up again, and will make another attempt to complete it.”
This attempt, to which with much perseverance he devoted half a day, proved however a failure, and brought him finally to the avowed painful determination to relinquish composition entirely; as he did not feel capable of putting his musical ideas into a distinct shape. At the conclusion of the letter adverted to, he says further: “I thank you heartily for your kind wishes upon my birth-day! Notwithstanding my present low spirits on account of my artistic impotency, I nevertheless passed it agreeably enough. That may have arisenfrom my happily performed journey.” Scarcely three weeks afterwards,Spohr, again full of pleasurable anticipation, set out anew, and this time to Bremen, where the director of musicEngelpurposed to open his recently established choral society with the public performance ofSpohr’soratorio, “The Fall of Babylon,” a great undertaking, but so worthily executed thatSpohrhimself was greatly surprised and deeply moved.
For the beginning of JulySpohrhad been invited to Prague, where the half-centennial anniversary of the Conservatory of that city was to be celebrated by three grand musical performances—among which was his opera “Jessonda.” The celebration of divine service in the cathedral on the first morning was followed in the evening by a grand concert in the theatre. It began with a new Symphony byKittl, the director of the conservatory, which, like the otherPièces d’Ensemble, was performed by the pupils of the institution; while the solo-pieces were executed by foreign resident musicians who had received their education there; among these, the celebrated violinistsDreyschockandLaub. “On the second evening,” in the words of the “Tagesboten aus Böhmen,” “not only in honour of the great musician present, but in order to give every true lover of art a right festive evening, the ‘Jessonda’ ofDr. Louis Spohrwas selected, and Prague had this time the satisfaction of seeing the inspired and still vigorous veteran conduct the performance of his work himself.... AsSpohrtook his place at the conductor’s desk, which was hung with wreaths of laurel and ornamented with a crown of the same, he was received by the densely crowded house, which comprised all the leading artists and lovers of music of Prague, with long and enthusiastic applause. At every moment of interest, of which the fascinating “Jessonda,” (the not yet surpassed model of German lyrical opera) is one uninterrupted beautiful chain, the most gratifying acclamations were first directed to the master, and then to the singers. After the second act, the venerable poet of sweet sounds was vehemently called forward upon the stage, as also after the last act, when another crown of laurel wasthrown to him.... The conducting of the honoured masterSpohris still marked by unimpaired vigour, and attention to every detail; his stroke of the baton has its usual characteristic stamp” &c. Theconcert spirituel, which had been arranged for the third evening, as the finale to the musical part of the festival, comprised as chief subject, the ninth Symphony ofBeethoven; but at the grand dinner given on the following day, a series of select musical pieces was performed, and the opportunity seized, both by loud calls for the repetition of the overture to “Jessonda,” and every possible mode of demonstration, to honourSpohr, the Nestor of the numerously congregated musicians, as the king of the feast. Not less however than by all these demonstrations was he gratified by the kind anticipation of his wishes with the invitation to visit the country-house in the neighbourhood of Prague which had been hallowed byMozart’slengthened residence; to which the present proprietor HerrPopelkahimself accompanied him, to shew him the room, whichSpohralso looked upon as sacred ground, whereMozarthad composed his “Don Juan.”
Spohrwas less fortunate upon his return journey in realising a long-cherished and ardent wish. He had for several years vainly endeavoured to hear upon a foreign stageMozart’sopera “Idomeneo,” which he had never been able to give a performance of in Cassel, and which was known to him only in the pianoforte selection. With this object also, already in the beginning of the summer, apart from and independent of his subsequently promised visit to Prague, he had projected a journey to Dresden, for the reason, as he then expressed in a letter to his friendLüder—“that with the constantly increasing dearth in the repertory of modern operas, an as yet unheard opera ofMozartwas too important an event, and for him an artistic necessity too great, that he should not joyfully undertake even a much longer journey to hear it.” Long previously he had written on the subject to his friend the director of musicReissiger, and at length thought to see his hope realized in Dresden, either before or after the Prague musical festival.Unfortunately, however, owing to the absence of the chief singers of the opera, it could not be carried out, and so, consoling himself meanwhile till the autumn, he took the road to Alexandersbad, where during a pleasant sojourn of a week, he reposed from the exertion of the previous journey in the enjoyment of the quiet relaxation he so much desired.
Greatly gratified, and visibly refreshed asSpohragain returned from this pleasant excursion to Alexandersbad, yet from that period he exhibited a constantly increasing low-spirited and thoughtful mood, which was so opposite to his former manner. To his wife, who vainly tried every means to cheer him, he would then reply after a protracted and earnest silence, that he was weary of life, as he could no longer be doing; that he had enjoyed to exhaustion all that mortal life could given, and lived to see a more widely spread recognition and love for his music than he even could have hoped for,—that now he ardently wished for death, before the infirmities of old age completely prostrated him. Nevertheless he always felt cheerfully moved again by invitations to new journeys, and musical enjoyments, of which several presented themselves in the autumn. In September namely, the journey to Wiesbaden to the musical festival of the Middle-Rhine, and in October to Leipsic, to the performance of his own and other works which particularly interested him, at the Gewandhaus concert, at the conservatory and at the church,—on which occasions he at both places followed the musical performances with persevering interest and pleasure, and received with lively satisfaction the various ovations of which he was the object. Although upon this journey to Leipsic, and lastly also to Dresden, he found no opportunity to realise hismost ardent expectationto hear the “Idomeneo,” he nevertheless was somewhat compensated for the disappointment by the kindness of the Frankfort theatrical Intendant, who on his previously expressed wish, announcedCherubini’sopera of “Medea” for the evening of his arrival there, on his way through to Wiesbaden, and thus afforded him the high enjoyment of hearing that classically beautiful music.
As with the decrease in the length of the days and with the gloom of winter, the sleeplessness and nervous excitement which had affected him so prejudicially at Leipsic also, increased during the long nights, and from that time slowly but obviously augmented; leaving as their result a still greater debility and uneasiness during the day; his cheerfulness abandoned him entirely.—Shortly after his visit to Leipsic, where the orchestral pieces under the excellent direction ofRietzgave him especial pleasure, he wrote among other things toHauptmann.... “I cannot express to you how this time all the music I heard in Leipsic pleased me.... From the devotional sentiment which your motette raised in me on Sunday, I envy you not a little the energy with which you still continue to work, while with me it is all over with composing and with violin play! Yesterday I received fromZellner, the musical critic at Vienna, the intelligence that one of my oratorios is to be performed there, and he invited me on the part of the originators of the design, to come and direct it myself. For several years the Austrian society had contemplated giving my ‘Fall of Babylon’ as a musical festival in the Imperial Riding School; but then, even with the aid ofMetternich, I could not get permission to go there. Now, when I could get away, as I am an invalid, and the journey too far and fatiguing, I am obliged to renounce it. I shall therefore decline the invitation and content myself with shorter journeys in the fine season of the year. But on such occasions, struggles with my inclinations and low spirits always follow! and so one is induced to envy the lot of several who were personally known to me, who of late died suddenly....” Impressed with similar painful thoughts and not without many inward struggles,Spohrwrote the letter to decline the invitation that he received at that time to Königsberg, to the centenaryHändelFestival, where he had been chosen to direct the magnificent “Messiah” and one of his own works; and where it was intended to pay to him, as sole worthy representative of the greatHändel, all the homageand honours which could not be rendered toHändelpersonally, in all the overflowing fulness of their warmth.[44]
AsSpohrfor many years had been considered by the whole musical world as the highest authority in everything that pertained to his art, a day seldom passed without bringing applications or requests of some kind, frequently from the most distant localities, which his ever-ready disposition to oblige never permitted him to leave unnoticed, but to which, now although with a heavy heart, he was more and more compelled to waive replying. One application nevertheless may here be mentioned, which, coming at a particularly favourable moment, rekindled his zest to make a last essay at composition, and which in reality also was his last! For many years he had been repeatedly solicited in the most irresistible words by Mr.Chr. Schad, the publisher of the Almanack of the German Muses, to write a few little songs for it, andSpohrhad each time the satisfaction to learn that those willingly bestowed little contributions were received with a more than usual approbation. In the autumn of 1857, when with considerable timidity he had endeavoured to satisfy MrSchad’surgent wish for a composition for the words of the old ballad ofWalter von der Vogelweide, “the silent nightingale,” he received a very poetical letter of thanks expressing the writers “admiration of the musical sentiment and depth of feeling with which the beautiful ballad had been rendered by the composer,” and that “it is a great satisfaction for a German heart that two masters of his nation, although separated by an interval of six hundred years, should have exhibited the rich treasuresof their inmost feelings, in so noble, so simple and so harmonious a form of words and tone,” &c. Now at length, in October 1858, six months after having laid aside his incompleted requiem as his last composition, he received another letter, beginning with the words: “Your silent nightingale which built her harmonious nest in the thick verdure of last year’s Almanack of the Muses, has met with the loudest approbation of the German nation for the very eloquence of that silence. And who better than the loved great masterSpohrwould know how to utter sounds more replete with the soul’s harmony,—who know how to move more deeply and purely a German heart! No wonder is it that I again knock at your door to-day. I come in the name of, and at the request of, more than eighty of the best hearts and heads in Germany, who have chosen me as their standard-bearer for a noble patriotic object.... I lay before you three of the most beautiful ofGöthe’ssongs for your unrestricted choice, and resign myself to the pleasing hope of seeing one or the other enveloped in a melodious garb by your master-hand.” And, indeed, already on the following morning his wife heard with joyful emotion the sound of the long-silent keys of the pianoforte, in his room, and his still pleasing voice as he sang in accompaniment. A few hours afterwards he came also with a look of pleasure to fetch her, to sing to her forthwith the new music he had composed toGoethe’s“Herz, mein Herz, was soll das geben,” having already completed it as regarded the chief thing; though the rhythm and conclusion not being yet to his fancy, would require a longer time to finish. When however, his wife, greatly pleased with the lively, pretty melody, could not refrain from making the observation that it had a very striking resemblance toBeethoven’scomposition to the same words, he assured her that he had no knowledge of it, or at least no recollection of it at all, but expressed the wish to have it procured, in order to satisfy himself of the resemblance.—With his own song he was now tolerably satisfied, and said, with truth also, that it would have a very goodeffect, if those who sung it did notspoil it by too slow a Tempo, as was so frequently the case with his compositions, a remark which is in so far characteristic, asSpohr, so often as he heard his works performed abroad, or not under his own immediate direction, always felt annoyed by the time being taken frequentlytoo slow, but scarcely ever complained of one takentoo fast. When at length the new song was studied under his superintendance by his nieceEmma Spohr, who, gifted with a fine voice, always sung songs of the kind in the family-circle, he sang to her himself with the most lively emotion, and with almost breathless rapidity, the three closely following strophes, without interlude, to encourage her to a similar execution. But a few weeks afterwards, when he again caught sight of the manuscript, he said, with a sorrowful expression of face, that the song was worthless, and regretted that he had sent it for publication in the Almanack of the Muses!
As evidence of his restless impulse to be usefully active, one instance may here be adduced:
When, after breaking his arm, he was compelled to give up violin playing himself, he thought also that he could no longer give satisfaction as aTeacherof his instrument; he had dismissed his last violin pupils, young persons without pecuniary means whom he instructed from a humane feeling and zeal for the art.—But now, in December 1858, he again resumed his labours as a beneficent instructor, and expressed himself toHauptmannupon the subject in the following words: “In order still to be somewhat actively engaged in the cause of art, I have commenced giving pianoforte lessons gratis to a young lady who wishes to qualify herself for a teacher of that instrument. But when it is requisite to play anything to my pupil, I am of course obliged to call my wife or sister-in-law to my assistance.”
In this manner, the this time especially dreaded winter,—his last—had come! On New Year’s morning 1859, after a sleepless and restless night passed in a state of painful nervous excitement, he received in earnest silence the wishes of theseason from his family and friends,—but still looked forward with hope to a “fine spring and summer,” which he contemplated passing happily once more, partly at home among his favorite flowers, and partly in little journeys. For such journeys, which his friends always designated as “little triumphal excursions,” the most alluring invitations had again long been received from all sides, but of these of course he could only accept those which were to places most easily accessible. When upon such occasions with an effusion of grateful satisfaction he gave utterance to his feelings in the words: “It often seems to me as though all the world thought only of conferring upon me a very feast of pleasure before I die,” it was unfortunately always followed by the sad addition: “but no one knows how miserable I feel, and no one can relieve me of my sufferings.”—With almost morbid impatience he now looked forward to the next spring, when he had proposed to himself, at the special request ofJohn J. Bott, who was now appointed director of music at the court orchestra of Meiningen, to proceed thither, to direct the concert which was then to be given for the benefit of the widow’s relief fund. The few hours occupied by the journey on the newly-opened Werra railway were easy and comfortable to him, and upon his reception at the terminus of MeiningenSpohrwas particularly gratified at meeting once more both his favorite pupilsGrundandBott, who greeted their honoured master with expressions of the heartiest welcome, and who the next day were unwearied in showing their grateful attachment to him in every possible manner. Immediately on the first evening, as a further festive welcome, a grand serenade by torch-light was given to him, in which underBott’sconducting (in theSpohrstyle), male choral and four-part-songs interchanged alternately with the music of the full orchestra; and at the close, at the moment when the cheers of the assembled crowds were loudest, the whole living mass was suddenly illumined by the coloured fires of a brilliant sun, which disclosed also to view, as though by magic, the fine parks opposite the house. At the rehearsal for the concerton the following evening,Spohrfound all the musical pieces so carefully studied and in accordance with all his intentions, that he could look forward with pleasing certainty to its performance on the next evening, and the more so, as the two directors of music,GrundandBott, felt an especial pleasure in resuming their former places under the direction of their master, as co-operating violinists in the orchestra, and in thus giving him the most powerful support.
The “Meininger Tageblatt” makes mention of the concert in the following terms: “Upon the stage, between branches of palm and laurel, was placed a collossal bust ofSpohr. The conductor’s desk had been decorated by female hands with ingenious devices and garlands of flowers. The house, filled to overflowing, awaited in breathless suspense the appearance of the famed old master. ‘He comes!’ ... was whispered through the spacious house, and a thousand-tongued welcome of joy greeted the honoured man. In a few minutes afterwards he had lifted the conductor’s baton—a solemn silence immediately ensued; and in a few moments the first notes of the symphony “Die Weihe der Töne” resounded. The eyes of all were directed to the Nestor of the science of music, who brought to our mind the Olympian Jove—omnia supercilio moventis. All the orchestral assistants felt the importance of the moment, and lent their most efficient aid. The same calm which everywhere breathes through the works of this musician was seen also in his conducting. Not the least fraction of a beat was thrown away—in all and everywhere, were seen the director of orchestra and the musicians, as a grand impersonated whole, achieving in every part a fresh triumph. The honoured poet of sweet sounds directed besides his grand symphony, five other of his works, and with so steady a hand, that the crowded house was filled with admiration.” ... This part of the concert in whichSpohrwielded forthe last timethe conductor’s baton, comprised among the rest, his concertante inH minor, which was executed by director of musicBottand concert-masterMüllerin a masterly manner, and gave him great pleasure. In appropriate choice followed the overture to the “Mountain Sprite,” with which thirty-four years before he had opened the festive celebration of the marriage of the ducal pair. As upon that occasion the exalted couple listened with pleasure to the tones of the master, and exhibited a warm interest not only by their presence at the rehearsal and performance, but by the most marked attentions; and the duke, who many years previously had presentedSpohrwith the cross of knighthood of the order of the house of Saxe-Ernest, changed it upon this occasion for the grand cross of the order.—The last evening in Meiningen was further celebrated in honour ofSpohrby a grand masonic fête, which afforded him no less gratification; as also a hearty written testimony of thanks addressed to him by the intendant of the court orchestra, Mr.von Liliencron, from which, as it refers toSpohr’s last appearance as conductor, we may here cite some words, which will perpetuate the memory of that day: “The house filled to the very utmost,—the enthusiastic acclamations,—the flowers and wreaths, testified to you yesterday, how fascinated we all were by your tones, how deeply moved at the sight of the loved and highly honoured master. If the recollection of that delightful evening will remain indelibly impressed upon all who were present, so will the benign purpose of that concert impress the recollection of your appearance among us; for in future years, when it shall be read what was presented on the 12th. April 1859 to the widows and orphans by the court orchestra of Meiningen, it will be said: that was the day on whichSpohr, the master, wielded the conductor’s baton in our midst.”
A second journey undertaken shortly after bySpohr, was to the pleasant little princely residence of Detmold, where he was again welcomed by a grateful pupil, the director of musicKiel, and its art-loving prince, in a similar manner as in Meiningen, with two successive days of festivities in his honour. The proffered direction of a grand concert solely embracinghis own compositions he had firmly declined, and as auditor could therefore give himself up more completely to the enjoyment of his own excellently performed music, two numbers of which in particular afforded him exceeding pleasure; the performance namely by his former pupilsKieland concertmasterBargheer, who together executed hisA minorconcertante, and the symphony “Die Jahreszeiten”—a favorite and prominent point of excellence with the court orchestra of Detmold—and which he had especially chosen by a previously communicated request.
Returned once more to Cassel after a week happily passed in the midst of the enjoyment of art and nature,Spohrunhappily could no longer conceal from himself, that even these short journeys were now followed by many painful results, in the shape of a yet more increased nervous restlessness at night—yet his spirit soon yearned again for diversity and change of place, and especially towards his favorite Alexandersbad, where he confidently hoped a longer stay in the fine air of that locality would again induce an improvement in his health, and particularly restore his sleep at night. Strengthened in this belief by the opinion of his ever-sympathising and watchful medical attendant Dr. Ad.Harnier, he set out for Alexandersbad, where he remained some weeks. His health improved, and he passed better nights. But on his return he visited Würzburg, and was present at the performance of his “Letzte Dinge;” and this, and his reception, and the leave-taking, made such an impression on him, that it went far to neutralize the improvement in his health that had taken place at Alexandersbad.