too high, and by that spoiled several of the most effective parts
of the oratorio. I suffered intensely from this, and my pleasure in
my composition was greatly embittered. Nevertheless it gave general
satisfaction, and was most favourably spoken of in a detailed notice
of the Musical Festival in one of the Thuringian newspapers. Another
criticism which appeared in a South-German (if I am not mistaken a
Francfort Journal) found on the other hand much to cavil with in the
work, and was altogether written in a bitter and malevolent tone.
For many years I suspected this malicious criticism was written by
Counsellor _André_ of Offenbach, as he was present at the Festival
with two of his pupils, _Arnold_ and _Aloys Schmidt_. What induced me
to suspect him of it, although _André_ had expressed himself to me
personally in praise of the work, I now no longer remember; and in
later years when I questioned him on the subject, he assured me that he
was not the author. I, myself, not only considered the work the best I
had written up to that time, but I thought I had never heard any thing
finer. Even to this day I like so much some of the choruses and Fuges,
as well as the part of Satan, that I could almost pronounce them to be
the most grand of all I ever wrote. Not so, however, with the other
themes particularly with the Soli-parts of Jesus and Mary. These are
wholly written in the Cantata style of that day and overladen with
bravoura and ornamental passages. Shortly afterwards, also, I felt the
impropriety of this style, and in later years frequently resolved to
re-write those Soli parts. But when about to begin, it seemed to me as
though I could no longer enter into the spirit of the subject, and so
it remained undone. To publish the work as it was I could not make up
my mind. Thus in later years it has lain by with out any use being made
of it.
As the above mentioned Festival in honour of Napoleon’s birth-day was
the last that took place in Erfurt and in Germany just before the
Russian Campaign, it was considered to have been ominous, that the
principal Musical piece then performed should have been “the last
Judgement”.
* * * * *
In the Autumn of 1812 I again applied for a leave of absence for myself
and wife, which after some reluctance on the part of the Dutchess was
granted. We this time directed our journey to Vienna as the least
disturbed by the war, and the passage of troops. Our first stay was at
Leipsic, where we assisted at a Concert given by _Hermstedt_, and where
I afterwards performed my new oratorio. Of this the Musical Journal
speaks in the following manner:
“Herr _Hermstedt’s_ Concert as regards the Compositions executed, was
one of the most attractive that could be heard. With the exception of
_Mozart’s_ Overture, and the Scena by _Righini_, all the pieces were
of the composition of Concert-Master _Spohr_, and with the exception
of the Clarinet-Concerto, all newly written. This Concerto, the first
in C-Minor, and, as a Composition, the most brilliant of all Concerti
for that instrument, was again listened to with great satisfaction.
A grand Sonata for Violin and Harp, played by Herr and Madame
_Spohr_, the leading theme of which must be pronounced masterly in
conception and elaboration, and the second, consisting of a delightful
Pot-Pourri of happily combined and most pleasingly handled melodies
from the “_Zauberflöte_”,--this as well as each of the other pieces
were received with the warmest approbation. We heard besides another
Violin-Concerto[13] played by Herr _Spohr_ and a Pot-Pourri for the
Clarinet with Orchestral accompaniment. In the former, the first
_Allegro_, as regards composition and execution pleased us least. Here
and there, it seemed to us both tricky and overladen with ornament,
and considering its contents, much too long; neither was the execution
of the Virtuoso every where sufficiently distinct and clear. But the
_Adagio_, as regards composition and execution is one of the finest we
ever heard on this instrument, we may even say the very finest that was
ever produced by any Virtuoso.”
[13] This must have been the 6. (Op. 28).
Of the Oratorio, also, it speaks upon the whole, favourably. It
contains not only “many details that are original and attractive, some
even that are really charming, but which, also, too closely crowd upon
and obliterate each other. Every hearer whether he agrees or not with
_Spohr_ in his idea of an Oratorio, that is, whether he may be disposed
or not to tolerate its combination of almost every kind of treatment
and style, or rather, to see them replace each other in turn--yet every
hearer must be impressed with a lively interest in this work, and
experience a real pleasure not unmingled with astonishment at several
of its principal parts.”
According to a notice in the Musical Journal of the 8. November, I do
not appear to have made any stay at Dresden, upon this journey. But in
Prague I gave a Concert on the 12. November, and eight days after, my
Oratorio at the Theatre. A very favourable notice of the former appears
in the Musical Journal, which adverts especially to the “enchanting
unity” of execution, from which the most perfect harmonic marriage of
the two admirable artistes was to be recognised.
Of the performance of the Oratorio I alone remember that Fräulein
_Müller_ afterwards Madame _Grünbaum_, sang exquisitely in it, and that
the work was right well received by the public.
I now hastened towards the chief object of my journey. Vienna was
at that time indisputably the Capital of the Musical world. The two
greatest Composers and Reformers of Musical taste, _Haydn_ and _Mozart_
had lived there, and there produced their Master-pieces. The generation
still lived, which had seen them arise, and formed their taste in Art
from them. The worthy successor of those Art-heroes, _Beethoven_,
still resided there, and was now in the zenith of his fame, and in the
full strength of his creative power. In Vienna therefore the highest
standard for Art creations was set up, and to please there--was to
prove one’s self a Master.
I felt my heart beat as we drove over the Danube-bridge, and thought
of my approaching début. My anxiety was yet more increased by the
reflexion that I should have to compete with the greatest Violinist of
the day; for in Prague I had learnt that _Rode_ had just returned from
Russia, and was expected in Vienna. I still vividly recalled to mind
the overpowering impression which _Rode’s_ play had made upon me ten
years before in Brunswick, and how I had striven for years to acquire
his method and execution. I was now therefore anxious in the highest
degree to hear him again, in order thereby to measure my own progress.
My first question therefore on alighting from the carriage was whether
_Rode_ had arrived, and had announced a concert. This was answered in
the negative, but with the assurance that he had long been expected.
It was now therefore a matter of importance to me to be heard before
_Rode_, and I hastened as much as possible the announcement of my
concert. I succeeded also in appearing first; but _Rode_ had arrived
meanwhile, and was present at the concert. To my great surprise I felt
less intimidated than inspired by that circumstance, and played as well
as I could have desired. The Musical Journal spoke of my appearance
before “a crowded house” in the following manner:
“On the 17. December we had the pleasure to hear and admire Herr
_Louis Spohr_ and his wife at a concert. We subscribe gladly to the
favourable opinions expressed of this worthy Artiste-pair and can only
add that here also every one was charmed by their masterly play. Herr
_Spohr_ played a Violin-Concerto with a Spanish _Rondo_ and at the end
a Pot-Pourri, both of his composition; with his wife, he executed one
of his published Sonatas for harp and violin. The composition both of
the Concerto and this Sonata are excellent, and contrasted not a little
with the watery, patchwork productions with which so many practising
Musicians without talent or genius for composition, make their
appearance here.”
By the advice of some kind friends I relinquished my intention of
giving my Oratorio at my own expense, as I had projected doing in a
second Concert; since the great expenditure which a large Orchestra and
a numerous Chorus would have superadded to that of an usual Concert,
forbade the hope to realise any profit from the undertaking. Yet as
I was very desirous to have this work heard in Vienna, for I still
considered it one of the grandest of its kind, I offered to perform
it for the benefit of “the Widow’s and Orphan’s Society” on the
condition only, that for its production, the society would provide a
well appointed orchestra supported by the most distinguished Singers
and Instrumentalists in Vienna. This condition was accepted, and
fully carried out by the society, which provided a _personel_ of three
hundred assistants from among the best artistes in the city. The work
was carefully studied in two grand rehearsals, and on its production,
was performed better than I had yet heard it. I became anew enraptured
with my creation, and with me several of the assistant Musicians, among
whom more especially Herr _Clement_ the Director of the Orchestra of
the “Theatre an der Wien”.
He, had so thoroughly imbibed the spirit and substance of the work,
that the day after its performance he was enabled to play to me on the
Piano several entire parts, note for note, with all the harmonies and
orchestral figures, without ever having seen the score. But _Clement_
possessed a musical memory such perhaps as no other artiste ever
possessed. It was at that time related of him in Vienna, that after he
had heard several times “the Creation” of _Haydn_, he had learned it so
thoroughly, that with the help of the text book he was able to write a
full Pianoforte arrangement of it. He shewed this to old _Haydn_, who
was not a little alarmed at it, thinking at first that his score had
either been stolen or surreptitiously copied. Upon a nearer inspection
he found the Pianoforte arrangement so correct, that after _Clement_
had looked through the original score, he adopted it for publication.
Before my Oratorio was performed, I had a quarrel with the Censorship,
which nearly subverted the whole untertaking. They would not suffer
the names of _Mary_ and _Jesus_ to be used in the list of the
Dramatis-Personae of the Text-Book, nor above the words which they
had to sing. But after long negotiation, upon the omission of these,
the text was allowed to be printed. I could readily accede to this
omission, since from the context it was easy to understand who the
persons were.
Greatly as the work pleased the Musicians, and increased their opinion
of my talent for composition, yet its reception by the Public was
not nearly so brilliant as that which my play, and my Concerted
compositions had met with. It is true there was no want this time
also of marked applause, but it was not so general as to attract a
numerous audience to the second performance which took place three
days afterwards. This second representation in Vienna was the last the
work ever had; for in later years I saw too well its weak points and
deficiencies ever to persuade myself to give it again in public. Of the
first representation in Vienna on the 21. January the Musical Journal
spoke tolerably well.
_Salieri_ the Leader of the Imperial Orchestra had undertaken the
direction of the whole; Herr _Umlauf_ presided at the Piano, and I led
the violins. The principal parts were sung by Demoiselle _Klieber_,
Madame _Anenheim_, Demoiselle _Flamm_, Messrs. _Anders_, _Wild_,
and _Pfeiffer_. “It is difficult” says the notice “here in Vienna
to bring out an Oratorio, so as either to awaken attention to it,
or to procure for the work a permanent name--here where such grand,
successful masterpieces of the kind first made their appearance, which
are familiar to every body and which have procured for their creators
a lasting fame in the musical world. Herr _Eibler_ already attempted
to set the “Four last Things” ... to music. But his work was only
twice publickly performed, because he failed in a thoroughly even and
original style, and his composition would not bear comparison with the
works of his great predecessors of this kind. The same may be said also
of Herr _Spohr’s_ “Last Judgement” although the composer of that work
is infinitely superior in severe passages to the writer of the “Four
last things.” All the chorusses and fugues in the severe style, with
which one can find fault in some secondary parts only, have a real
artistic merit; are worked out with great industry, and were received
also with loud and general enthusiasm. The Airs, Duetts and single
Song passages, depart however too much from the real Oratorio style,
are too frequently repeated in the text, and approach more or less to
the Italian Operatic style. Some too striking reminiscences of the
“Creation” and particularly of the “Zauberflöte” lessen the merit of
the work in respect of originality. The Chorus of Devils at the end
of the first part would be more admissably in its place if introduced
in a ballet. Herr _August Arnold_ the author of the text, has also,
certainly not produced a work such as might satisfy the composer for
musical treatment.... The Theatre was scarcely half full. On the 24.,
this Oratorio was repeated before scarcely two hundred auditors. But a
work of this kind should not have been brought out in such a pleasure
loving City in Carnival time!”--
A fortnight after my first appearance, _Rode’s_ Concert came in turn.
Relying on his European reputation he had chosen the most spacious
Concert-room in Vienna, the great “Redouten-Saal” and he found it
completely filled. With almost feverish excitement I awaited the
commencement of _Rode’s_ play, which ten years before had served as
my highest model. But, already, after the first Solo, it seemed to me
that _Rode_ had lost ground in that time. I now found his play cold,
and full of mannerism. I missed his former boldness in conquering great
difficulties, and felt particularly dissatisfied with his execution of
the Cantabile. The composition as well of the new Concerto, appeared
to me far behind that of the seventh in A-Minor. In his execution of
the Variations in E-Major, which I had heard him play ten years before,
convinced me fully, that he had greatly lost in technical precision,
for he had not only simplified for himself many of the most difficult
passages, but he produced also those modified passages with timidity
and a degree of uncertainty. Neither did the public seem satisfied; at
least he failed to rouse them to any enthusiasm. The Reviewer in the
Musical Journal says, also, that _Rode_ had “not _quite_” satisfied the
expectation of the public. “His bow-stroke” continues the Reviewer,
“is long, grand and forcible, his tone full and strong--indeed, almost
too strong, cutting; he has a correct, pure intonation and is always
sure in his rebounds up to the very highest notes; his double notes
although occurring but seldom, are good, and in _Allegro_ he conquers
great difficulties with ease: on the other hand he is wanting in that
which electrifies and carries away all hearts--fire, and that winning
grace which is not otherwise to be defined, that witchery of charm that
ravishes the ear and inspires the soul. In _Adagio_, the sharpness of
his tones was still more perceptible than in _Allegro_; the result
therefore was cold. Neither did the composition awaken much interest;
it was thought far fetched and mannered. It is probable the vast size
of the great “Redouten-Saal” may have induced Herr _Rode_ to bring out
his tones so sharply, and thus they lost much of their sweetness.”
Eight days after _Rode’s_ Concert I gave my second, in the small
“Redouten Saal.” The Musical Journal speaks of it as follows: “_Spohr_
shewed himself to be a great Master of violin-play. He produced a new
composition in A-Major (published as the tenth), which was solemnly
and slowly preceded by an introduction in A-Minor. The _Adagio_ was in
D-Major. A most charming _Rondo_ concluded it. In the pleasing, and
the tender, _Spohr_ is indisputably the nightingale, of all living, at
least, to us known, Violinplayers. It is scarcely possible to execute
an _Adagio_ with more tenderness and yet so clearly, combined with
the purest good taste; added to this, he overcomes the most difficult
passages in quick-time measure, and effects the greatest possible
stretches with wonderful ease, to which certainly the large size of his
hand may be of some advantage to him. This evening he again received
a general and unanimous applause, and was repeatedly called forward,
an honour--which so far as we remember,--was conferred only upon Herr
_Polledro_. With his wife, Herr _Spohr_ played an _Allegro_ which she
performed upon the harp, with great execution, taste and expression. We
think, of all the Virtuosi whom we have heard upon that instrument none
possesses so much school, and such intensity of feeling in expression,
as Madame _Spohr_; though Demoiselle _Longhi_ may have more power, and
Demoiselle _Simonin-Pollet_ more equality in their play.”
Speaking of _Rode’s_ second Concert, the Musical Review says: that
“with a very crowded saloon he met with much more applause than before;
but in the Cantabile this time, also, he did not sufficiently satisfy
the expectations of the public.”
On the 28. January I played with _Seidler_ of Berlin in his Concert,
and as a notice of it says “bore away the palm although Herr
_Seidler’s_ play was worthy of praise.”
I could thus be very satisfied with the reception I had met with in
Vienna as an Artiste; for the public newspapers also awarded the
palm to me. At private Parties where as the rule, I not only met the
above named Violinist, but also the most distinguished of the native
Violinists Herr _Mayseder_, and had to compete with all these, my
performances met also with special acknowledgment and attention. On
these occasions there was at first always a dispute who should begin,
for each desired to be the last, in order to eclipse his predecessor.
But, I, who always prefered playing a well combined Quartett to a Solo
piece, never refused to make the beginning, and invariable succeeded in
gaining the attention and sympathy of the company by my own peculiar
style of reading and executing the classical quartetts. Then when
the others had each paraded his hobby-horse, and I observed that the
company had more liking for that sort of thing than for classical
music, I brought out one of my difficult and brilliant Pot-Pourri’s,
and invariably succeeded in eclipsing the success of my predecessors.
In the frequent opportunities of hearing _Rode_ I became more and more
convinced that he was no longer the perfect Violinist of earlier days.
By the constant repetition of the same compositions, a mannerism had
crept by degrees into his execution, that now bordered on caricature.
I had the rudeness, to remark this to him, and asked him if he no
longer remembered the way in which he played his compositions ten years
ago. Yes! I carried my impertinence so far, as to lay the variations
in G-Major before him, and said, that I would play them exactly as I
had heard him play them so frequently ten years before. After I had
finished playing, the company broke out into a rapturous applause,
and _Rode_, for decency’s sake was obliged to add a “bravo”; but one
could plainly see that he felt offended by my indelicacy. And with good
reason. I was soon ashamed of it, and advert to the circumstance now,
only, to show how high an opinion I then had of myself as a Violinist.
Satisfied in the highest degree with Vienna, I now thought of
proceeding farther, when quite unexpectedly I received from Count
_Palffy_ the then Proprietor of the Theatre “an der Wien” the offer
of an engagement there for three years, as Leader and Director of the
Orchestra. As I could not make up my mind to give up my and my wife’s
permanent life engagements, I at first decidedly declined it. But when
Herr _Treitschke_, who was the agent in the matter, offered me more
than three times the salary which I and my wife together had received
in Gotha; when he informed me that the Theatre “an der Wien” would soon
become the first in Germany, that the Count had succeeded in engaging
for it the best singers of the day, and that he now contemplated to
entrust to me the formation of the Orchestra from among the first
artists of Vienna, and further represented to me that in such an
excellent Theatre I should have the first opportunity to cultivate my
abilities and distinguish myself as a Dramatic Composer: I could no
longer withstand the temptation; requested a short delay in order to
consult with my wife, and promised to give a definite answer in a few
days.
Of the large salary that was offered to me, and which much exceeded
those of the two Leaders of the Imperial Orchestra _Salieri_ and
_Weigl_, I might hope to economise a third or perhaps the half. I
might furthermore, from the reputation I had acquired in Vienna as an
Artiste, safely reckon upon earning something considerable by Concerts,
Compositions and Tuition. Besides, I was secured as regarded the
future, even in case the proffered appointment should terminate at the
expiration of the three years, and could then carry out a favorite
plan conceived from my earliest youth, of a journey to Italy, in
company with my wife and children.
More than all these, however, I was disposed by my re-awakened desire
to write for the stage, to accept the Count’s proposal. So, after
_Dorette_ had given her consent, although with sorrow at the now
necessary separation from her mother and family, the written Contract
was drawn up and signed under the direction of a Notary, a friend of
ours. I bound myself therein as Director of the Orchestra to play in
all grand Operas, to undertake the Violin Soli’s in Operas and Ballets,
and as Conductor, to lead from the score when the other leader should
be prevented doing so. From small Operas, Ballets, and the music in
Plays, I was exempted. I now, conjointly with Count Palffy and my
new colleague, conductor _von Seifried_ proceeded to remodel the
constitution of the orchestra. The Count was not niggardly in regard
to the salaries; so I soon succeeded in procuring the services of the
most talented young artistes, and to establish an _ensemble_ that made
my Orchestra not only the best in Vienna, but raised it to one of the
first in all Germany.
Among the new appointed members was my brother _Ferdinand_, and one of
the most gifted of my other pupils, _Moritz Hauptmann_ of Dresden. He
had just arrived in Vienna and desired to establish himself there. But
my brother did not arrive till the spring.
I had stipulated at the same time for a month’s leave of absence in the
spring, to arrange my affairs in Gotha and to fetch my children. But
before that, it was necessary for me to make arrangements for another
domicile, so that on my return I could commence my own housekeeping. At
this time a circumstance took place that not only greatly influenced
this business, but, also, my artistic labours in Vienna. Scarcely
had it become known in the City that I was to remain there, when one
morning a stranger of gentlemanly exterior called on me, who introduced
himself as Herr _von Tost_, a proprietor of manufactories and a
passionate lover of music. In excuse for the intrusiveness of his
visit he pleaded his desire to make a proposition to me. After he had
seated himself, and I full of expectation had taken a chair opposite
to him, he first expressed his admiration of my talent as a Composer,
and then the wish that I would assign over to him for a proportionate
pecuniary consideration all that I might compose or had already written
in Vienna, for the term of three years, to be his sole property during
that time; to give him the original scores, and to keep myself, even,
no copy of them. After the lapse of three years he would return the
manuscripts to me, and I should then be at liberty either to publish
or to sell them. After I had pondered a moment over this strange
and enigmatical proposition, I first of all asked him whether the
compositions were not to be played during those three years? Hereupon,
Herr _von Tost_ replied: oh! “yes, as often as possible, but each time
on my lending them for that purpose, and only in my presence.” He would
not, he added prescribe the kind of compositions they should be; but he
more particularly wished they should be such as would permit of being
produced in Private Circles, therefore, Quartetts and Quintetts for
stringed instruments and Sextetts, Octetts and Nonettes for stringed
and wind instruments. I was to consider upon his proposal and fix the
sum for each kind of composition. Upon this he presented me with his
card and took leave of me.