called upon me, and informed me that he had just received an invitation
to Cassel, with the offer of the appointment of conductor of the
orchestra at the newly-built court theatre there, but had decided upon
declining it, as he was fully satisfied with his present position.
Should he, however, find me disposed to apply for that post, he would
in his reply to the letter, direct attention to me, and say that I
was at present living in Dresden. As shortly before I had heard from a
member of the Cassel orchestra who passed through Gandersheim much of
the magnificence of the court theatre there and of the love of art of
the elector _William_ II. who had just entered upon the government, I
could not doubt but that I should find there an important and pleasant
sphere of action. I therefore accepted _Weber’s_ offer with many
thanks, and before the lapse of a week, as a result of his reply, I
received a letter from Mr. _Feige_, director-general of the Cassel
court theatre, in which he offered me on the part of the elector the
appointment of master of the court orchestra, and I was requested to
send in my terms of acceptance by return of post. After I had consulted
with _Weber_ and my wife, I demanded: 1) the appointment for life,
by rescript, at a salary of 2000 Thalers; 2) a leave of absence of
from 6 to 8 weeks, every year; and 3) the assurance that the artistic
direction of the opera should be made over to me exclusively. The whole
of these stipulations were agreed to, but in return it was required of
me that I should enter upon my post at the latest on the commencement
of the new year. Overjoyed as we were at this new appointment,
particularly _Dorette_, as she was thereby certain that she would be
no more separated from her children for a long time, yet we were not
altogether satisfied at having to leave our present residence so soon,
where _Emilia_ and _Ida_ were making such progress, particularly in
singing. We had besides taken our Dresden lodgings up to Easter, and
a removal in the middle of winter was altogether very unpleasant. I
therefore proposed that I should leave, to assume my place at Cassel,
but that my wife and the children should remain in Dresden till the
spring. Painful as was to her the separation from me for so long
a time, she was compelled to admit the obvious convenience of my
proposition. As the new year was now approaching, I therefore made the
necessary preparations for my departure, and urged _Gehe_ to work upon
the matter for the second and third act of Jessonda, with all possible
diligence, while I took the first act, which was ready, with me to
Cassel.
Meanwhile another new and startling offer was made to me. Count
_Salisch_, my old patron in Gotha, wrote word to me that the duchess
had been informed I was now living in private at Dresden, and she was
therefore desirous to know whether I might not be disposed to resume
my old engagement, which, since the recent death of _Andreas Romberg_,
was again vacant? Count _Salisch_ added furthermore that they would
be enabled to grant me a considerable increase of my former salary.
Had I not already accepted the offer from Cassel, I might possibly
have given this one the preference, in order to afford my wife the
pleasure of a reunion with her mother and family by a return to her
native town. But the choice was thus not permitted to me, and I might
consider this rather in the light of a fortunate circumstance, as my
sphere of action in Gotha would have been a very circumscribed one,
in comparison with that in Cassel. In a few years also I should have
again been left without a home, for the duke, and his successor also,
prince _Frederick_, the last heir, died soon after each-other, and the
state was divided among the other Saxon duchies. The orchestra was then
pensioned off, and as I could not have endured to live in complete
idleness, I should have soon removed again to some other place.
The parting from my wife and children, although for a short time only,
was nevertheless a very sad one. _Dorette_, who wept bitterly, could
alone be somewhat comforted by my promise to write every week and
inform her of everything that I was doing. In Gotha, when on passing
through I paid a visit to my mother-in-law, I was urgently pressed by
her and the other relatives of my wife, as also by the members of the
orchestra, to settle there once more. The duchess, also, to whom it
was requisite I should pay a visit, as she had always evinced so much
interest and kindness towards me, resorted to every means to make me
give up Cassel, and offered to induce her brother the elector of Hesse
to release me from my engagement. But as, since I had left Gotha, and
looked about me in the world, the sphere of action in that place seemed
to me too humble and restricted, I withstood every solicitation and
made a speedy departure.
I had scarcely arrived in Cassel (New Year’s Day 1822), than I was
summoned to an interview with the elector, who received me with great
kindness, and said many flattering things to me. Among other subjects
he expressed the hope to see his opera become by my exertions one
of the most celebrated of Germany, and requested me to make such
propositions as were best calculated to effect that object. In order
to do that I requested a fortnight’s time, so that I might first make
myself well acquainted with the means and materials at hand. After I
had been present at a few rehearsals and performances, I then assumed
my new post with the direction of _Winter’s_ “Opferfest.” As the
previous director of music, _Benzon_, had from all accounts, been so
much wanting in authority, that the singers and the orchestra did not
hesitate to oppose his regulations, which indeed led to his dismissal,
I considered it immediately necessary to somewhat tighten the reins of
discipline. I therefore became very strict at the rehearsals of the
“Opferfest,” but did not find the least disposition to resist either
in the singers, or in the orchestra; and already in the first opera
which I directed, succeeded in producing a better ensemble than they
had hitherto been accustomed to. This was also generally acknowledged,
and immediately procured for me the confidence of the elector, as also
of the whole theatrical personnel. As I already found some excellent
voices among the singers, viz. the first tenor _Gerstäcker_ and the
prima donna demoiselle _Dietrich_, and ascertained that _Feige_ the
director of the theatre was negotiating for the engagement of several
other eminent artists, I limited for the present the proposals which
I now sent in to the mere increase and improvement of the personnel
of the chorus and orchestra. The latter consisted in part of civilian
musicians, and partly of musicians belonging to the band of the
body-guard, among whom were several of great excellence. The elector
had granted to the latter as well as to the civilian musicians a
rescript of engagement for life, so that I could no longer carry out my
notion of constituting the orchestra solely of civilian musicians, in
order to avoid any collision between the military and the orchestral
duties of the non-civilians. I hoped at least, however, to get rid of
the objectionable regulations which obliged the military musicians
to appear in full uniform, which upon my first visit to the theatre
was a great eye-sore to me. But neither did I succeed in this, for
upon my representing it to the elector he replied, “It is contrary
to military etiquette for a soldier to appear before me otherwise
than in full uniform;” and when I made answer that the close-fitting
uniform made the orchestral duties more difficult, and that the high
epaulettes in particular made it quite impossible for the violinists
to hold their instrument in the proper way, he proposed to give the
musicians a particular and convenient uniform without epaulettes, for
the orchestral service, rather than give up his whim. He rejected also
my then suggested proposal to give the civilian-musicians the same kind
of uniform; and in this manner this party-coloured orchestra remained
unchanged to the astonishment of all foreigners, until the year 1832,
when the present elector became co-regent in the government.
But my propositions for the increase and improvement of the orchestra
were all adopted, and I received instructions to engage some more good
violinists, and some first-rate solo-players for the leading wind
instruments. By this means the opportunity was afforded me of bringing
my brother near to me once more, who, after the expiration of his
engagement in Vienna had met with an engagement in the Berlin court
orchestra. I was equally successful with my former pupil and friend
_Hauptmann_, and both received a rescript of engagement for life. Some
excellent musicians were soon found also for the wind instruments, and
by this increase and by diligent study and exercise, the orchestra
became one of the best in Germany, and has so remained, in spite of
all the personal changes until now (1853).
But I must revert to the year 1822. My accession to office was
celebrated by the whole theatrical company, by a grand dinner, at which
the two heads of the theatrical administration, the intendant Mr. _von
Manger_, director of the police, and director-general _Feige_ presided.
Songs, speeches and toasts were sung and made in my honour, and I felt
myself quite at home in a circle where I was met on every side with so
much friendliness, and indeed in so hearty a manner. As the Elector,
who in the first years of his rule was very generous, had made Messrs.
_von Manger_ and _Feige_ grants of money for special performances
for the relief of native and travelling musicians, this gave rise
to brilliant and interesting soirées at both their houses. These
meetings were enlivened by genius and wit, and there prevailed thereat
a joviality which though somewhat free was yet decorous. I at first
therefore frequented them with pleasure; but towards the time when I
expected my family I gradually withdrew from them, partly because I was
obliged to confess to myself that my wife would not quite approve of
this circle and partly because I was fearful of endangering my official
authority by a too companionable intercourse with the singers.
A few days after my arrival in Cassel I was presented to the Electress
and her daughters, the Princesses _Caroline_ and _Marie_, and was
invited to their evening parties. At one of these I was requested
to play some of my quartets, which I expressly practised beforehand
with the most distinguished members of the court-orchestra. Messrs.
_Wiele_, solo violinist, _Barnbeck_, first violinist, and _Hasemann_,
first violincellist (my former quartetist in Frankfort, who had been
engaged at Cassel shortly before). These music parties, which were much
spoken of, were probably the reason why the Elector, who, separated
from his wife, never joined her evening circle, gave me the order to
give a court-concert, in order to afford an opportunity for himself
and the Countess _Reichenbach_ to hear me play. This concert, for
which I enlisted the services of all the talent among the singers and
court-orchestra, was given in the grand saloon of the palace, before a
brilliant company (in which of course the Electress did not appear, as
the Countess _Reichenbach_ occupied her place), and as it was the first
at the new court, it made a great sensation. It was, however, the only
one for a long time, as the Elector and the Countess took but little
interest in concert music.
By the wish of the orchestra I assumed also the direction of the
concerts which they gave in the new town-hall saloon, and appeared
also at one of them as solo player. In the first years their receipts
were divided, as they had previously been, among the members of the
orchestra; but later, upon my proposition, they were appropriated to
a relief-fund for the widows and the families of deceased members
of the orchestra, and managed by a committee according to rules and
regulations devised for that purpose. This relief fund, which from
that period was supplied from the receipts from the concerts given
every winter by the court orchestra and those from the performance
of an oratorio on Good Fridays, is still in existence (1853), and in
the course of years has alleviated the distress of many widows and
orphans of the members of the orchestra. But for several years past
the concerts have been no more given in the town-hall, but in the
court theatre, from the time the former Elector became patron of the
institution, who, as little as the present Elector, could make up his
mind to be present at a concert given anywhere else than in the theatre.
* * * * *
(Resumed in April 1858 after a pause of five years.)
(In this continuation, of the Journal, written in _Spohr’s_
seventy-fifth year, the manuscript would no longer permit of being
printed so _verbally_ as previously, and here and there, to avoid too
much prolixity, it was necessary to make _omissions_. Some _gaps_,
nevertheless, which required filling up have been so far completed
only as the citation of _Spohr’s own words_ in letters written to
absent friends, would permit of,--so that the reader may rely upon
the subject matter as faithfully given and that _only Spohr himself
speaks, without any additions from the pen of others_, up to the
mournful period (June 1858) when his biographical notes, which reach
to the year 1838, break off altogether.)
Shortly after my arrival in Cassel, I was invited by the countess
_Hessenstein_ to a music-party. I there met several dilettanti of
the town, who all sang, though in their own very bad style only. As
nevertheless some of them had the gift of good voices, it suggested
of me the idea of directing my exertions on that side also, and
beginning by the institution of a choral society. I therefore formed
an acquaintance with some of the singers, communicated my plan to
them, and we immediately arranged to meet on an early day in order to
consult further upon the steps necessary to be taken. As result of
this meeting a code of regulations was drawn up, and as early as the
22nd March following an invitation was sent round to the dilettanti of
Cassel, signed by myself, Mr. _von Steuber_, and secretary _Knyrim_,
to join the society we were about to establish under the name of the
“Society of St. Cecilia,” in order, “after the example of the majority
of the larger towns of Germany, to strive here also towards the same
noble aim, to awaken and cultivate a pure and correct taste for music
of an exalted and earnest character.” As the enterprise met with a
cordial welcome, the society was soon formed, and upon its opening
began first with the study of _Mozart’s_ incomparable _Ave Verum_, then
with _Haydn’s_ Hymns of Thanks, and _Mozart’s_ first mass, followed by
a _Salve Regina_ by _Hauptmann_, a charmingly beautiful composition in
the real, pious ecclesiastical style. Meanwhile the number of members
had increased to more than fifty, and such satisfactory progress was
made in the weekly rehearsals, that already in the first year of its
institution the society performed several times in the catholic church
accompanied by the organ, during divine service, masses by _Hauptmann_
and others.
In the theatre also, after I had got to know the singers and orchestra
more intimately, my sphere of action began to extend itself. The
first quite new work studied under my direction was the opera “Zemira
and Azor,” which I had written at Frankfort, and which was first
performed on the 24th March. A young, talented singer, Miss _Canzi_,
who was just then on a professional visit to Cassel, sang the part of
Zemira, and _Gerstäcker_, the then much admired first tenor of our
stage, the part of Azor. As the other characters of the opera were also
well represented, it could not fail to be as well received here as at
Frankfort, so that not only was it repeated during _Canzi’s_ stay, a
few days afterwards, but also immediately studied by her successor,
Miss _Roland_, and given several times during the course of the year
with great applause. But far more pleasure than from the enthusiastic
approbation of the public, did I receive from the circumstance that the
opera pleased me, who had not heard it for two years, and I was a still
more severe judge of my later productions. I was also now more than
ever convinced, that this, like many of my compositions required to be
given in strict accordance with the spirit of the work to please the
non-connoisseur as well; and that my music, if negligently played, can
readily be so spoiled, that the connoisseur himself would be at a loss
to understand it. Meanwhile, in the beginning of March 1822 my family
arrived under the protection of my brother _Ferdinand_, who had fetched
them from Dresden on his way here from Berlin, and we removed together
to the house I had hired in the Bellevue. Once more settled down in
the domestic circle I immediately began to compose the new opera
“Jessonda,” and finished it in December of the same year. [In a letter
written to _Speyer_ of Frankfort on 26th January 1823, he says: “I have
been latterly so much engaged upon a new opera that I have somewhat
neglected everything else. It is now ready, and I am right glad to have
completed so important a work. If I expect more from this opera than
from the earlier ones, it is because of my greater experience, and
the inspiration I felt in the study of almost every ‘number’ of the
successfully written libretto. In order to devote myself to the work
in my hours of inspiration only, I have allowed myself also more time
with this than with all the former ones.”] Some “numbers” from it--the
overture, an air of Jessonda’s, and the well-known duet between Amazili
und Nadori--were performed the very same winter at the subscription
concerts, and my daughter _Emilia_ gained much applause in them. The
entire opera was first represented upon our stage on the birthday of
the Elector, the 28th July, in the following summer, and was received
with general acclamation. [In a letter of the 2nd August 1823, appears,
further: “You wish to hear from me something respecting the first
representation of ‘Jessonda;’ it is a subject scarcely becoming me to
write upon, for without wishing to do so, I must nevertheless speak
in praise of it. The effect was great! It is the fashion here, upon
birthdays to receive the court only with applause, and then the opera
is listened to without any _loud_ demonstration of approbation. It
should also have been so now; but already before the end of the first
act a storm of applause burst forth, and etiquette was forgotten for
the rest of the evening. The performance was excellent. _Gerstäcker_,
Miss _Roland_, _Hauser_ were grand, Miss _Braun_ was endurable at
least, and better than in other characters. The chorus and orchestra,
scenery, dances, spectacle combats, storm, decorations, costume, every
thing, was excellent.... This work has made me very happy, and I have
reason to hope that the opera will please much in other places.”]
From the windows of our house on the Bellevue we had a very fine view
across the meadows into the valley, which is enlivened by the Leipzic
high-road, and the beauty of the country induced us to take frequent
walks in the charming environs of Cassel. In these walks we were
mostly attracted by the numerous villas situated in gardens, outside
the Wilhelmshöhe, and also of the Cologne gate; and as we began to
like this part very much, we soon felt the wish, also, to have such a
house with garden as we had already once rented in Gotha, that we might
call our own property. When therefore in our rambles any one of these
particularly took our fancy. I often made enquiries whether the owner
was disposed to sell it, but was frequently answered in the negative,
until at length a small country-house outside the Cologne gate, close
to the town and not far from the theatre, in a quiet neighbourhood
surrounded on all sides by gardens, was offered to me to purchase. As
the price asked for it did not exceed the amount of my small savings
placed with the firm of _William Speyer_ of Frankfort, I concluded the
purchase of it at once, and already in the autumn we moved into the
newly-acquired property and had the pleasure of gathering forthwith a
good harvest of fruit and vegetables. The only thing I missed in the
new house was a spacious music room. I therefore had a partition wall
removed that separated two rooms on the first floor, and by that means
gained a sufficiently roomy saloon for a quartet party, which, however,
had the defect in an acoustic point of view, of being too low; for
which reason I proposed to myself at a later period to erect a building
with a music room.
Our pretty quiet country-house incited me anew to fresh compositions,
and so I first wrote a third quartet to the two already begun in
Dresden, which were published by _Peters_ of Leipzic as Op. 58. In
order to have this quartet heard and the former ones, I established
here also a quartet circle, at which, in turn with some other families
who were lovers of music, we gave three quartets every week, and
concluded the evenings with a frugal supper. At first the quartet
consisted of myself, Mr. _Wiele_, solo violinist, and subsequently
concert-master of our court orchestra, of my brother _Ferdinand_, who
took the viol, and of our excellent violincellist _Hasemann_. But as by
degrees, both in the orchestra, and in this small circle, death made
some vacancies, others were obliged to be substituted in their place,
and then some time was always required until we obtained once more the
old, customary ensemble again. In 1831 my brother was first snatched
from us, then _Wiele_, and at last _Hasemann_; but their places were
again filled by new members of our court orchestra, so that the
quartet parties, which only took place in the winter months, never
ceased entirely, and I myself up to quite recently (1858) played two
quartets in each of them.
After I had completed the third quartet of Op. 58, a fancy seized me
to carry out an idea I had long conceived, and of which, if I am not
mistaken, _Andrew Romberg_, when we played a quartet together for
the last time before his death, first spoke of, viz. to try my hand
at a double quartet. The circumstance that _Romberg_ had entertained
the idea for several years without ever attempting it, incited me
to it yet more, and I imagined to myself the manner in which he had
also comprehended it, and how two quartet parties sitting close to
each other, should be made to play _one_ piece of music, and keep in
reserve the eight-voice play for the chief-parts of the composition
only. According to this idea, I also wrote my first double quartet
(_B minor_), began the theme of the first allegro with both quartets
_unisono_, and _forte_, in order to impress it well upon the hearers,
and then carried it concerted through both quartets in turn. Of the
families who belonged to the quartet circle, the marshal of the court
_von der Malsburg_ had the most spacious place, for which reason
I waited until the turn came to him to give the quartet party, at
which I then with the assistance of my best pupils and of a second
violincellist from the orchestra, gave the new double quartet to our
circle, to hear. I was greatly pleased to find that its effect was
far greater than that of simple quartets and quintets, and as this
kind of chamber music excited also great sensation abroad[27], as was
proved by its frequent performance, I expected nothing less than that
the composers of that day would soon imitate it and make it general.
But this was as little the case, as with some other extensions of the
forms of art, which I have tried in later years, as for instance
in the symphony for two orchestras: “Irdisches und Göttliches im
Menschenleben.” (The earthly and heavenly in human life, Op. 121) in
the historical symphony (Op. 116), and the four-handed piano-forte
accompaniment to some tenor songs. One single young composer only,
of Lubeck, of the name of _Pape_, who was afterwards appointed
violincellist in the orchestra of the theatre at Bremen, once sent me
a double quartet in manuscript. He had great talent for composition,
but found no opportunity of making his things known, and like so many
young Germans, became desponding for want of the recognition of his
talent. This has never been published, and thus my four double quartets
remain the only ones of their kind. An octet for stringed instruments
by _Mendelssohn-Bartholdy_ belongs to quite another kind of art, in
which the two quartets do not concert and interchange in double choir,
with each other, but all eight instruments work together. This kind,
although not so interesting as the double quartets, has been imitated;
for the violincellist _Schuberth_ of St. Petersburg published one of
the kind at his brother’s, the music-publisher’s in Hamburg, which has
been played by us in Cassel several times, and been well received.