assembly of the estates upon the basis of the new election law was
summoned, and held its sittings in a saloon of the Belle-vue palace.
_Schomburg_, the burgomaster of the capital, was unanimously chosen as
its president, and the government did not dare oppose his nomination.
As the sittings were public, this awakened immediately an active
political vitality in the town, and the debates were followed up to the
conclusion of the session with great interest by all classes. Professor
_Sylvester Jordan_, the deputy from the Marburg university, soon
distinguished himself by his eloquence, and he almost always succeeded
in carrying through his liberal motions in the assembly.
In order to extend these liberal sentiments among the inhabitants of
Cassel, some men well known for their liberal opinions considered it
requisite to form a political club, under the name of the “reading
museum,” and I willingly joined my exertions to theirs. At this place
every afternoon during the session, the various subjects which had
been discussed in the chamber were made known. The sittings of the
deputies were often very stormy ones, though the chairman reprimanded
the non-members every time they applauded a speaker, and threatened
to have all disturbers turned out by the civic guard, yet the
daily visitors at the sitting did not much care about it and still
endeavoured to influence the voting. But the administration of public
affairs suffered considerable detriment from the circumstance that
the Elector had quitted his palace at Cassel since March, and taken
up his residence permanently, at Hanau. As the assembled estates had
failed in all their repeated efforts to persuade him to return to
Cassel, they resolved towards the end of August, in conjunction with
the town council of Cassel, to send a deputation to Hanau, with the
proposition that the Elector should either return without delay to the
capital or adopt means for the undisturbed administration of affairs.
The deputy from Rinteln, _Wiederhold_, president of the high court of
judicature, was one of the deputation, and he succeeded in inducing the
Elector to take his son as co-regent with him in the government, and
to transfer the administration of affairs to him exclusively so long
as he himself remained away from Cassel. Thus the young Prince, after
a long residence at Fulda, returned to Cassel as co-regent, together
with the Countess _Schaumburg_, with whose morganatic marriage with his
son the Elector now expressed himself reconciled. The Prince delivered
to the estates a deed of agreement concerning the solemn maintenance
of the constitutional laws, and was at first received at Cassel with
satisfaction, particularly as he nominated the mediator, _Wiederhold_,
minister of justice. But as it was soon observed that the Electress,
on account of her refusal to acknowledge the Countess _Schaumburg_
as her daughter-in-law, experienced many annoyances and affronts,
considerable disapprobation was displayed in the town, and all classes
generally sided with the amiable Electress, who by her kind sentiments
and mild manners had for long years acquired the love and respect of
the people of Hesse. As for me, I had, however, to congratulate myself
on being in favour with the Prince at that time; and he requested
me to make arrangements for giving him some court concerts at the
palace of Wilhelmshöhe. Upon his returning shortly to the town he even
requested me in a very courteous letter, to afford him and the Countess
the pleasure of hearing some of my quartets, and to arrange for that
purpose a quartet party at the palace. It would seem, however, to have
been a somewhat tedious affair for them, for I never received a second
invitation.
In the autumn 1831 I finished my “Violin-Schule” (course of instruction
for the violin) a work which I had undertaken at the solicitation of
many persons, and on which I was engaged for more than a twelvemonth,
having always begun between-whiles some other compositions which had
more attraction for me.[31]
[31] It was published by _Haslinger_, in Vienna, and the “Wiener
Theater-Zeitung,” conducted by _Ad. Bäuerle_, speaks of it in the
following manner: “A fit companion to _Hummel’s_ ‘Clavier-Schule’
(pianoforte school); for in the same way that that opens a new
department of education in pianoforte play, this embraces the whole
art and science of violin play, and lays down clear principles for an
art which hitherto has been taught more by oral precepts, or, at the
utmost, by small fragmentary pamphlets. It required the penetrating,
searching mind of a _Spohr_, who surpasses in complete scientific
culture the authors of every existing school, to condense in systematic
order so important a branch of art, which has been two centuries in
acquiring shape; so that the _violin_, so prominent in all music, may
be cultivated upon sure and proper principles, and its study carried
out with certain success. How well the great maestro _Spohr_ goes to
work to effect this we shall shew in a subsequent clearer exposition
of the contents; for he has not only copiously treated the scientific
musical culture of the pupil by the clear outspoken method of the
instruction in the explanatory text, assisted by the excellent and
appropriate pieces which he supplies for practice, but also, in the
mechanical part of the instruction, in which the mechanism of the human
body is so beautifully and appositely shewn in all its bearings on the
mechanical structure of the instrument. The excellent preface to the
work presents rules of conduct both for the instructors and parents of
pupils for the obviation of a host of evils which have hitherto arisen
from false and erroneous modes of proceeding, from the circumstance
that few lovers of music, and few teachers of music even, are
sufficiently acquainted with these arcana of the art. Well and clearly
does he enumerate the means of encouragement by which the industry
of the pupil may be incited. How generous is the invitation of the
_famed master to the students of the violin_, that they should impart
to him their experience in the progress of their studies of his code
of instruction for violin-play, for the further extension of his own
knowledge! In this the _great earnestness_ of the true artist for the
attainment of the one great object is made conspicuously evident.”...
The notice concludes with the following words: “The world-famed
master, _Spohr_, has by this _excellent work alone_ ensured an undying
celebrity, and thereby added but a new and beautiful leaf to the laurel
wreathe that encircles his brows.”
I afterwards wrote three quartets, which were published as Op. 84,
by _André_ of Offenbach, and later for the St. Cecilia society three
psalms of _Moses Mendelsohn’s_ translation for two four-voice chorals
and four solo-voices, which were published by _Simrock_ of Bonn [Op.
85], and had an extensive circulation.
In the summer of 1832 I was ordered by my physician to proceed to the
well-known warm sulphur baths of Nenndorf, to cure a stiffness in one
of my knees, and which I had contracted the preceeding winter from a
cold caught while skating. My wife, who accompanied me, had taken with
her among other books, a volume of the poems of my friend _Pfeiffer_,
which were not published till after his decease; and as I had long
wished to set something from it to music in memory of him, I chose one
of them: “Die Weihe der Töne,” which pleased me very much, and appeared
to me particularly well suited for the composition of a cantata. But
when I was about to begin the work, I found that the text of this
style of poem did not lend itself altogether well to it; and I felt
much more disposed to represent the subject matter of the poem in an
instrumental-composition; in this manner originated my fourth symphony,
under the title: “Die Weihe der Töne.” [In a letter to _Speyer_ of the
9th October 1832, this is adverted to in the following words: “Although
I have now no duties to perform at the theatre,[32] and have had
leisure sufficient for composition, I have nevertheless been but little
disposed latterly, to set to work. From the great interest which I took
and still constantly take in the political regeneration of Germany, the
recent retrograde steps have too much annoyed me to permit of my giving
myself calmly to any work of deep study. Nevertheless I have again
lately completed a grand instrumental composition, and that is a fourth
symphony, but which differs greatly in form from the previous ones.
It is a musical composition inspired by a poem of _Karl Pfeiffer’s_:
“Die Weihe der Töne,” which must be printed, and distributed in the
music room, or recited aloud before it is performed. In the very first
part, I had for task, the construction of a harmonious whole from the
sounds of nature. This, as indeed the whole work, was a difficult, but
a highly attractive problem,” &c.]
[32] The court theatre was closed at this time.
My musical friends in Hannover, and friend _Hausmann_ at the head of
them, had no sooner become informed of my presence in Nenndorf, than
they apprised me of their intention to pay me a visit, and to bring
their instruments with them, so that I had an opportunity of giving the
lovers of music then in Nenndorf a music-party, at which I played my
recently written quartet. Meanwhile my cure was successfully completed,
and I was relieved of my lameness of the knee, chiefly by a powerful
but very painful douche upon the suffering part. Returned to Cassel,
I first of all finished my new symphony, and let my friends hear it
at a rehearsal, and subsequently at a subscription concert. I still
recollect with pleasure the great effect it produced upon all who heard
it. It was afterwards given with great applause at the Gewandhaus
concert in Leipzic, and _Rochlitz_ wrote a very animated notice of the
work in his Musical Journal. None of my symphonies can boast of having
achieved so wide a circulation in almost all the towns of Germany; it
is still a favorite work, and in most permanent concerts is played at
least once every year.
In April 1832, by order of the Prince, the court theatre was closed
“for an indefinite period,” all the singers and comedians, with the
exception of those who had contracts of engagement for a longer period,
having previously received due notice of dismissal. Two singers only,
messieurs _Föppel_ and _Rosner_ (whose wife was the _prima donna_)
could not be comprised in this decision. Together with the orchestra, I
was also summoned to attend; all who had no rescript from the elector
received notice of dismissal, and we others were asked whether we were
disposed to resign our places for an indemnification to be agreed
upon with each individual separately. I, who had first to give my
answer to this proposal on the part of the administration, immediately
declared that I was not disposed to agree to it, but would abide by my
engagement, and, should it become necessary, would maintain my right
before the proper tribunal. The other musicians also at once pronounced
their adhesion to my declaration, and we thus lost one hautboy player
only, whom I had at an early period engaged at Prague by the authority
of the elector, to make up the complement of the orchestra, and who
upon his joining, had unfortunately neglected to have his rescript
made out. The first bassoonist, who was in a similar predicament,
succeeded nevertheless in maintaining his place, being enabled to
produce a letter from me in which I had engaged him in the name and
by the authority of the elector, that the letter would guarantee his
engagement until the rescript was prepared; by this circumstance he
was saved to the orchestra. We others were then not called forward any
more, and all remained upon the old footing.
In the autumn of 1832, my brother _William_ wrote to me from Brunswick
to apprize me that in the ensuing November would be the “goldene
Hochzeit” (the golden wedding) of our parents; and he proposed to me
that all their children should meet in Gandersheim, to congratulate
our parents, and present them with a musical-clock. That it would be
a source of still greater pleasure to my parents, if I combined a
musical entertainment with the festival, I could readily imagine, and
I therefore urged _William Wolff_, the brother of my son-in-law, to
write a poem for me, to set to music, at the performance of which my
wife and I with the piano and violin should represent the orchestra,
my three daughters take the solo parts, and my brothers with their
wives, and my sons-in-law sing the chorus. So soon as I had received
the words in the form which I had suggested, I immediately went to
work, wrote a cheerful polonaise (in the execution of which I gave my
wife and self the opportunity of shewing our skill as virtuosi on our
respective instruments); this I followed up with a general chorus,
after which I brought in the three soli of my daughters, who at the
conclusion sang a trio; and then lastly I added a general chorus
finale. While I was practising this festal cantata with my wife and
children, I sent to my brothers their chorus parts also, for the same
purpose, and we all met at Gandersheim a few days before the fête-day,
which was on the 26th November. As our parents could not accommodate
all of us with bed-rooms, I hired for myself and my numerous company,
the whole accommodation of an inn, and then consulted with my brothers
and sons-in-law as to the best and most effective manner of celebrating
the day. _Wolff_ suggested above all things to hire the handsomest
and largest room in the whole town; to decorate it with festoons of
evergreens and artificial flowers; to display there our presents, and
give our cantata before our parents and the families of our friends.
We were not long in finding a room, for there was but _one_ at all
suitable in the whole place, and that moreover scarcely large enough
to hold all the invited guests. From the neighbouring wood we procured
in abundance the necessary branches and evergreen for the decorations,
and were then all employed for several days together in making the
festoons and in preparing garlands of paper-flowers, as also with
drawing and painting transparencies. When we would get tired of all
this work, I began the rehearsals of the cantata, and could not but
admire the industry of the fair sex among us, who had practised their
husbands so well in the tenor and bass parts of the chorus, although
they were almost utterly unmusical (though gifted with good voices),
that their performances were creditable enough to hear. In this manner
the time passed very quickly till the festival, and we then had the
gratification of seeing our parents deeply moved by our entertainment,
and our presents greatly admired by our Gandersheim friends. Besides a
musical-clock, which in particular was an object of great attraction,
the presents consisted of a very handsome and convenient foot-stool
embroidered for my father by his Brunswick daughter-in-law, and in
numerous specimens of work executed for my mother by the Cassel ladies.
The banquet, which was in part brought from my parents’ house and part
furnished from a restaurant, was a very profuse one, at which the wines
and liquors brought by us brothers met no less with great approval, so
that the festival of the _Spohr_ family went off very satisfactorily,
and was long a topic of conversation in Gandersheim. The general
interest exhibited on the occasion by the townspeople and those of
the neighbourhood was very gratifying, and this among other things
was exhibited by the contributions sent to my mother to entertain the
numerous guests, for she received a complete houseful of provisions,
in the shape of game, pies, pastry, flour, eggs, fruit &c. This gave
the whole affair a complete patriarchal character; and every body
did his or her utmost to evince their friendship for the worthy and
venerable pair, and their respect for the man, who for so many years
had stood by them as the faithful physician with help and with advice,
and who, wherever he could, had always relieved the necessities of the
poor.
After my return I received the command of the Prince to give a
succession of concerts during the winter, in place of the theatrical
performances, which had been suspended since the spring. These concerts
were to take place every Sunday for the benefit of the treasury of
the theatre, and the singers who remained with us were to be employed
therein. The public, however, greatly displeased at this, and that the
receipts from the concerts were thus to be diverted from the relief
fund for the widows of the members of the orchestra, came to the
determination not to subscribe to them, and thus the receipts were
almost null. Few of the concerts only, and that in which the “Weihe
der Töne” was first given, were well attended, but in the others the
house looked very dreary and empty. Meanwhile it would seem that the
Prince and the Countess _Schaumburg_, had found the winter tediously
long with a closed theatre; for towards the spring I received orders to
proceed to Meiningen to engage for the months of March, April, and May,
a company of travelling performers who were there at that time, under
the direction of _Bethmann_ from Berlin. As I expressed the wish to
take my wife with me, the Prince ordered his master of the horse, _von
der Malsburg_, to furnish me with a convenient court carriage from the
electoral stables, and we proceeded to Meiningen with post horses. But
there were other obstacles to be overcome on this mission, besides the
negotiations with _Bethmann_. The latter, for instance, had accepted
an engagement for the whole summer from the court of Meiningen, and
it was necessary to prevail upon the duke to part with the services
of the company earlier than he had intended. To this, however, the
duchess notwithstanding her differences with her brother, on account of
his quarrel with the mother, rendered me her assistance. Shortly after
my return, _Bethmann_ and his company arrived, and for the re-opening
of the new theatre gave the “Freischütz,” with much applause. Miss
_Meisselbach_ pleased especially by her performance of Agatha. The
former director of the theatre, _Feige_, and I were then appointed in
superintendance over Mr. _Bethmann_, with instructions to place at
his disposal, the three singers whose engagements were yet unexpired,
the orchestra, and the whole of the company of the scene-painters
and workmen of the theatre, the extensive wardrobe, decorations, &c.
We now worked out together the order of the repertory, _Feige_ and
_Bethmann_ for the plays and I for the operas, and were soon enabled to
represent once more all the operas that were previously performed on
our stage. At this time I wrote my third double quartet [_E minor_] and
another concertante for two violins, which were soon after published by
_Simrock_ in Bonn as Op. 87 and 88.
In June of the same year another grand musical festival took place
at Halberstadt, which was undertaken by the minister _Augustin_
and his son, as the sixth musical festival of the Elbe, to direct
which concert-master _Frederick Schneider_ of Dessau and myself were
invited. It differed chiefly from the previous ones in the erection of
an enormous tent, or rather of a large booth constructed of planks,
upon the square in front of the cathedral, for the refreshment and
social entertainment of the visitors, as well as of the auditory
and assistant artists, and in which all strangers could assemble at
any hour of the day. The musical performances took place on three
successive days, and began with _Händel’s_ oratorio of “Samson” under
_Schneider’s_ direction. The next morning the objects most worthy of
notice in Halberstadt were visited, particularly the collections of
paintings belonging to the Canon _von Spiegel_ and Dr. _Lucanus_. It
was intended to have given a concert at the theatre, but as it was not
sufficiently spacious to hold the numerous auditory, a second concert
was given simultaneously in the large room of the “Golden Angel,” and
the non-resident virtuosi and singers were divided equally to perform
at both places. The tickets which were distributed admitted to the
rehearsals also, so that each person could hear one of the concerts
at the morning rehearsal, and the other at the evening performance;
and one single piece of music only was given at _both_ concerts, which
was the favorite duet from “Jessonda” between Amazili and Nadori,
sung by Mrs. _Schmidt_ and Mr. _Mantius_, because neither party would
permit this piece to be taken from it by the other.--I conducted at
the concert given in the room at the “Golden Angel,” and played my new
concertante in _H minor_ with concert-master _Müller_ from Brunswick.
On the third day the last concert took place in the forenoon, and under
my direction, upon which occasion I found upon my conductor’s desk a
present of a red velvet coverlet bearing an inscription embroidered
in silver. At this concert were performed _Mozart’s_ symphony in _C
major_, and that of _Beethoven_ in _C minor_; my Lord’s prayer and
a _Te Deum_ by _Schneider_, and I had the satisfaction of observing
that at this musical festival my three compositions met with the most
general applause. At noon a grand banquet in the large tent terminated
the festival, at which the proceeding were of a very noisy character.
We were obliged to devote the remainder of the vacation to a journey
to Marienbad in Bohemia, where it was hoped my wife, who constantly
suffered from nervous debility, would regain some strength from
bathing and drinking the waters, as well as from the enjoyment of the
fresh air from the mountains. Among the visitors at the baths we met
_Raupach_ of Berlin, with whom I took frequent long walks, during which
he related to me many things relating to his approaching theatrical
labours. He was at that time full of a new drama which he was going to
write immediately upon his return home, in which he intended to lash
the ill-natured and hypocrites, and the scene of which he had laid in
China. But he probably never completed it, or perhaps the ill-natured
ones of Berlin found means to prevent its representation, for so far
as I know, no piece of the kind from the pen of _Raupach_ was ever
made public. The society of music at Marienbad, whose director was a
linen manufacturer in the neighbourhood, had much pleased and surprised
me with a very successful performance of _Cherubini’s_ overture to
“Medea,” with which, by way of serenade, he had greeted my arrival, and
for which I the more readily complied with his wish to write a walz for
them _à la Strauss_, to which also my inclination to try every sort of
composition, had long predisposed me. At first, when I had practised
their orchestra in it, the walz pleased me very well; but afterwards I
found it wanting in that freshness and originality which distinguish
most of the walzes of _Strauss_ and _Lanner_. Nevertheless, by the
desire of my publisher _Haslinger_ of Vienna, he brought it out as Op.
89, not only in the original form as an instrumental piece, but also
arranged for two and four hands.
On my return to Cassel I next wrote six four-voice songs for men’s
voices, which _Schuberth_ of Hamburgh published as Op. 90, and began
my fourth quintet in _A minor_, finished in February of the following
year, and which _Simrock_ of Bonn published as Op. 91.
On the 5th April 1834, my children and friends took me by surprise
with an unusually grand fete in celebration of my fiftieth birthday.
For that very evening I had announced an opera and could not at all
understand, why the intendance had suddenly countermanded it, but
this had been solicited by my folks unknown to me. My wife and I
now availed ourselves of the evening thus left at our disposal to
accept an invitation to my son-in-law _Zahn’s_ and we were both not a
little surprised to find the apartments brilliantly lighted up with
candelabra, and ornamented with ingenious transparencies and flowers,
with my bust crowned with a wreath, and a brilliant company assembled
to celebrate the day with music (a cantata composed by _Hauptmann_) and
with speeches.