on Good Friday in the garrison-church, and we were looking forward
with pleasure to its repetition on Whitsunday, when our good _Theresa_
fell suddenly ill of a malignant nervous fever, which in a short time
brought her blooming life to a close. On the Tuesday before Ascension
Day we had, chiefly at _Theresa’s_ own wish, made a pleasant excursion
to Wilhelmshöhe; there she first complained of indisposition, and on
our return home she was immediately obliged to take to her bed. As Dr.
_Ludwig Pfeiffer_, our then attendant physician and second brother of
my wife, was just then absent from Cassel, we called in once more her
uncle, Dr. _Harnier_, who although no alarming symptoms as yet shewed
themselves, visited the patient several times daily, until after the
lapse of a week, to our great terror he pronounced her complaint to
be nervous fever. This now constantly increased in vehemence, and as
in her fits of delirium she spoke continually of a journey we had
contemplated to Carlsbad, the idea of which had greatly pleased her,
I promised her that she should go thither as soon as she recovered.
This greatly soothed her, but nevertheless did not diminish the fever,
and on Whitsunday morning the blooming maiden of nineteen succumbed
to the fearful malady. The loss of the talented amiable girl plunged
us in such misery that we looked forward with earnest longing to the
approaching theatrical vacation, in order to leave immediately the
mournful surroundings of our home, and seek far away from Cassel some
respite from the constant remembrance of our anguish.
After we had been delayed another eight days in Cassel by the
reiterated retarding of my leave of absence, we were enabled to set
out for Carlsbad on the 23rd June, accompanied by my mother-in-law,
to whom the use of the waters had also been recommended, which was
exceedingly welcome to me, particularly on account of my wife, who had
taken very much to heart the loss of our _Theresa_. No sooner were we
arrived in Carlsbad than we met with _Hesse_ of Breslau, and in our
walks to the springs soon made the acquaintance of other warm lovers
of music, with whom on dull days, when the weather would permit of no
excursions together to the charming environs, we made up small music
parties at our lodgings. As a young lady from Breslau, Miss _Ottilia
Schubert_, sang most charmingly, my wife practised her in my new songs
with clarinet accompaniment, at which a first-rate clarinet player, Mr.
_Seemann_ from Hannover, took the clarinet part; in this manner our
hearers became acquainted with a new style of songs which they had not
known before, and which interested them exceedingly. Somewhat later,
_De Beriot_ also arrived with his sister-in-law _Pauline Garcia_, in
Carlsbad, and the concert which he gave at the theatre afforded us very
great enjoyment. He played with great purity, brilliancy and execution,
but his compositions did not altogether please us, and Miss _Garcia_,
afterwards the so-celebrated Mrs. _Viardot-Garcia_, sang with a voice
of great compass, though not exactly a very fine one, and with great
artistic skill. She especially delighted her hearers with the execution
of her Spanish romances and ballads, in which she accompanied herself
very well on the pianoforte.
[Here, unfortunately, _Spohr’s_ own narrative of his life closes for
ever!--To the subsequent encouragements of his relatives to resume it
he used to reply: “I take no pleasure in writing now; and there are
sufficient materials for the continuance of the Biography at any time,
in the diaries and papers of my wife.”--Hereupon, this latter, mindful
of this express indication of her husband’s, resolved to place notes,
journals, and letters of every kind, and even memoranda jotted down
for her sole private use and edification, at the disposal of those
members of the family who undertook by means of extracts, without any
pretence to literary skill--in simple, unadorned truthfulness, after
_Spohr’s_ own example--to carry out the history of his life to the
end.]
* * * * *
After a beneficial use of the waters, _Spohr_ left Carlsbad, and on
his way back stopped at Leipzic, where some musical parties quickly
got up by the families of his acquaintance enabled him to pass some
very agreeable days, and at which he played his favorite quartet in
_A minor_, with his newest concertino, to the great delight of his
hearers. Upon this occasion, it was a source of great pleasure to
him to make the long desired acquaintance of _Robert Schumann_, who
though in other respects exceedingly quiet and reserved, yet evinced
his admiration of _Spohr_ with great warmth, and gratified him by the
performance of several of his interesting fantasias.
_Mendelssohn_ was at the time unfortunately absent, and in his next
letter to _Spohr_ expressed his great regret thereat; and requested him
at the same time to send him his last symphony (No. 5, _C minor_), as
it was intended to perform it at the opening of the approaching season
in the first concert of the Leipzic Gewandhaus. While expressing his
thanks for it beforehand, he says at the same time, in reference to a
song of _Spohr’s_ with which he had just previously become acquainted:
“As I am now on the subject of thanks, I must thank you many times and
with all my heart for the beautiful song in _F sharp_ with clarinet
accompaniment, the “Zwiegesang,” which pleases me exceedingly and has
so completely charmed me with its prettyness, that I both sing and
play it every day. It is not on account of any one particular feature
that I admire it, but for its perfectly natural sweetness as a whole,
and which from beginning to end flows so lightly and gratefully to the
feelings. How often have I sung it with my sisters, and each time with
renewed pleasure! And for that I must now also thank you....”
The first work with which _Spohr_ occupied himself after his return
to Cassel, was a fourth quartet for stringed instruments (_G minor_),
which was published by _Paul_ of Dresden as Op. 106, both in its
original form and as arranged by _Spohr_ himself for the pianoforte
for four hands.--About the same time he received the very unusual
order to make arrangements for a concert at court, which after
frequent and long deliberations, at length took place on the 19th.
September at the palace of Wilhelmshöhe. The instrumental pieces
were performed by the members of the electoral chapel, but the vocal
subjects were at _Spohr’s_ recommendation confided to _Firnhaber_,
a distinguished dilettant professor from Hildesheim, who himself
had a court appointment, and had been for some years tutor to Baron
_Scholley_, stepson to the Prince. With a very fine high tenor voice,
he combined a good musical education, and a lively sentiment for art,
and _Spohr’s_ compositions, with the manifold beauties of which he had
made himself more and more acquainted during his residence in Cassel,
soon inspired him with real enthusiasm. As _Spohr_ also took as much
pleasure in his society as in his charming style of singing, he was a
constant assistant at all music parties, and his presence in Cassel
suggested to _Spohr_ many of his most pleasing and favorite songs,
of which were: the book of songs from Op. 101 to 105; the duet for
soprano and tenor Op. 107, (both published by _Simrock_) and _Franz
Dingelstedt’s_ “Mitternacht” (midnight), which song was published by
itself by _Paul_ of Dresden. Respecting the last, the author of the
words, who had then an appointment at the gymnasium of Fulda, wrote to
_Spohr_ at a subsequent period, expressing the greatest satisfaction:
“Yesterday evening I heard your song ‘Mitternacht’ sung, and still
deeply impressed by it, I hasten to thank you, and to express both my
delight and my pride therein. I will not say that you have entered into
the spirit of _my words_--for what are they after all? No, it is you
who have caught the long, low, solemn whisperings of midnight. For the
first time I regret that I am not sufficiently acquainted with music
to understand and express the enthusiasm of the initiated in matters
of change of tempi, tone &c.; in your art I am a naturalist merely,
but I enjoy this production of it yet more deeply and intimately than
they all; for I feel as a poet in the matter!--Not a word more now of
common-place praise and song of thanksgiving! You have afforded me an
hour of delight, and stirred within me emotions such as alas! I can
feel here but seldom: a reward for my aspirations, an incentive to
future efforts! You, I am sure, understand me!”....
In October 1838 _Spohr_, following the example set by many of the
larger towns of Germany, succeeded at length in carrying out his
reiterated proposition to give a concert at the theatre in aid of the
funds for the erection of the testimonial to the memory of Mozart.
The first part of the concert comprised among other things _Mozart’s_
symphony in _D minor_; and in the second, tableaux vivants, with
appropriate music, from _Mozart’s_ operas, in which at the conclusion,
the last chorus of the requiem resounded, and the bust of _Mozart_,
placed in the foreground of the stage, was crowned by genii with
wreaths of laurel.--A similar festival took place the following spring
in aid of the fund for the memorial to _Beethoven_, but with this
difference, that the programme contained besides the choicest selection
from the works of that honoured maestro, a composition of _Spohr’s_
also, his most recent concertino: “Sonst und Jetzt,” which he had
performed for the first time shortly before at one of the regular
winter concerts, and upon this occasion reproduced at the express
desire of the Prince. The success upon both occasions was extremely
great.
At the commencement of the same year, several other remarkable concerts
took place, and among others, _Ole Bull_ performed twice in the
theatre, to overflowing houses, notwithstanding the increased prices of
admission, and filled the public with astonishment and admiration of
his play. _Spohr_ himself took the warmest interest in the wonderful
play of his colleague in art, and gave a musical party at his own house
in his honour, in which he first played one of his own quartets, but in
the following he resigned the first place to _Ole Bull_, and even took
the second violin. His opinion respecting _Ole Bull’s_ play may here be
given in his own words, when writing to his friend _Speyer_ upon the
subject: “_Ole Bull_ has lately given two concerts at the theatre and
greatly charmed the public. His many-toned strokes and the accurate
certainty of the left hand are remarkable, but like _Paganini_, he
sacrifices too much to the tricks of the art. His tone on the weak
strings is bad, and he can only use the _A_ and _D_ string on the
lower part and _pianissimo_. This gives to his play a great monotony
when he cannot bring in his tricks of art. We found this in two of
_Mozart’s_ quartets, which he played at my house. On the other hand, he
plays with much feeling, but not with a cultivated taste.” With every
acknowledgment made by _Spohr_ of the extraordinary performances of
_Ole Bull_, certain features of charlatanism, so foreign to his own
_simple_ nature, did not escape him, and he frequently related at a
subsequent period with a good-natured smile to his own friends, and to
others, how _Ole Bull_ at a passage which offered him an opportunity
of shining in one of his incomparable _pp_, kept his bow hovering over
the strings for several seconds, so that the public who listened in
breathless silence for the last sound of his constantly decreasing
tones, might believe they still continued dying away in _ppp_.
About this time also, the representation of a small opera: “Der
Matrose,” in the composition of which _Spohr_ had assisted, was
frequently repeated. The text, adopted from the French, was written by
the admired comedian _Birnbaum_, and at his wish set to music by four
composers of this place, _Spohr_, _Hauptmann_, _Baldewein_ (director
of music), and the song-writer and teacher of music _Grenzebach_,
collectively. Besides the overture, _Spohr_ had undertaken the song
of a home-returning mariner, together with the finale and all these
“numbers,” and the whole operetta met with lively approbation from the
public. Unfortunately _Spohr_, at a later period, was no longer in
possession of these, as they remained in the hands of Mr. _Birnbaum_,
for whose benefit the first representation of the opera was intended.
The highly characteristic mariner’s song only appeared some time
afterwards, arranged by himself with four-handed accompaniment for the
pianoforte, and was published by _Paul_ of Dresden.
In April 1839 _Spohr_ received a pressing invitation from England to
direct the performance of his oratorio “Des Heiland’s letzte Stunden”
at the grand musical festival which was to take place in September at
Norwich. After he had succeeded in obtaining the requisite leave of
absence from the Prince, the customary tour during the summer holidays
was this time limited to a shorter excursion, in which he made visits
to his relatives and friends. He next proceeded to Holzminden--where
_Spohr’s_ younger brothers _Augustus_ and _Charles_ resided with their
families, the former, as a fiscal assessor, and the latter a law
official of the duchy of Brunswick. Thence he went on to Gandersheim to
visit his venerable parents, and lastly to Catlenburg, to Councillor
_Lüder_. As a matter of course on this journey he was not without
his violin, and wherever _Spohr_ came he found grateful hearers, who
considered themselves superlatively happy in listening to his play.
More than any of the other pieces that he executed, his newest,
charming composition, a Spanish rondo for pianoforte and violin,
afforded them delight; this soon became one of the most favorite pieces
of music in Cassel also, and remained so up to a very recent period. At
a later period, when it was published by _Mechetti_ in Vienna as Op.
111, there appeared simultaneously a pianoforte arrangement of it for
four hands by _Czerny_, which was certainly most welcome to all who had
not the advantage of hearing the original composition executed by a
distinguished violinist.
Returned to Cassel, _Spohr_ finished his “Historical Symphony in the
style and taste of four different periods” which he had begun before he
set out on his journey. (Theme the first: The period of _Bach-Händel_,
1720. Adagio: _Haydn-Mozart_ 1780. Scherzo: _Beethoven_ period 1810.
Finale: The most modern period 1840) a work, which afforded him not
only during its creation, but also upon the occasions of its closely
following performances in Cassel, the greatest satisfaction. Abroad
also, and first in London, where he sold it to the Philharmonic Society
for the term of one year, and subsequently in Germany, where he was
permitted to make it known after the lapse of that period, it met
with the most lively reception. Many voices were, however, raised in
blame, and of these that of _Schumann_, in his musical journal, was the
severest in tone. On the other hand Baron _Lannoy_, in Vienna, reported
that the work had been received with great favour: _Mendelssohn_ sent
in a most flattering account of its reception at Leipzic; and many
letters full of praise arrived from England.
* * * * *
In the beginning of September _Spohr_ set out upon the journey to
England, accompanied by his wife and his friend Mrs. _von Malsburg_,
with whom he had been many years acquainted.[36]
[36] As _Spohr_ himself always considered this English musical festival
(the Norwich festival) and the flattering reception given to him and
his works in that country, as the most brilliant period in his active
life, its description may reasonably find a place here in a somewhat
more detailed form.
After an exceedingly rough passage, which delayed his arrival in London
by six hours, _Spohr_ was very agreeably surprised in the midst of the
confusion incidental to such circumstances, on being addressed by a
gentleman, a stranger to him, exhibiting an order from the custom-house
authorities, to deliver _Spohr’s_ luggage without examination, and
who then took him and his female fellow-travellers speedily and
safely to land in a boat, where a coach was in waiting to take him
to the hospitable house of professor _Edward Taylor_. In the amiable
family-circle of that gentleman and surrounded by the genuine English
usages and comforts which had so many charms for the guests, they soon
found themselves at home, and a few days sufficed to lay the foundation
of a life-long friendship. As their farther journey permitted but a
short stay in London, it was necessary to make the best use of the
time to see the objects most worthy of notice in the metropolis,
which filled the travellers with wonder and admiration. The visit
to Westminster Abbey made a deep impression upon all, and this was
expressed in the letters they sent home:[37] “The very entry into this
majestic structure, which is certainly the finest of all the objects of
note in London, makes an impression so deep and solemn upon the mind,
that we could scarcely repress our emotion; and in reality one seems
to move no longer among things of this world. The tones of a splendid
organ may have contributed to this feeling,--for divine service was
just being performed,--and this was followed by sacred psalmody sung in
double chorus so pure, so sweet and executed with such feeling, that
they seemed like the voices of angels from the realms of bliss. We had
neither of us ever heard any thing like it before. Now again the notes
of the organ pealed forth, and we distinguished harmonies of _Spohr’s_,
and soon recognised the touching sounds of his mass for ten voices;
and then the grand overture to “Des Heilands letzten Stunden” was
splendidly performed by the celebrated organist _Tarle_....”
[37] The extracts given here and subsequently from the letters of
_Spohr’s_ relatives, may find their excuse in the circumstance that he
himself had neither leisure nor inclination to write letters during
this journey, but was greatly pleased when his female companions wrote
home frequently (which of course was always in harmony with his own
sentiments),--and he seldom allowed such a letter to leave without
having expressed his full concurrence with the contents.
But the time pressed for the departure to Norwich, where professor
_Taylor_,[38] the chief director of the whole musical festival,
had already made the necessary preliminary rehearsals of _Spohr’s_
oratorio, and now received the travellers to accompany them to the
mayor of Norwich. On the following morning the mayor took his guests
to hear divine service in the cathedral, which is of immense size and
considered one of the finest in England. In a letter upon the subject
_Spohr’s_ relative thus expresses herself: “Of _such_ a celebration of
divine service, though it lasted nearly three hours, one is not readily
weary; the heavenly music with which it is interspersed in various
ways, I cannot describe, and it is performed with a purity and finish
such as made great impression also on _Spohr_ himself. The congregation
did not sing at all, but always followed in their hymnbooks and
prayer-books, the text of which (all taken from the Bible) I certainly
could understand better than the _sermon_. The choir robed in white,
with their tender tones, made an irresistible impression; words, music,
and execution, all were in such perfect unison, that I could scarcely
imagine a finer worship of the deity in heaven itself. When at the
conclusion we passed through the spacious nave of the magnificent
building with the whole congregation, the masses of people arranged
themselves on either side to permit our passage, and looked at _Spohr_
as something wonderful; many also, requested to be introduced to
_Spohr_, and our kind mayor, who accompanied us and conducted _Spohr_,
was quite happy, and proud of the whole scene. His daughter _Mary_, a
charming maiden of fifteen, is also enthusiastically fond of music and
particularly of _Spohr’s_; she plays herself very nicely on the piano,
and when her father informed us that it would make her exceedingly
happy to play a few notes with _Spohr_, he accompanied her in one of
his favorite sonatas of _Mozart_...”
[38] As a member of the committee he had conducted the correspondence
with _Spohr_ relative to his coming, concerning which the following
remarks appeared in the “Spectator”: “It is highly to the credit of
the great master, that to the question what compensation he required
for the time and exertions required of him during the journey, and
for direction of the oratorio, he simply replied: ‘The committee will
doubtless have no objection to pay my travelling-expenses?’ We are glad
to learn that the modesty of this reply and _Spohr’s_ coming to England
without any further negotiation on the matter with the committee, was
duly recognised by the latter, who thereupon came to the resolution
to present Mr. _Spohr_ with a sum of 100 guineas over and above the
account of his expenses.”
If _Spohr_ had understood the English language, the impression made
upon him by the divine service would perhaps have been greatly
disturbed by the circumstance that the sermon preached upon the
occasion was in a great measure levelled against his oratorio. Already
before his arrival in Norwich, several persons of the puritanical party
had raised their voices against its performance, and endeavoured in
every way both in print and in the pulpit to shew that it was profane
and sinful to make so sacred a subject as the sufferings and death
of Christ, a theme for music. It thus so happened that on the Sunday
morning on which _Spohr_ visited the cathedral a zealous clergyman
considered it his duty to hurl a crushing discourse against his
oratorio: The “_Calvary_,” as it is rendered in English, and at the
conclusion implored his hearers not to surrender their souls for one
day’s pleasure, but to stop away from its performance. The “Monthly
Chronicle” further observes on the subject: “We now see the fanatical
zealot in the pulpit, and sitting right opposite to him the _great
composer_, with ears happily deaf to the _English_ tongue; but with a
demeanour so becoming, with a look so full of pure good will, and with
so much humility and mildness in the features, that his countenance
alone spoke to the heart like a good sermon. Without intending it, we
make a comparison, and cannot for a moment doubt in which of the two
dwelt the _spirit_ of religion, which denoted the true christian!”
On the day after the performance of the oratorio the same journal says:
“This day was to decide the fate of the oratorio “_Calvary_,” and
had the decision been unfavourable the fame of Norwich was for ever
departed. The public mind was therefore on the greatest stretch, for
many persons feared the powerful influence of an adverse clergy. But
a better spirit, a sentiment of right feeling triumphed, and hours
before the opening of the doors the matter was decided. From far and
near the auditory flocked in thousands, evincing a powerful feeling
of excitement, and an enthusiasm which increased continually during
the performance; and beyond all expectation, a complete triumph was
achieved. It may justly be said of this oratorio, that a heavenly
inspiration breathes throughout; more than any other work of modern
times it is one sprung from the genial source of a warm heart, and
cannot be heard with a tearless eye....”--The bishop of Norwich, who
in accordance with his religious bias belonged also to the party of
the opponents of the oratorio, and was therefore on a footing of
reserve with the mayor, was nevertheless desirous to make the personal
acquaintance of his celebrated guest, and sent him repeated notes of
invitation to dine with him; as these however were written in English,
they of necessity were handed to the mayor as interpreter of their
contents, who each time transmitted to him in the name of _Spohr_ a
reply excusing his inability to accept it. At length it was proposed
that he should be introduced to the bishop at one of the concerts, and
to this the mayor assented on the condition that _Spohr_ should promise
him to meet the bishop half way only, and not move a step farther
towards him, when he rose from his distant seat to approach _Spohr_.