a special and prominent feature in the grandiose arrangements of the
mayor, was frequently the source of a variety of ludicrous scenes and
discussions. Thus it was that _Spohr_, on the first day that he had
gone to the rehearsal of his oratorio, sent thence in haste home to
his female fellow travellers, who had remained behind, two gentlemen,
strangers, with the invitation that they also should proceed thither,
to share in the impressive sight which the magnificent St. Andrew’s
Hall had presented to him immediately upon entering it. As may readily
be imagined the ladies acceded to the invitation, and accepted
unhesitatingly the attendance of the “gentlemen as yet unintroduced
to them in the house,” by which they excited the astonishment of every
one there, even to the very domestics; but they had the satisfaction
of witnessing themselves, upon arriving at the hall, the enthusiastic
reception with which the whole assembly greeted _Spohr_ upon his
entering the orchestra. Of this the “Monthly Review” speaks as follows:
“I would have wished all the world had heard the thunders of applause,
the very storm of greetings with which _Spohr_ was received by the
whole orchestra, down to the very boys of the choir. This reception
of the great man, which drew tears of emotion from the eyes of his
wife, must also have deeply moved him.” On the following evening the
first concert was to take place, and _Spohr_ was to perform in it
his concertino “Sonst und Jetzt” (“Then and Now”); but as there were
some difficult passages for the drum in it, he had requested the
attendance of the young drummer-boy at his residence in the forenoon,
in order to give him personally the necessary instructions concerning
his part. When the neat little fellow made his appearance, it was
however found that he understand no language but English, and in this
predicament he was obliged to have recourse to the assistance of the
mayor’s amiable little daughter, who then, although astonished at all
the unusual doings in her father’s house, willingly endeavoured to
explain in English to the strange boy the remarks made by _Spohr_ in
the French language, with many scientific expressions which were quite
unintelligible to herself; but which at length she effected with a
result so accordant with _Spohr’s_ wishes, that for years afterwards
he always recalled to mind with real pleasure the ludicrous but
interesting scenes of that charming effort at intercommunication.
In the evening on which the first of the six monster-concerts took
place in the spacious hall filled with nearly 3000 persons and 500
assistants, a symphony of _Haydn_ and several song pieces were first
given, among which also, the duet from Jessonda: “Schönes Mädchen”:
but then as the “Times” expressed it, “all eyes were turned with
expectancy towards the orchestra in order to greet _Spohr_ upon his
appearance with an enthusiastic applause....” “A deep silence of
suspense and expectancy reigned at the commencement of his concertino,
which he has called “Sonst und Jetzt,” in order to express the opposite
character of the themes which therein denote the different style of
the more ancient and modern compositions.” The opinion upon _Spohr’s_
play then follows in terms of the highest praise, and concludes with
the words: “His instrument speaks as eloquently to the heart as the
finest melody. The accomplished mastery of his bow as of his fingers,
is yet surpassed by the wonderful power of his _mens divinior_. The
concertino, after a short but beautiful prelude, begins with a charming
minuet of the old school, adorned with a whole wealth of harmonies,
which seem to flow of themselves from _Spohr’s_ pen; then follows a
Turkish allegro, replete with fancy and overflowing with the brilliant
lustre of modern execution.”
A letter written home and others describe the succeeding concerts: “The
first sacred concert on Wednesday morning was wonderful; it lasted from
half-past 12 to 4 clock, and comprised in the first part many fine old
things of _Purcell_, _Palästrina_ and others; and in the second and
third parts the magnificent oratorio of _Händel_: “Israel in Egypt;”
in which the choruses were executed with immense power, and the soli
by the English church-singers in the most perfect manner. _Spohr_ was
inexpressibly delighted with it, and said, “English church-singers
only are capable of rendering _Händel’s_ sublime music in all its
grandeur.” A peculiar custom which pleases me greatly is, that every
time a chorus expresses the praise of God, or in any way adverts to God
or Christ, the whole mass of people rise from their seats, and listen
to it _standing_.--The order of the musical pieces in the evening
concert was very much the same as in the previous one. It began with
_Mozart’s_ symphony in _E flat major_, which was followed by twenty
other different subjects, among which were some pieces from operas by
_Mozart_ and _Weber_, and _Spohr’s_ terzet from “Zemira and Azor,”
which is never omitted at any English musical festival. _Spohr_
played with his former pupil _Blagrove_ his charming concertante in
a surpassingly fine manner, and the effect was if possible greater
than yesterday. Our hospitable host, who is exceedingly assiduous
in his attentions, and accompanies _Spohr_ every time on going and
returning, seems also extremely happy to be near him, and to joy in
his high repute. To-day is, in the opinion of everybody, the grand
and most important day, on which _Spohr’s_ oratorio is to be given.
You all know that music, and how grand it is, but no one who was not
present, can picture to himself what it was _here_, heard in such a
place, faultlessly executed by such a mass, and listened to with such
religious attention and enthusiasm. At and after the first part one
remarked several exclamations of delight and wonder, but at the second
a solemn emotion seemed to reign throughout the whole auditory, and
more and more eyes became suffused with tears; not the women only, but
strong men were deeply moved. And such an effect I consider as the
highest and purest praise. They were happy moments for me also when
afterwards crowds of gentlemen and ladies who did not like to intrude
upon _Spohr_, came to me, to congratulate me, and assured me with much
emotion, that this was the most sublime and beautiful thing that was
ever composed, with many other similar expressions. The third part,
which _Spohr_ listened to with us with the greatest delight, comprised
the requiem of _Mozart_ and other pieces of sacred-music by _Mozart_
and _Bach_....”
The public papers gave a detailed account of the deep impression
made by _Spohr’s_ oratorio, and among others the “Norwich Mercury”
said: “The beautiful hall was crowded, nevertheless, even before the
commencement, a breathless silence prevailed; a solemn religious
sentiment reigned throughout the assembly. The inspired composer
raised his staff--the staff descended--and mournful tones, low and
faintly heard like distant wailings felt upon the ear, and made a
powerful impression on the feelings: the brilliant hall seemed as
though changed to a solemn temple--and every worldly thought was in an
instant dissipated.--The overture reveals the character of the whole;
the succeeding introductory chorus of the most agreeable softness and
purity seems to foreshadow a peace momentarily witheld from us by a
characteristic sentiment of sadness. The ensuing recitative of St.
John relates the treason of Judas, and this is immediately followed in
striking contrast by the aria of the betrayer, in which the disorder of
the mind induced by the reproofs of conscience is expressed with great
power and truth by the accompaniment. Now begins the part of Mary, with
a charming air accompanied by the female chorus, and which, replete
with tenderest devotion, appeals to our inmost feelings. In a difficult
but very expressive recitative St. John prepares us for the entry of
St. Peter, who has denied his master, and in the air sung by him,
replete with intensity of expression, the composer in good taste and
with correct judgment expresses the distinction between the reproving
conscience of the erring apostle and the preceding hopeless agony
of spirit in the betrayer. In the succeeding chorus reigns a simple
majesty, a confidant reliance upon the justice of God, the expression
of which is eminently successful.--In the scene which follows, in
which the judgment hall is opened to us and Christ denounced before
Caiphas, the inspiration of the composer has reached its culminating
point: the manifold contending passions--the fiendish excitement of the
populace, the humble resignation in the sorrow of the disciples, the
exalted resignation of the saviour--all these are brought by him with
such painful truthfulness of expression before the mind, that we feel
it impossible to approach in music nearer to reality and truth than
_Spohr_ has succeeded in doing in his treatment of this pre-eminently
tragic moment of the Redeemer’s life.
The second part begins with an introductory funeral march, and a
striking chorus of the disciples expressive of their sympathy with and
lamentations for the fate of their master. The ensuing chorus of the
priests and people, who wildly and savagely taunt the redeemer upon
the cross, is in our opinion almost the most powerful and wonderful
passage in the whole work. The moving recitative of John and Mary is,
moreover, intense in its effect, and their aria full of melody and
grace, close upon which follows the gem of the whole oratorio, the
unsurpassable terzet for two soprani and an alto, “Jesus, himmlische
Liebe” (Jesus, heavenly love), with its sweetly soothing harmonies.
This terzet is a master-piece of the purest finish; _Spohr_ himself
never wrote any thing more beautiful. The solemn earnestness of the
chorus: “Allgütiger Gott,” with the canonic entrata at the words: “In
seiner Todesnoth,” is indeed in conception and form the most original.
In masterly recitatives John prepares us for the concluding scene, and
after the last words of Jesus: “It is fulfilled,” the low sound of
distant thunder is heard, which continues as though warningly during
the fine and truly pious quartet. And now the orchestra seems to burst
all bounds, and to contend in one wild storm, which the powerful hand
of the composer can alone direct and allay. We have already heard
many musical representations of storm and tempest, but as yet nothing
at all like this; and we think that this immense effect is derived
from _Spohr’s_ seizing the powerful phenomena of nature more in their
general grandeur than in their detail. We are struck with awe at the
overpowering effect itself and with wonder at the mind that could so
apply and direct all the resources of art. A recitative with splendid
modulations leads to the short choral passage of the disciples, in
which the divinity of the Redeemer is proclaimed, simply, firmly and
powerfully. The final chorus, a prayer of the disciples full of sorrow
and hopeful faith, is simple, melodious and elevated; a poetical
outpouring in music, which must excite the sympathy of every human
being who has a trusting belief in a future life.--When the last accord
died away in its tragic grandeur, we looked around us--not a breath
was to be heard, deep silence everywhere--all were impressed with
feelings more powerful than they could express. It was a moment of holy
reverential exstacy--no noisy outburst of rapture,--the impression was
too overpowering for earthly utterance,--but it was a lasting one, and
will assuredly never be forgotten.”
The English newspapers spoke also respecting _Spohr’s_ manner of
conducting, and the “Spectator” said on the subject: “It is truly
delightful, wonderful in precision and firmness of tact, and at the
same time accompanied by motions plainly indicative of the effect
proposed.” And again: “We see in _Spohr_, a man who has a clear
comprehension of his object, and knows his work as thoroughly in all
its details as in the whole. At the rehearsal, whenever a note was
missed, he sang it, in whatever harmony it might chance to be, and in
doing so his voice was very melodious.”
The letter previously referred to says further, in reference to
the following days, under the date of September 20th: “Yesterday,
before the commencement of the evening concert, a deputation from the
committee waited upon _Spohr_ with the request to play his concertino
once more; this, however, he decidedly begged to be excused compliance
with, and the more so, as he had already agreed to direct in person
the overture to and air from “Faust,” with which the second part of
the concert began. Immediately he entered the orchestra for that
purpose, he was again greeted with loud and long continued applause,
in which doubtless the audience expressed, besides, their sense of
admiration of his oratorio, which, according to English custom, could
not be applauded at the time of performance. To-day _Händel’s_ splendid
“Messiah” was given for finale, which here also never fails to make
its constant impression. And now at length the grand festival has
terminated with all its pleasures and magnificences! It indeed required
an inspired and corporeal strength of frame such as _Spohr_ fortunately
possesses, to hear in the short space of so few days the ordeal of six
concerts of four and a half hours’ duration each, besides rehearsals
and daily dinner parties, with unimpaired freshness of spirit--not to
speak of all the visits paid him and the strangest requests from far
and near, with which he complied as far as he could. The last day with
its scenes of leavetaking, was also a very trying one to the feelings,
and cost me I must confess, many tears.--The parting from all the kind
people who, although we were strangers to them, had received us with
such great heartiness, was very painful. When next I see you I will
relate many wonderful instances of the amiability of these Englishmen,
and of their admiration of _Spohr_, which even extended itself to me.
But the estimation in which _Spohr_ is held here in England, and the
manner in which this is evinced on all sides is almost incredible”....
After so brilliant a success of _Spohr’s_ oratorio, and after he had
himself witnessed, as the “Spectator” expresses it--“How the orchestra
and singers competed to shew him that England was the country of all
others best fitted for the performance of his oratorio,” nothing could
be more agreeable to him than the proposal made to him during his stay,
to compose especially a new oratorio for the next Norwich musical
festival, which would take place in 1842.
Scarcely was he returned to Cassel than professor _Taylor_ sent him the
English text of “The fall of Babylon,” of his composition, the text
of which, though much to _Spohr’s_ liking, it was necessary first to
have translated into German, as he had not confidence sufficient in his
knowledge of the English language to undertake the composition from the
original text. Though the translation did not so completely succeed
in a truthful rendering of the expressions and rhythm of the English
text, as that this could subsequently be adapted to the composition
without much alteration, it nevertheless sufficed so well for the
desired object that _Spohr_ could proceed at once upon a work which
so greatly interested him. Filled with real inspiration for the task,
he devoted thereto every leisure hour that remained to him from his
numerous professional duties, nor did he rest until he had completed
the whole and satisfied himself with its performance on the pianoforte
at the St. Cecilia festival of 1840, that he had fully succeeded in it.
In pursuance of an understanding with the Norwich committee a public
performance of it with full orchestra was to take place in Cassel
on the ensuing Good Friday of 1841 and a second at Easter 1842, but
with these exceptions the work was to remain unused and in abeyance
until the Norwich festival in the autumn of the latter year, and then
first be made public simultaneously in England and Germany in both
languages.--
But to return to the year 1840, which _Spohr_ entered upon with great
activity in the preparatory studies for the representation of the opera
“The Lovers’ Duel,” which till then had never been performed in Cassel;
for the principal characters of which he had just then found suitable
performers. The first representation took place for the benefit of
the relief fund, and with a very full house brought unusually good
receipts, which however unfortunately were extracted from the treasury
of the theatre on the following night in the most incomprehensible
manner, and despite the well-secured locality in which the money was
deposited. But a very small amount could then be collected to replace
this loss to the relief fund, a circumstance which greatly marred the
satisfaction _Spohr_ had derived from the success of his opera, which
had met with a most gratifying reception from the public.
About this time _Spohr_ received an invitation from Aix-la-Chapelle to
direct the musical festival of the district of the Lower Rhine, which
was to be held there; on which occasion a very pressing solicitation
for his leave of absence was addressed to the Prince on the part of the
committee. This memorial had the desired effect; for shortly afterwards
the Prince sent for _Spohr_, and tendered him of his own accord in the
most friendly manner the leave of absence he had not yet solicited.
As every obstacle was now smoothed away, _Spohr_ set out upon his
journey at the end of May, and was not only received upon his arrival
in Aix-la-Chapelle with serenades of welcome, but also on his putting
up for each night at Frankfort and Cologne on his journey through. In
the splendidly furnished house of the notary _Pascal_, in which Mr.
and Mrs. _Spohr_ found a most hospitable reception, the succeeding
days devoted to the necessary rehearsals passed quickly and agreeably.
On Whitsunday, in the theatre, which had been converted into a
music saloon, _Händel’s_ “Judas Maccabeus” was performed, of which
some epistolary notices spoke as follows: “When _Spohr_ entered the
orchestra to conduct the oratorio he was received with enthusiastic
applause; we had the best places in the first row reserved for us,
exactly opposite to where the very prettily arranged mass of five
hundred and forty-seven co-operators, brilliantly illuminated,
presented a very charming coup d’œil. The music, which had already
greatly pleased us by its splendid effect in the rehearsals, was now
naturally heard to yet greater advantage. The solo singers--Mrs.
_Fischer-Achten_, _Albertazzi_ and _Müller_, Mr. _de Vrucht_ from
Amsterdam and Mr. _Fischer_--good as they were on the whole, did not
make upon us the same impression of _finished_ excellence as did the
choruses, which completely charmed us. In the second concert also, in
which besides _Spohr’s_ “Lord’s Prayer,” the overture to “Medea,” the
_A major_ symphony of _Beethoven_, and _Mozart’s Davidde penitente_,
were performed, _Spohr_ upon every entry and exit was greeted with
unbounded applause, and at the termination a wreath of laurel was
presented to him by two young ladies. In the third concert, of a
mixed character, Mrs. _Fischer-Achten_, and _Albertazzi_, with the
celebrated _Staudigl_ of Vienna, were respectively heard and excited
general admiration. The singing of all three, was each in its kind
what may be termed of the most perfect finish. As worthy finale to the
whole, the repetition of the last magnificent chorus from _Spohr’s_
“Lord’s Prayer” followed, which again drew from the audience the most
enthusiastic bursts of applause....”
As on the following forenoon the brothers _Müller_ of Brunswick gave a
quartet concert in the “Redoutensaal,” _Spohr_ delayed his departure,
at their urgent entreaty, in order to play his third double quartet
with them, which was again also rewarded with its usual rapturous
ovation. In this manner was this grand festival brought to a successful
termination, and the general satisfaction which it had elicited was
but little detracted from by the reproving voice of Mr. _A. Schindler_,
whose _cartes de visites_ made him known as “_ami de Beethoven_,” and
who in previous musical festivals had begun to distinguish himself
by his disputes with _Mendelssohn_ respecting his slow tempi in the
conducting of works of _Beethoven’s_, and now also in a similar manner
found fault with _Spohr_ for his manner of conducting the _A major_
symphony. This--with the exception of the general disapprobation that
it elicited--had no further result than that _Spohr_, at the urgent
and reiterated desire of the committee, replied to _Schindler_ in a
short but decisive letter, but which, couched in _Spohr’s_ usual mild
language, did not disturb the personal understanding of either during
the festival.
After a few week’s return only, to Cassel, and during the theatrical
vacation, _Spohr_ set out upon another journey and proceeded first to
Gandersheim, where all his brothers with their families were assembled,
to pay a last visit to their mother, who was dangerously ill, and who,
in spite of her suffering condition, felt extreme pleasure in seeing
them round her. Although she had not left her room for several weeks,
and had therefore been unable to go up stairs to the upper story of
the house, yet when she heard that _Spohr_ was going to play something
with his wife in the music-room there, she requested to be assisted to
get up there, “to hear her loved son for the last time, and in fancy to
dream away in listening to his tones;” and upon that occasion, seated
in the midst of her children, listened to him with joyful emotion and
interest. As on the days immediately ensuing a visible improvement in
her condition seemed to have taken place _Spohr_, in full hopes of
greeting his mother once more upon his return, continued his journey to
Lübeck with a mind more at rest. But alas! his hopes were not realised,
for before he returned to Gandersheim he received the lamentable
announcement of her death!
From Lübeck _Spohr_ proceeded to Hamburg, where he arrived just
in time to undertake the direction of his opera “Jessonda.” The
performance of the opera, in which Mrs. _Walker_ as Jessonda, and
Mr. _Reichel_ as Dandau, especially distinguished themselves, was in
every respect a great success, and there were immense applause and
loud demonstrations in honour of _Spohr_. As it took place immediately
after the close of the performances of the Italian operas, the
“Hamburger Zeitung” gave a comparative notice in its next issue of
these two different kinds of musical entertainment. It began with
the words: “On Saturday the whole song-loving company of Italian
operatic performers departed in high spirits; on Sunday, _Spohr_ the
German master took the director’s chair in the town theatre to conduct
his splendid “Jessonda” in person. With the _former_, abundance of
noise, merriment, and somewhat of dissension, to-do, and submissive
politeness--but _here_, calm, noble dignity, honest thanks, becoming
demeanour, and permanent merit &c.” Further on it adds: “The lovers of
music in Hamburg celebrated on Sunday a real musical festival in the
theatre; they were not only enabled to express aloud their recognition
of the German master, but they had the opportunity also of drawing a
comparison between ‘Jessonda’ and ‘Lucretia Borgia.’ In ‘Jessonda’
all is tender yearning, and sweet hope, the golden age of fond first
love: in “Lucretia Borgia” Hyena-like cunning in the poison-envenomed
breast; nothing of love’s purity, love’s grosser passion alone; and
in the same relative characteristic proportion is the poesy of the
music.” No one experienced more delight at this new triumph of _Spohr_
than his enthusiastic admirer _Julius Schuberth_, the well-known music
publisher, under whose hospitable roof _Spohr_ and his travelling
companions spent most agreeably the four days of their stay in
Hamburgh, which their kind host strove by every possible means, to
render a series of festive pleasures and of distinguishing attentions.
Among others a brilliant musical party was got up in which _Spohr_
performed some of his quartetts, and was greatly charmed with Miss
_Unna’s_ beautiful execution in his quintet for the pianoforte.