some similar grander pianoforte pieces of _Spohr’s_ composition, that
the latter was induced to write shortly after his return from Hamburg,
his first trio for pianoforte, violin and violincello, and therewith
at the same time fulfilled a wish that had been for years reiterated
by Mrs. _de Malsburg_, the distinguished dilettante pianiste, to whom
he then dedicated the work. This first trio by _Spohr_ (Op. 119) was
welcomed with great satisfaction by the musical world, and numerous
journals far and near expressed their delight and thanks upon its
appearance. The “Leipzic New Musical Journal” speaks of it in the
following terms: “Although the great master has never written any thing
of this kind until now, he nevertheless moves in this new _genre_ with
true artistic consciousness of power, and with genial freedom. The trio
is one of the finest productions of the genius of _Spohr_, in which
together with the greatest possible finish in form, a profusion of
beauties of the first class, and master strokes of genius stand out in
prominent relief. As the gem of the whole the scherzo and its trio must
be mentioned. Here, as though at the stroke of the magician’s wand, a
fairy island of the blessed rises to the imagination,--we are environed
as though by a garden of wonders, a blooming oasis of sound full of
the deep glowing splendour of oriental colouring!... It is moreover
exceedingly remarkable how _Spohr_ here understood the way to unite two
elements which are otherwise strangers and indeed usually antagonistic
to each other: the _humoristic_ and the _impassioned_, _elegiacally
tender_ element of _feeling_....”
At the commencement of the year 1841 _Spohr_ wrote a fantasia for
pianoforte and violin on themes from his opera “Der Alchymist” (The
Alchymist), the charming melodies of which were especially favourable
to such a reconstruction (Op. 117, Vienna, published by _Mechetti_);
an English psalm for soli, with chorus and organ accompaniment (Op.
122, published by _Simrock_ of Bonn); and a song, “Schill,” for
men’s voices, with accompaniment of military music, written for the
inauguration of _Schill’s_ asylum for invalids at Brunswick, and which
was next publicly given by the Casseler glee society at a concert for
charitable purposes, and met with such general approbation that _Spohr_
conceived the idea of sending it to Frankfort and therewith fulfil his
promise of a contribution to the “Collection of small compositions
to the _Mozart_ institution.” Upon the same occasion he replied to a
question which had been put to him concerning a qualified candidate
to the first stipend paid by that institution, by recommending _Jean
Bott_ of Cassel, although but 14 years of age, and wrote of him in the
following terms: “_Bott_ is a virtuose on the violin and pianoforte
and even now displays so remarkable a talent for composition, that I
anticipate for him a brilliant future. He has been a pupil of mine on
the violin for the last six months, and I never yet had one so clever.
_Hauptmann_ (his instructor in composition) says the same of him.”
Supported by such distinguished recommendations the young musician,
after the works which he had sent in had been submitted to the test,
received the desired stipend for one year, followed up his studies
under _Spohr_ and _Hauptmann_ with great zeal, and while yet a boy
received an appointment in the Cassel “Hofkapelle.”
As _Spohr_ had proposed to himself to pass the theatrical vacation
this time in a trip to Switzerland, he determined upon going thither
by the way of Stuttgard and Hechingen, in order to make the personal
acquaintance of the reigning Prince of Hohenzollern-Hechingen, who
at various times had written to him, and shown himself to be an
enthusiastic lover of music by expressing his admiration of _Spohr’s_
“Weihe der Töne” in terms of great praise.
As _Spohr’s_ intended visit at Hechingen was known beforehand he was
welcomed there upon his arrival in the most heartfelt manner. What
took place during their stay here was thus described in a letter
written home: “On the very first evening Kapellmeister _Täglichsbeck_
and Court-Councillor _Schilling_ came to fetch us from Stuttgard, to
drive us about the town, and for the purpose, as they said, of showing
us the new concert-hall. But on our arrival there, to our surprise we
found a numerous company assembled, and we were received by the Prince
in the most gracious and friendly manner.” After a short conversation,
he led _Spohr_ to an elevated platform, upon which the whole orchestra
were assembled, and in front the _head Pastor, Reiners_ (who was also
contrebassist in the orchestra), who then adressed _Spohr_ in a solemn
and very impressive speech of welcome, at the conclusion of which
the hall resounded with such an outburst of enthusiastic greetings,
accompanied by music, that one might have thought it was filled with
thousands of spectators. After this the Prince seated himself near
_Spohr_, and to our great surprise and pleasure his splendid fifth
symphony (_C minor_) fell upon the ear, and was performed throughout
with the greatest finish and inspiration. During its performance the
Prince evinced feelings of delight such as we had never yet witnessed,
he could scarcely control himself; held _Spohr_ constantly by the arm
or hand, and not only whispered to him his admiration at every passage,
but frequently gave expression to his feelings aloud....
When the Prince had ascertained whether _Spohr_ would sup or not in
the dining-room below, he gave orders for a place to be reserved for
him next to _Spohr_, although, as sovereign Prince, he had never yet
partaken of a meal in a tavern. This supper was most remarkable and
amusing: besides the Prince, who sat between me and _Spohr_, and was
very lively, the whole _beau monde_ of Hechingen was assembled to see
_Spohr_, and each ordered supper according to his own fancy. Gentlemen
of the chamber, clergymen, councillors, and their wives, mingled
_pêle mêle_, did and said a thousand humorous things, and evinced an
extraordinary musical enthusiasm. _Spohr_ also was greatly pleased to
have made the acquaintance of this happy, music-mad little spot of
Germany. Music, particularly that of _Spohr_, is everything here, and
ladies and gentlemen know his symphonies and quartets in a manner such
as very few in Cassel know them. If at eleven o’clock at night we had
not risen to depart, in spite of the Prince, he would not have done
so, for he is quite in love with _Spohr_. On the following morning
before eight o’clock some one knocked again at our door, and his serene
highness entered to enquire how we had slept in Hechingen. He then
took us into the palace gardens and into the very pretty little palace
itself, where we were to rehearse our trio for the music party that had
been agreed upon for the evening. When we had played through the first
part, he availed himself of the short pause to fetch his wife also,
that she might share his pleasure, and thus we were saved the already
arranged formalities of a court presentation.... We were invited to
dinner at _Täglichsbeck’s_; but scarcely was the dinner over, than the
Prince came again with two court carriages, in which the whole company
drove to the charming country palace “Lindig,” the beautiful view
round which filled us all, and _Spohr_ especially, with the greatest
delight....” Of the evening court-party that followed, the same letter
says: “In a vaulted saloon built especially for musical performances a
double quartet was first played by _Spohr_ in a manner quite wonderful,
then the Prince sang several songs with much expression, and at last
came our trio. The company, consisting mostly of officials and of but
few musicians, was in raptures of delight, and gave evidence in their
remarks of much musical intelligence. At last supper was served up at
small separate tables each accommodating four persons; at the chief
table _Spohr_ was shewn to a seat next to the Princess, who evinced
great amiability and kindness towards him, while the Prince in the best
of spirits was my neighbour.
Our departure was fixed for the following morning, but the Prince
declaring that he could not yet part with _Spohr_, expressed the
intention of accompanying him one post, and then of dining with us once
more, and “not to appear egotistical, to enjoy the pleasure alone,”
invited a whole party, who were to accompany us in his carriage. Two
gentlemen were sent on in our carriage, to order a dinner for sixteen
persons at the small town of Balingen three leagues distant.... During
the dinner, which consisted of a great number of excellent dishes, and
at which also the champaign, brought from the Prince’s cellars, was not
wanting, the conversation was extremely lively and seasoned with many
witty sallies, but always intermingled with the prominent sentiment
of that musical enthusiasm, in which the Prince is really imbued to a
singular degree.
At length however the long-deferred parting moment arrived! The
cheerful voice grew silent, and a mournful stillness came over all; the
Prince was quite beside himself; he embraced _Spohr_ repeatedly, and
when we had at length taken our seats in the carriage, he was once more
surrounded by the company, and the Prince declared in the name of all
that these days which had brought such happiness to Hechingen should be
commemorated the following year by a festival.”
Carrying with him the most agreable recollections of the time they
had passed there, _Spohr_ and his wife now resumed their journey to
Switzerland, the chief object of which was to enjoy the beauties
of nature; but they were also enabled to combine therewith a visit
to the musical festival which was about to take place at Lucerne.
Although _Spohr_ had declined the invitation which he had received
at Cassel to direct at the festival, it afforded him nevertheless
much pleasure to be present at it among the auditory. On the first
day his oratorio: “Des Heilands letzte Stunden,” was performed in the
fine church of St. Xavier, in which the solo parts were sustained
chiefly by dilettanti, with the exception of that of Mary, by Mrs.
_Stockhausen_, who had already acquired great celebrity in it at the
Norwich festival, and all of whom sang “with truly angelic voices.” The
choruses also, were excellent, and the orchestra only did not quite
satisfy _Spohr’s_ artistic expectations. The oratorio excited here also
general enthusiasm, but the travellers missed here “the deep devotion,
the christian-like comprehension and pious mental resignation,” which
they had remarked in the English auditory of the year before. The
oratorio was followed by a brilliant festal overture by _Lindpaintner_
and another oratorio, the “Christi Himmelfahrt” (the Ascension), by
_Neukomm_, at which the composer was also present, and was greatly
gratified by _Spohr’s_ approbation, who praised the choruses and the
fugues. In the second concert, which was a miscellaneous one, the songs
sung by Mrs. _Stockhausen_ (mother of the recently celebrated baritone)
were the points of attraction; but two distinguished dilletanti, doctor
_Ziegler_ and his sister, from Winterthur, were likewise much applauded
in the duet from “Jessonda.”
On the return journey from Switzerland, _Spohr_ stopped for a few days
in Frankfort, in order to be present at the performance of _Gluck’s_
“Iphigenia in Aulis.” The chief characters, Iphigenia and Agamemnon
were ably represented by Miss _Capitän_ and Mr. _Pischek_, and it
afforded the more pleasure to _Spohr_ to hear the noble simplicity of
this fine music rendered in a satisfactory manner, as his repeated
endeavours to introduce an opera of _Gluck_ into the repertory of the
Cassel theatre had been always unsuccessful, and he could not hope for
any better success for the future.
Scarcely was _Spohr_ returned to Cassel than he began with great zeal
a new work, the plan of which he had conceived upon the journey, while
in view of the magnificent Swiss mountains and lakes. When once more
seated with his wife in the carriage, on his return from the Lucern
musical festival, he told her with the greatest joy, that, inspired
and refreshed with all the beautiful and pleasing impressions made
upon him by nature and art combined,--he felt the strongest impulse to
write a truly grand orchestral work, and if possible in some new and
more extended form of the symphony. On the half-sportive reply which
she made to him: “If the simple symphony does not give sufficient
scope to your creative faculty, then write a double symphony for
two orchestras, in the style of the double quartet,” he seized the
suggestion immediately with much warmth and thereupon sank into a deep
reverie, as though he were already beginning the composition, but soon
after, added: that, exceedingly attractive as the problem was, it could
only be successfully carried out if made subservient to the expression
of a determinate idea--and that two orchestras should have given to
them respectively the expression of a meaning and sentiment in strong
contrast with each other. After long reflection and study; and after
successive rejection of many self-proposed formulæ, he at length, as
though by inspiration, seized the idea: to represent the two principles
of good and evil in the human heart by the two orchestras, and to
give the name to the double symphony of “Irdisches und Göttliches im
Menschenleben” (the earthly and the divine in the life of man). The
first subject should be called “Kinderwelt” (the world of childhood);
the second “Zeit der Leidenschaften” (the age of the passions); the
third “Endlicher Sieg des Göttlichen” (the final victory of the divine
principle); besides which a special explanatory motto was to be given
to each theme. After this manner the plan was conceived with a heart
overflowing with pleasure, and then carried out with real enthusiasm.
As regards the opinion respecting the degree of success with which
he achieved the performance of so extremely difficult a task--that
was of course a matter to be left entirely to the individuality of
the hearers; but in the first performance of the work in Cassel under
his own direction and in the spirit of its composer, it excited the
greatest admiration in an attentively listening auditory; for while
connoisseurs acknowledged the excellence of the music, apart from its
special motive or subject, the feelings of the uninitiated were in a
high degree moved and satisfied. Such is the report of it contained in
one letter out of many written at that time: “Last evening _Spohr’s_
new double symphony for two orchestras took place; the larger and more
numerously filled orchestra represented the evil principle, the small
one, consisting only of eleven solo instruments represented on the
contrary the principle of good. In the subject “The world of childhood”
the latter orchestra maintains the superiority in a marked and
especial manner; sweet, innocent melodies bring back to us in the most
enchanting manner the joys of childhood--its pretty sports, and wiles
seem to rise before our vision, and we feel ourselves wholly wrapped
in the bright dreams of the past; but the tones of the great orchestra
remind us sorrowfully of the reality, and of the struggles of an
earthly life scarcely yet begun. This subject, although gaiety is the
prominent characteristic, yet speaks to us with a peculiar purity and
tenderness of sentiment; and of a surety only a soul as pure and loving
as that of our _Spohr_ could so depict in tones the tenderness of the
world of childhood.
The second subject: “The victory of the passions,” begins with a very
beautiful soft duet between hautboy and clarinet (depicting the first
awakening of love), then soon the two orchestras mingle, as it were,
wildly and stormily, a true picture of the human heart in the contests
of this life; now here now there, the small orchestra is carried away
with it, but even then it does not wholly cease to intervene as the
good genius with moving and at times warning tones of tenderness. This
subject, which is very rich in ideas and harmonies, appeared most to
carry away the mass of the public, but the deepest impression made
upon every sensitive heart was that made by the third theme: “Eventual
victory of the divine principle.” In this, the warning voice of the
small orchestra becomes continually more impressive, the earthly
passions for the most part become gradually subdued, one almost seems
to feel how their force is broken, and then again at frequent intervals
they seem to rally, until the solemn moment, in which after a general
pause both orchestras at length, in solemn unison of accords announce
the victory achieved by the good genius in all its power. From that
point nothing but pious, pleasing sounds, as though from the realms
of bliss, are heard, now alternately and now from both orchestras in
unison, leading as it were the strangely-moved feelings of the auditory
to the soft consolatory finale.”
Notices of a similar character--sometimes estimating the work from a
purely human, at others from an artistic point of view were received
from all sides after the appearance of the symphony, published as Op.
121, by _Schuberth_ of Hamburgh; and then it soon became extensively
circulated in the larger towns of Germany and England. This sufficed
to afford _Spohr_ the personal satisfaction, that in whichever way his
intentions were considered, they were upon the whole rightly understood
and estimated.
In November of the same year the Cassel musical world was thrown into
a state of joyful excitement by the arrival of _Lisst_, who had gained
the most enthusiastic applause in two concerts, which he gave in the
theatre. Previous to his appearance in public, the more restricted
circle of the lovers of music, had been greatly gratified by hearing
him execute _Spohr’s_ quintet for the pianoforte at a music party given
by _Spohr_ for his entertainment, at which he played also several of
his own compositions in an insurpassibly masterly style. _Spohr_ took
the liveliest interest in the performances of his colleague in art, but
he paid him the tribute of his highest admiration for his wonderful
playing _at sight_; and in after years, as a proof of _Lisst’s_ eminent
talent in this respect also, he would cheerfully relate, how at a
private soiree at Mrs. _von der Malsburg’s_, accompanied by _Spohr_ on
the violin, _Lisst_ played his “Reisesonata” and his only just then
published fantasia from the “Alchymist,” which was therefore _wholly
unknown_ to _Lisst_, but which to the great astonishment of all the
auditory he played at sight with the most perfect finish.
On the 5th. December of this year the fiftieth anniversary of the death
of _Mozart_ was everywhere solemnized by the lovers of music; but as
no public festival could be held in Cassel, _Spohr_ got up a private
performance of the society of St. Cecilia for the benefit of the poor,
which was of a most solemn and impressive character. In the centre
of the saloon the bust of _Mozart_, crowned with a laurel wreath,
surmounted an altar hung with black drapery; on one side of the altar
was assembled the numerous auditory, and on the other the singers in
deep mourning. The “_Ave verum_” of _Mozart_ was first sung; then a
short oration _in memoriam_ followed, and the conclusion was formed by
the swan-song of the departed master, his immortal requiem.
In the beginning of the year 1842, _Spohr_ composed six four
part-songs, for soprano, alto, tenor and bass (Op. 120, published by
_Appel_ in Cassel), then his second trio for pianoforte, violin and
violincello, which in the course of the year was followed by a third.
These were published by _J. Schuberth_ as Op. 123 and 124.
As during the winter _Spohr_ had felt returning symptoms of his former
liver-complaint, he availed himself this time of the summer vacation
to go to Carlsbad, to drink the waters; but on the journey thither, at
the pressing invitation of Mr. _von Holleben_, an acquaintance of his
youth, and now, grand-master of the hunt at Rudolstadt, he paid him
a visit. In the amiable family circle of his early friend the hours
passed quickly and pleasantly in the retrospect of their youthful
associations, and in the interchange of narratives and incidents of
their later life; but amid all these, music was not wanting; and to
hear it each time, an increased number of the lovers of music were
invited. At these parties _Spohr_ willingly played several of his
newest compositions, and more especially afforded universal pleasure
with the two trios, in which his wife took the pianoforte part. Upon
these occasions he had more especially an enthusiastic auditress in the
Princess von Bückeburg, who then resided in Rudolstadt, and who was
very desirous of giving a fête at her own house in honour _Spohr_, had
not Mrs. _von Holleben_, as she afterwards related with much triumph,
following the example of the mayor of Norwich (whose comical proceeding
towards the bishop of that place _Spohr_ had previously narrated with
much humour), declined in the name of her guests, although without
previously enquiring of them, every invitation that they received.
During the succeeding month’s stay in Carlsbad, _Spohr_ followed up
most conscientiously the prescribed use of the baths and waters, and,
besides the enjoined morning walks of several hours’ duration, he after
dinner made more distant excursions into the beautiful and by him
already previously so much admired environs. Between whiles, however,
he managed to devote many hours to the study and practice of his noble
art, playing assiduously with his wife, and charming the circle of his
more immediate acquaintance with his play. He was forbidden, while
taking the waters, to indulge even in a slight degree his constant
impulse to the composition of something new; nevertheless during this
time he composed a song: “Tears,” by _Chamisso_, which afterwards
appeared in the “Album of Song” of _Rudolf Hirsch_ (published by
_Bösenberg_ of Leipzic).
On his return to Cassel, _Spohr_ was painfully moved by the
intelligence of the approaching departure of his friend _Hauptmann_,
who had accepted the proffered appointment of Cantor at the _Thomas
School_ in Leipzic. However heartily he might have rejoiced to see
_Hauptmann_ exchange his place in the court orchestra of Cassel for
one so much more befitting and worthy of him, yet for the moment
the sentiment of sorrow was the prominent feeling, he that would
thenceforth be bereft of the society and intercourse of a man, who
through a period of twenty years had stood so near to him both as
friend and as colleague in art. As _Hauptmann_ was an active and
highly esteemed member of the St. Cecilia society, upon _Spohr’s_
proposition, a farewell festival in his honour was given, at which the
musical part of the entertainment consisted chiefly of _Hauptmann’s_
compositions. But as _Spohr_ was desirous of contributing at least one
musical piece having especial reference to the occasion, he made choice
of the pretty cantata composed by him for the “Golden Wedding” of his
parents, which, with altogether new and appropriate words, inspired all
hearers with the more interest as _Spohr_ took upon himself the violin
obligato part that formed the accompaniment to the pianoforte.