the serious style” (Op. 121, at _Siegel’s_, in Leipzic), which was
performed at the first of the Casseler subscription concerts, and
shortly afterwards at the Gewandhaus concert in Leipzic, and at both
places produced the earnest and grandiose effect which the composer
had in view. He next, at the repeated solicitations of publisher and
friends, tried his hand at a species of composition which he had never
till then tried, a sonata for the _pianoforte alone_, which after
having accomplished to his satisfaction, he resolved to dedicate to
his friend _Mendelssohn_. The latter having been made acquainted with
it, wrote to him immediately and accompanied the expression of his
thanks “for the high and distinguishing honour” with the following
words: “If I could but express to you, how deeply I feel what it is to
be thus able to call one of your works one’s own particular property,
and how my heart joys not alone in the distinction conferred, but
equally in your friendly thought of me, and your constant desire for
my welfare. A thousand thanks to you for it, dear Mr. Kapellmeister,
and rest assured that to the best of my ability I will endeavour to
make my now obstinate fingers bring out the beauties of the sonata
properly. But that is again only a pleasure that I shall be doing
myself, and I should so like to render you one in return for it,”
&c. The “obstinate fingers” must nevertheless have soon succumbed to
the will of the master, for when upon a subsequent visit to Leipzic,
_Spohr_ had the gratification of hearing him play the sonata, it was
everything he could have wished, and he recognised in such an execution
the ideal which when composing it his fancy had conceived. Shortly
afterwards, when it was brought out by _Mechetti_ of Vienna, as Op.
125, and thereby became more widely known, _Spohr_ received many
gratifying notices of it from all sides. But he was especially taken
by surprise on the receipt of a letter from Hungary, enthusiastic in
admiration of the sonata, from the to him wholly unknown director of
the choir, _Seyler_, of the Cathedral of Gran, in which he says among
other things: “Times innumerable, in the hours when my duties permit
me some relaxation, do I charm myself at the piano with that sonata
you dedicated to Mr. _Mendelssohn-Bartholdy_. Carried away by the
magic of its tones I now take up the pen, in behalf of all pianists
of feeling who may not always have the opportunity to be enchanted by
your greater musical productions, to render you the warmest thanks
for this beautiful work.... I would moreover earnestly entreat you to
let me know whether we pianists may encourage the hope of having such
another composition, with which with two hands alone, we may discourse
with the spirit of the world-famed German hero of musical science?”
&c. Although this and many other similar testimonies might have fully
removed _Spohr’s_ former doubts as to whether he could contribute
anything sufficiently satisfactory as a composer for the pianoforte,
yet as may be readily imagined it was more in his interest to give his
sole attention to the violin as concerted with pianoforte music; and
his next works were six duets for pianoforte and violin (Op. 127),
but which he could not finish and send in to his publisher _Julius
Schuberth_ of Hamburgh, who awaited them with much impatience, till
after the lapse of several months, as just at that time he was more
than usually occupied in perfecting his orchestra in the study of
several larger works. He first of all wished to give _Bach’s_ “Passion”
on the coming Good Friday, and although, with the same intention he had
previously rehearsed it several times with all the musical strength he
could enlist in Cassel, yet years had since then elapsed; and it cost
him a very great exertion of his patience and perseverance to bring his
orchestra and singers up to such a pitch of excellence as to ensure the
public performance of that extremely difficult music in a creditable
and worthy manner.
After _Spohr_ had toiled for long months in practising the choruses and
the long-wished-for day of performance was drawing nearer and nearer,
the required permission of the Prince was suddenly refused, without any
reason being assigned for it; and it was not until a second application
had been sent in, accompanied (to meet all eventualities) by a
certificate of the clergyman, that he considered “the music selected
for performance perfectly fitted for the church and for the day,” that
the desired permission was granted; and that to the great satisfaction
of _Spohr_ and every lover of music in Cassel, it could be performed on
the day appointed. But these obstacles repeatedly thrown in the way of
its production were very nearly the cause of _Spohr’s_ total departure
from Cassel, for at that very time he again received from Prague a very
advantageous offer of appointment there, respecting which he wrote as
follows to his friend _Hauptmann_: “I am so weary of all the vexations
I meet with here that even at my time of life I could almost make up
my mind to leave this place, were not my wife so much attached to
her family, and that she would be unhappy away from her friends. The
opportunity now presents itself in an offer from the states of Bohemia
of the post of director of the Prague conservatory of music vacant
by the death of _Dionys Weber_, as an indemnifaction for the salary
I should throw up here. Such a field for exertion and a residence
in musical Prague would suit me well. But under the circumstances
adverted to above I must of course decline it....” In _Hauptmann’s_
very explicit reply to this he says among other things: “By _Spohr’s_
leaving under the pressure of such existing circumstances, Cassel will
become a desert as regards music,” but he nevertheless advises him to
leave it without hesitation, and “will not yet relinquish the thought
to see him move away from good, beautiful but _oppressed_ Cassel, to
majestic Prague.”
But as _Spohr_ in the meanwhile had come to a decision, and of his own
impulse allowed his kindly consideration for his wife and her parents
to prevail with him, their daily intercourse having become with him
also a pleasurable habit, he wrote back in his reply the following few
but characteristic words: “The interest and sympathy, which breathes
throughout your kind letter was most gratifying to me also in regard
to the Prague business. But I had already made up my mind in the
interim, and I am glad that my answer declining the offer had been sent
to Prague, before my father-in-law knew anything about it, or with
tears in his eyes could have to thank me for my decision....”--In this
manner _Spohr_ remained in Cassel, to which he had become attached as
to a second home, and he continued to discharge his duties with his
customary zeal.
He now again gave his attention to the study of a difficult work:
“The flying Dutchman” of _Richard Wagner_, which _Spohr_ proposed to
himself to bring out as a festival opera for Whitmonday, having heard
much in its praise from Dresden, and upon perusal of the libretto,
which had been sent to him, had found the subject so satisfactory
in every respect, that he pronounced it a little master-piece, and
regretted, “not to have met with a similar and as good a one to set to
music, ten years before.” When at the rehearsals he had become more
closely acquainted with the opera, he wrote to _Lüder_ respecting it,
and invited him to the approaching performance in Cassel: “This work,
although somewhat approaching the new-romantic music _à la Berlioz_,
and although it has given me immense work on account of its extreme
difficulty, interests me nevertheless in the highest degree, for it is
written apparently with true inspiration--and unlike so much of the
modern opera music, does not display in every bar the striving after
effect, or effort to please. There is a great deal of the fanciful
therein; a noble conception throughout, it is well written for the
singer; enormously difficult it is true, and somewhat overcharged in
the instrumentation, but full of new effects, and will assuredly,
when it once comes to be performed in the greater space of a theatre
be thoroughly clear and intelligible. The theatre rehearsals begin at
the end of this week, and I am exceedingly desirous to see how the
fantastic subject and the still more fantastic music will come off _en
scène_. I think I am so far correct in my judgment, when I consider
_Wagner_ as the most gifted of all our _dramatic_ composers of the
present time. In this work at least his aspirations are noble, and
that pleases me at a time when all depends upon creating a sensation,
or in effecting the merest ear-tickling,” &c. Notwithstanding the
apparent almost insurmountable difficulties, _Spohr_ succeeded in
giving one performance, which left nothing to be desired, and the work
was most favourably received by the public. In full satisfaction to the
author he felt impelled to write to _Wagner_ to make him acquainted
with it; upon which the latter in the fulness of his joy replied: “My
very esteemed sir and master, I was really obliged to recover myself
somewhat from the joy--from the rapture I may say--which your extremely
kind letter afforded me, before I could undertake to write, and
express to you the gratitude of my heart.... In order to enable you to
understand the extraordinary emotion your intelligence produced in me,
I must first calmly explain what were my expectations in regard to the
success of this opera. From the unusually great difficulties which it
presented I could expect but little from it, however good the musical
and dramatic strength with which it might be put upon the stage, unless
there was a man at their head who, endowed with peculiar energetic
capacity and goodwill, would espouse my interests with predilection and
in the face of every obstacle. That you, my highly-esteemed master,
possessed beyond all others the qualifications for so energetic a
direction, I well knew,--but whether you would consider my work
sufficiently worthy of your attention to take so decided an interest in
it, that was certainly the very natural doubt that made me despair more
and more, the nearer the day of its announced performance approached;
so that I confess I had not the courage to go to Cassel, to become
personally a witness to my shame and to the realisation of all my
fears. But I now see indeed that a lucky star has risen over me, since
I have gained the sympathy of a man from whom an indulgent notice only
would have been sufficient fame for me:--but to see him take the most
decisive and crowning measures in my behalf, is a piece of good fortune
which assuredly distinguishes me above many, and which really for
the first time fills me with a sentiment of pride, such as hitherto
no applause of the public could have awakened in me” &c. With equal
gratitude and kindliness _Wagner_ acknowledged the correctness of the
omissions made by _Spohr_ in the opera, in the which he “recognised but
further proof of the true interest he had evinced for him,” and this he
reiterated in all his subsequent letters with the warmest expressions
of attachment and esteem.
With the commencement of the theatrical vacation, _Spohr_ made
preparations for the journey to London, where he hoped to receive
satisfaction for the disappointment of the refusal of leave absence
in the previous autumn, to proceed to Norwich to conduct the
much-talked-of performance of his oratorio, “The fall of Babylon.” For
months previously the committee had applied to that effect through the
embassy at Cassel, to the Prince, but had met with a summary refusal,
upon which _Spohr_ received several letters from England, expressing
how much they felt aggrieved by it, and lord _Aberdeen_ especially,
who had authorised the application to the Prince through the medium of
the English embassy. Upon this the committee met in Norwich and sent a
deputation to London to the duke of Cambridge, who expressed himself
willing to write personally to the Prince in the most pressing terms.
But without avail; after a lapse of two months his application was
refused also, and both he and the whole royal family were not a little
hurt by it. In Norwich, meanwhile, it was thought that every means had
not yet been exhausted, and to _Spohr’s_ extreme surprise he suddenly
received an enormous petition signed by a considerable number of the
inhabitants of Norwich, beseeching the Prince in the interests of that
city to allow _Spohr_ to direct his oratorio there. Although he himself
had now little hope of a favourable issue to this prayer, he was
nevertheless greatly moved by the receipt of so imposing a document,
and awaited a reply with the greatest anxiety. This however did not
come; but the Hessian minister for foreign affairs, _von Steuber_,
wrote the following letter to the wife of Mr. _von der Malsburg_, grand
marshall of the court, by whom the petition had been presented: “I
have to announce to your Excellency that I delivered the petition in
question, and urged personally all the circumstances detailed therein,
but as you yourself feared, there is no hope of a successful result”
&c.--
Although _Spohr_ could not personally share in the triumph which this
new oratorio achieved for him in England, he nevertheless received
almost daily detailed epistolary accounts of the success of the
festival, and at length also a whole box full of newspapers of every
shade of politics, which seemed almost to vie with each other in
expressions of admiration of his work. Of these, some few of the most
conspicuous and characteristic in style of comment may here be cited:
“The Times” says among other things: “The gem of the festival was
_Spohr’s_ oratorio. The text is written with especial regard to the
nature and the character of an oratorio, and the subject which _Spohr_
has illustrated by the exercise of his talent is especially favourable
to its exhibition. Three nations are represented: the captive Hebrews,
the luxurious Babylonians and the Persians in their pride of conquest:
these furnish materials for the most varied musical treatment by the
composer, of which he has availed himself in the most admirable manner,
and thoroughly understood how to adhere throughout the music to the
identity and nationality of the different nations. His peculiar genius
for the invention of beautiful melodies, and his power to enrich these
with appropriate harmonies is also preminently conspicuous in this
splendid work.” After a detailed analysis of the separate “numbers” it
is further said: “The general opinion of the oratorio is this: It is
a master piece of art, worthy to rank with “Die letzten Dingen” and
“Des Heilands letzten Stunden.” Emphatic as this praise may be, it is
nevertheless just. Though from the same hand, the work is nevertheless
essentially different from these. The former excite feelings of
deep devotion and christian piety, in the latter we distinguish the
character of the deity more in its majesty and omnipotence; Jehovah
displays himself to us in acts of power by dooming the ungodly to
punishment. The work fulfils all the conditions of a true oratorio,
and its performance was a triumph of English art. One thing only was
deeply and generally deplored, that _Spohr_ was prevented from being
present at this triumph.” In the Morning Chronicle, after similar
enthusiastic expressions of opinion, follows: “In a word, the music is
characterised by the whole power and peculiarity of _Spohr’s_ genius,
and we may boldly assert that it is the grandest work written since
the days of _Händel_.”--The immense crowd that pressed forward to the
hall to witness the performance is adverted to by all the papers, and
the Morning Herald especially, speaks of it thus: “Although to hear
_Spohr’s_ oratorio an unusually numerous auditory was to be expected,
yet no one could have formed an idea of what actually occurred. From an
early hour in the morning carriages arrived in numbers, filled with the
rank and beauty of the county.... The whole interior of the building
was immediately filled; where a resting-place could be found for one
foot only, fool-hardy individuals were to be seen located in the most
dangerous situations, and every one seemed determined to endure the
greatest inconvenience rather than forego the pleasure of hearing
_Spohr’s_ oratorio. Many persons clambered up to the roof, and from
thence in at the window, but numbers were compelled to remain outside,
and content themselves with looking down from their dizzy height upon
the crowds below. This is no exaggeration, but strictly true; and
that such a degree of interest should have been evinced for a new
musical work, is certainly an event that stands alone in the history
of music,” &c. While _Spohr_ found at home a cheering distraction in
these gratifying accounts, his admirers and friends in England were
considering how to make him some compensation for his loss, and before
the close of the year he received an invitation to London during his
next vacation, to conduct his oratorio.
Upon _Spohr’s_ arrival in London in June 1843, Professor _Taylor_,
who had conducted his oratorio at Norwich, in his stead, and who had
discharged that difficult task most creditably, had so far made
all the preliminary preparations that after a few rehearsals, its
performance could take place at the Hanover Square Rooms to his full
satisfaction. The public also gave vent to their enthusiasm, with the
most reiterated and demonstrative applause, and at the conclusion
greeted him with three cheers. Nevertheless all those who had been
present at the festival in the fine St. Andrew’s Hall at Norwich, were
not by any means satisfied that _Spohr_ had not been permitted to hear
his work under equally favourable circumstances, in all its grandeur,
and he received the invitation to direct a second grander performance,
which the Sacred Harmonic Society were desirous of giving with their
chorus of five hundred voices in the large concert-room of Exeter
Hall. But as he had proposed to himself to devote the yet remaining
week’s leave of absence to a journey to Wales, of the scenery of
which he had heard so much spoken in praise, and as the time moreover
appeared to him much too short for a careful study of his oratorio, he
returned an answer declining the invitation. Upon subsequent pressing
solicitation, nevertheless, and repeated conferences, he at length
yielded, and it was then agreed that the requisite rehearsals should
be made during _Spohr’s_ absence, so that he would have nothing more
to do than to take upon himself the direction of the performance, and
meanwhile he could proceed undisturbed upon his projected journey.
Highly necessary to him, also, was such a refreshing change of scene
after the almost overwhelming fatigues of the musical entertainments
and dinner-parties of the preceding weeks, at the greater part of
which he himself took an active share in the performances. At the
last concert of the Philharmonic Society, in which he directed the
performance of several of his compositions: “Die Weihe der Töne,” the
overture to the “Alchymist,” and the flower duet from “Jessonda,” but
first himself executed his concertino in _E major_ upon the violin,
he was, as recorded by the “Spectator”--“welcomed like a Prince, the
whole company rising spontaneously from their seats to salute him” ...
and when he had concluded his artistic and indescribably charming
play, the irrepressible outbursts of delight shewed how completely
he had touched the heart-strings of his auditory. At the end of the
concert the directors conveyed to him moreover the wishes of the queen,
that he would play once more in an extra-concert to be given for that
purpose. As he could not well refuse this, the concert took place a
week afterwards, and comprised in its compendious programme among other
things a symphony of Mozart, the ninth symphony of _Beethoven_, with
the choruses, and three of _Spohr’s_ compositions: concertino in _A
major_, the overture to “Macbeth,” and Tristan’s air in “Jessonda,” in
which _Staudigl_ was twice encored.
Respecting the further circumstances of the concert a letter written
home contains the following: “The extra-concert of yesterday was a very
brilliant success, and afforded us high enjoyment. The appearance there
of the Queen was an event of which all the newspapers and everybody
also spoke beforehand with much interest; as since her coronation she
had never yet appeared at one. When she entered the room, dressed in a
plain black robe, but wearing a good many diamonds, the public clapped
their hands and rose from their seats, upon which the soli and chorus
sang “God save the Queen” with great effect. During the entre-acte, the
Queen sent for _Spohr_ to the adjoining apartment, where she discoursed
with him for some time in a very flattering manner, and advised him
during his further journey in England to travel _incognito_, otherwise
in every town he would be annoyed and intruded upon in the same manner
as in London. Prince Albert and the King of the Belgians entered also
into conversation with him, and he was much edified by their remarks.
Several persons whom we knew, who sat near the Queen, laid great stress
upon the circumstance that upon _Spohr’s_ appearance in the orchestra,
she and her husband bowed very profoundly, and clapped their hands very
warmly,” &c. At further music parties he experienced great pleasure in
hearing his trios, quartets, airs and duets from his operas, and songs,
executed with the most perfect finish, and was always much delighted
with the wonderfully pure execution of the favorite English glees. Upon
these occasions he was not at all disturbed by the enormous quantity of
musical pieces which were brought forward, for with his inexhaustible
nerve and power of endurance he was fortunately enabled to compete with
the English.
As a curiosity of the kind the following programme may be adduced, of a
musical festival got up by Mr. _Alsager_, then co-editor of the Times,
in honour of _Spohr_:
Queen Square Select Society.
Musical Festival in Honour of the arrival of Spohr in London.
Sunday July 2, 1843.
Act. 1.
Double Quartet No. 1 Spohr.
Quintet-Pianoforte, Flute, Clarinet, Horn and Bassoon Spohr.
Double Quartet No. 2 Spohr.
Nonetto Spohr.
Déjeuner à la fourchette.
Act. 2.
Quintet Spohr.
Ottetto Spohr.
Double Quartet No. 3 Spohr.
To commence at 2 o’clock--Déjeuneur at 5--
Second act to commence at 7.
This festival, which was in every respect successful, and got up with
princely magnificence, must have been the more gratifying to _Spohr_,
when he saw how the company, consisting of fifty persons, listened
until late in the evening with admirable perseverance and wrapped
attention to his tones, without evincing the least sign of weariness.
When gratified beyond measure by a festive testimonial so unusual, he
felt called upon to express his very great thanks to Mr. _Alsager_,
he found to his great surprise on the following day among the mass of
letters which he constantly received, one also from him expressing
his heartfelt thanks, which concluded as follows: “May you enjoy all
the happiness that can result from the consciousness that you are a
benefactor to the world and communicate happiness to others in a circle
still increasing and never ending.”