were accompanied by Professor _Taylor_, in whom they found both a
well-informed and amiable guide and companion. They visited Winchester,
Portsmouth, Southampton, Bath, Bristol and Wales. With the natural
beauties of the latter _Spohr_ was so much charmed that in many parts
he considered them to surpass Switzerland, and all that he had ever
seen. On the return journey to London, he was loud in his expressions
of admiration of the beauties of Cheltenham, and of the fine university
of Oxford. Though in accordance with the advice of the Queen he had
thought to make this little journey _incognito_; nevertheless his
arrival soon became known in each town, and the composer of “Die
letzten Dinge,” the pianoforte arrangement of which he found in almost
every house, was received by every one after his own manner, with
the highest honours, upon which occasions many incidents occurred
that either greatly amused or moved him. Meanwhile, in London, every
possible exertion had been made, and upon his return, _Spohr_ found
that his oratorio had been studied with such faultless precision, that
as he wrote word in a letter home “at the grand rehearsal he was really
much moved both with its excellent execution, and the conviction that
such a number of persons totally stranger to him, and for the most part
engaged in business (who in London have indeed but little leisure time)
should have devoted their evenings to a late hour, during his absence
of eight days, to the study of this difficult work, from pure love of
it, and to afford him an agreeable surprise.”
The performance itself is then thus described: “Imagine a gigantic
hall with places for 3000 persons, crammed full, head above head; in a
balcony apart, as the bill expresses it ‘Madame _Spohr_ and Friends’
looking down upon the scene. Opposite the magnificent and stupendous
organ and on all sides around it, an orchestra and choir of singers
numbering five hundred persons, grouped in the most charming manner; in
that orchestra _Spohr_ enters, and at the same moment the whole public
and orchestra rise from their seats, all waving handkerchiefs and hats
and shouting long and loudly altogether “Bravo, Hurrah!” But no sooner
did _Spohr_ lift his _baton_ than all sat down, and a deep silence of
anxious attention reigned. Then resounded through the spacious hall
the first moving accords of the overture, like music from another
sphere. The whole performance proceeded now grandly and as though with
one impulsive inspiration in all. A solemn thrilling emotion pervaded
us, and at many powerful passages, such as “Er regiert auf ewig (he
rules for ever) Hallelujah!”--“Du nur allein bist Gott” &c. (Thou, and
Thou only art God),--then it was as though all mankind had assembled
to praise God with the purest harmony. But doubly wonderful at such
outbursts of powerful grandeur is the ever-recurring entry at the right
moment of the tenderest shades of expression.... Three airs and the
grand chorus of the Persians were encored with vehement acclamation. At
the conclusion the people, at a loss to find a new and further way of
expressing their rapture, demonstrated it more prominently by mounting
at once upon the benches. When at length _Spohr_ had made his way
through the mass of those who pressed forward to shake hands with and
congratulate him as he passed on to the door of the hall, I observed
with astonishment that the whole company remained behind, and whispered
to each other, which induced me to think something important was still
to take place; when after a time the noise broke out anew and _Spohr_
was again vehemently called for. Upon this two gentlemen led him back
once more, and having informed him that the public much wished him to
address a few words to them, he at length determined to do so, and made
a short speech in ~German~, which although they did not understand,
was very gratefully received by the assembly. Hereupon the President
stepped forward, and having delivered a long address to _Spohr_ in
English, which was repeatedly interrupted by applause and cries of
“Hear! hear!” he presented to him in the name of the company a large
silver salver with a beautifully engraved inscription commemorative of
the evening festival,” &c.--This solemn concluding scene crowned all
that _Spohr_ had yet experienced, and the sad moment of parting from
hospitable England now approached. _Spohr_ himself was painfully moved
by it, although the earnest solicitations of every kind which poured in
upon him, gave him little time for calm reflection. Daily from various
quarters did he receive the blank sheets of albums with the request
for some souvenir from his own hand, many of which yet awaited their
execution and kept him occupied at his writing-table up to the time of
his departure. After he had satisfied these last requests even, and
at length embarked on board the steamer, he good humouredly remarked
to the crowd of friends and admirers who had collected to bid him
farewell: “There is now indeed scarcely a lover of music in England
who has not my autograph,”--the steamer was hailed from the shore, and
on looking in that direction he saw a boat rowing fast towards them,
and shortly, several gentlemen came on board, bearing numerous albums
that had arrived too late, with the entreaty that _Spohr_ would write
something in each during the journey down to Gravesend, whither they
would accompany him with that view! Actually also, did _Spohr_ comply,
and writing, he left the shores of England, and so made the parting
moments somewhat less painful to him!
* * * * *
Early in the month of October 1843, a meeting of the Philological
Society was to take place in Cassel, and the generally expressed wish
to honour the same with some musical performances was the more natural,
from the means necessary thereto being more especially at command
there. Upon _Spohr’s_ recommendation the president of the society and
Gymnasial-Director _Weber_ proposed the performance of “Antigone” at
the theatre, with _Mendelssohn’s_ choruses; and _Spohr_ expressed
himself ready to comply with the wishes of the magistracy to give a
performance of his oratorio: “Der Fall Babylons” in the church, for the
benefit of the poor of the city. As, however, the permission of the
Prince could not be obtained for both, the foreign guests were obliged
to content themselves with a private performance of “Antigone” in the
spacious hall where they held their sittings, upon which occasion
Councillor _Niemeyer_ read the tragedy, and the choruses were sung
with accompaniment of two pianofortes by the singers of the men’s
choral society under _Spohr’s_ direction. In this manner all went off
very effectingly, and the strangers were so well content that they
not only expressed their most heartfelt thanks to _Spohr_ for his
exertions, but at their next sitting, (at which he assisted with much
interest) unanimously voted also a letter of thanks to _Mendelssohn_.
_Spohr_ himself was also so much pleased with the spirited and truly
original music “that he now exceedingly desired to hear it also with
full orchestral treatment.” But as under the present overruling
circumstances in Cassel this was not to be achieved, he shortly
afterwards gave a repetition of the reading of the tragedy in the same
manner, for a charitable purpose, but in a more spacious building, by
which means a wider circle of the lovers of music were enabled for the
first time to become acquainted with the interesting work.
About this time _Spohr_ began to turn his mind seriously to the
composition of another opera, which probably arose from the frequency
with which the libretto of operas were sent to him. But as none of them
satisfied him, and as upon a closer examination, either the treatment
of the subject or the form of the musical pieces did not suit him,
he conceived the idea of writing with the assistance of his wife the
text of a libretto, and chose for subject the once favorite drama of
Kotzebue: “The Crusaders,” which seemed to him particularly adapted to
the object he had this time in view, namely, an entire deviation from
the customary form, as well as from the style, of his own previous
opera music; in composing the whole throughout as a musical drama,
without unnecessary repetitions of the text and ornamentations, and
with a constantly progressing development in the treatment. As soon as
the libretto was completed, he set to work with great spirit, and in
a short time completed the first act, which he immediately arranged
for the pianoforte, and had performed in his house by a select number
of the best dilettanti, in order to convince himself of the success
of his work, before he proceeded further with it. When he became
satisfied how clearly and intelligibly, even without the aid of scenic
representations, the lifelike expression of his music depicted the
different characters and situations, and how powerfully both singers
and auditory were impressed by it, he proceeded with confidence with
the next act, and finished that also, all but the instrumentation,
before the commencement of the theatrical vacation.
As object of his customary summer journey _Spohr_ had selected
Paris, in order to shew his wife the grandeur of that brilliant
capital, and to visit at the same time the international exhibition
of industry, which, as the first of its kind, had so greatly excited
public attention, that strangers from every quarter of the globe
flocked to it to behold the endless treasures in every department of
manufacturing industry, and to admire the products of art. With the
daily concourse of the visitors it was however almost impossible to
obtain an undisturbed and attentive view; it was therefore matter of no
small self-congratulation for _Spohr_ and his wife to receive a ticket
of admission procured by especial favour upon a day that had been set
apart for the King’s visit to the exhibition, when exhibitors only
were permitted to be present. By this means they were also furnished
with the rare opportunity of seeing the venerable _Louis Philippe_,
accompanied by his wife, his sister _Adelaide_, and the then still very
youthful Duke _de Montpensier_, pass close before them, and to hear
distinctly the King’s remarks upon the various manufactures displayed.
At a season of the year so unfavourable for musical performances of any
consequence, _Spohr_ could scarcely hope to enjoy that gratification,
but there, in a foreign land he had the unhoped-for satisfaction of an
enjoyment he had vainly endeavoured to obtain at home, that namely of
assisting at a performance of “Antigone” with _Mendelssohn’s_ choruses,
which on that evening had been given for the thirty-second time in
succession at the Odéon theatre to constantly crowded houses, and
_Spohr_ was deeply impressed with the excellence of the music and of
the scenic arrangements.
But although the best musicians were for the most part absent from
Paris, he nevertheless passed some very pleasant hours in the society
of Mr. _Habenec_ (director of the conservatory), _Panseron_, _Halevy_,
_Auber_, _Berlioz_, _Adam_, &c. On the part of the conservatory it
was also greatly wished to shew him some mark of attention, although
under the circumstances some difficulty was experienced in doing so, as
appears from a notice in a Parisian journal, in the following words:
“Mais que faire pour prouver à l’auteur de ‘Faust’ et de ‘Jessonda’
que la France sait apprécier dignement ses belles compositions et leur
auteur? Une idée vient soudain à un ami de Mr. _Habenec_: ‘L’époque
des magnifiques concerts du Conservatoire est passée! dit-il; eh bien!
écrivons partout, réunissons une partie de nos artistes, et essayons
de tresser une petite couronne à _Spohr_, en exécutant devant lui un
de ses plus beaux morceaux.’ Le projet est approuvé, on n’avait que
quelques jours pour le mettre en œuvre. Des circulaires sont adressées
à vingt, trente lieues de Paris. Des hommes d’un talent supérieur,
qui n’auraient pas quitté leur _dolce far niente_ à prix d’argent,
se hâtent d’accourir, et la Société des Concerts, à l’exception de
deux de ses membres qui sont maintenant en Italie, se trouve réunie à
Paris comme un seul homme. La salle du Conservatoire est ouverte, tons
les exécutants s’y rendent, et _Spohr_ y est amené comme spectateur
unique; c’est pour lui seul que soixante-dix-huit musiciens sont là,
c’est aux pieds de sa gloire qu’ils viennent se prosterner, et lui font
entendre son chef-d’œuvre symphonique: ‘La création de la Musique’
(‘Weihe der Töne’).”
Upon _Spohr’s_ entry into the room he was greeted with loud applause,
and addressed in a speech by Mr. _Habenec_, who invited him to
direct his symphony in person, as at the next winter concerts, the
society intended to perform it, and it would therefore be of the
utmost value to all, to be initiated by the personal direction of the
composer himself into its mode of performance. In reality, also, many
indications and repetitions were necessary upon the occasion, until
every thing, went satisfactorily; but _Beethoven’s_ pastoral symphony,
which followed, and had been frequently played, was executed with that
masterly precision for which that orchestra was so celebrated.
On the following day _Spohr_ set out on his return to Cassel, which he
again left after the lapse of a few weeks, to comply with an invitation
from his native town of Brunswick, where they had long desired to
give a grand musical festival in his honour, and had therefore made
arrangements to have a performance of his oratorio the “Fall of
Babylon,” at the end of September.
On his way thither he received a foretaste of the Brunswick
festivities, at Seesen, where he slept the first night, and where he
had passed the first years of his childhood; the inhabitants of that
place having been thereby induced to believe that it was really his
birth-place. He was greatly surprised at being welcomed immediately
upon his arrival here with a kind and most hearty address and ushered
with much ceremony into the handsomely decorated grand room of the
hotel, where he found disposed in a wide semicircle, symmetrically
arranged, a selection from all the musical talent of the young folks
of Seesen, with the members of the choral society of that place; who,
besides singing several songs, executed a chorus from “Die letzten
Dingen” and a pleasing poem composed especially for the occasion,
addressed to _Spohr_, and arranged for four voices.
Brunswick was no less demonstrative in celebrating the presence of its
illustrious guest, and detailed notices of an impromptu festival given
to _Spohr_ are furnished by several letters, in which the brilliant
external display, as well as the expressive and appropriately arranged
musical entertainment, appealed with equal force and charm to the heart
and mind. A cantata set to music by _Methfessel_ for female voices and
chorus, “Welcome to _Spohr_,” was first sung, with a soft accompaniment
of wind instruments placed out of sight in the background, and executed
by them in the most finished manner. But scarcely had the guest so
honoured time to express his thanks at the conclusion of this pretty
song, when quite unexpectedly, and in striking contrast with it, a
powerful chorus of male voices from the opposite side of the hall began
a second “festive song to _Spohr_,” which prepared the minds of all for
the enjoyment of the subsequent more exhilarating festivities.
On the following day _Spohr_ directed the performance of his oratorio:
“The fall of Babylon,” in the Ægydian church, which was here also
executed with great spirit, and was well received. The circumstance
that its performance took place in the same church in which more
than 60 years before he was baptised as an infant greatly increased
the interest of the day, and gave occasion to several other poetic
effusions.
A grand concert of a mixed kind concluded the festivities of the
day; the first part of which comprised the overture to “King
Lear” by _Berlioz_, directed by Kapellmeister _Müller_, airs from
“Oberon” and “Jessonda” an adagio for violin by _Spohr_, executed by
concert-director _Müller_, and _Maurer’s_ concertante for four violins
(played by _Müller_, _Zimmermann_, _C. Müller jun._ and _Jean Bott_
of Cassel); the second part consisted of _Spohr’s_ fifth symphony, _C
minor_. Thus ended this pleasing festival, the heartfelt pleasure at
which was alone saddened to _Spohr_ by thoughts of his beloved father,
who, up to the few months preceeding his death in Brunswick had passed
the last years of his life in Seesen, but who, after watching for years
at a distance the career of his son with pleasurable pride, could now
no longer be a witness of the high esteem and honour shewn to him by
his native town.
At the end of the year _Spohr_ received an invitation to a grand
musical festival at New-York--the first from that side of the Ocean,
to the direction of which he had been unanimously selected at a
general meeting of the society of music of that city, “as the first
of all living composers and directors of music.” There were to be two
performances of sacred and two of secular music, and above all his
oratorio of the “Fall of Babylon”--“the fame of which had spread from
England to the new world,” was to take precedence. Although such a
proposal might have had great attractions for _Spohr_, and have yet
more incited his constant love of travel; and although in New York he
would have moreover the pleasure of seeing again his daughter _Emily_,
who with her husband and child had emigrated there some years before,
yet he soon made up his mind to decline it, as a residence there of
the few weeks only which the duties of his place would have perhaps
permitted, would scarcely have compensated for the fatigues of a long
voyage.
On New Year’s Day 1845, _Spohr’s_ new opera, “The Crusaders,” was
performed for the first time; and not only upon the first night, but
upon the quickly succeeding further performances, it met with an
unexampled brilliant reception for Cassel. _Spohr_, who had looked
forward with particularly anxious expectation to the success of this
work, was much gratified at this result, and wrote to his friend
_Hesse_ as follows: “That my opera should have made so deep and
lasting an impression upon the public, the lesser number of which only
consisted of musically educated persons, I ascribe to the truthful
character of my music, which aims only at representing the situation
perfectly, and discards all the flimsy parade of modern opera-music,
such as florid instrumental soli and noisy effects.[39] And I was
furthermore exceedingly pleased that the singers, who did not find in
their parts anything of that which usually gains for them the applause
of the crowd, evinced nevertheless at every rehearsal a greater
interest in it, and a zeal to study such as I never before observed in
them. But the result shews also, that this style of song, which is so
convenient for every one, and affords the opportunity of displaying
the best tones, and the degree of feeling and expression which each
is capable of, is a very grateful one; for never were our singers so
applauded, and after the second performance they were all called for
together on the stage.” The newspapers having circulated a great deal
in praise of the new opera, and it having become more extensively known
by the pianoforte arrangement which was shortly afterwards published by
_J. Schuberth_, it was soon announced for performance at other theatres
in Germany, viz. at Berlin, Dresden, Brunswick and Detmold; but in
other (catholic) cities, like Munich, Vienna &c., objection was taken
to the libretto, which had been asked for examination, and therefore
the performance was abstained from.
[39] To similar observations in a letter to _Hauptmann_ he adds: “I
could not make up my mind to write _one_ unnecessary note for the sake
of brilliancy.”
As _Spohr_ was invited to direct personally the first performance
of his “Crusaders” at Berlin, he was desirous that this should take
place during his theatrical vacation; and although he was apprised
from there that it was the most unfavourable season of the year for
it, as the chief characters of his opera could not be satisfactorily
represented till after the return of the absent principal singers, he
nevertheless though it more advisable to do without their assistance,
than by a longer delay to make the possibility of his coming a matter
of uncertainty.
At the beginning of the holidays he therefore set out on the journey,
but first to Oldenburg, to direct a grand concert there, the receipts
from which were destined for the institution of a pension fund for the
members of the orchestra there.
The programme had been previously cast by _A. Pott_, the resident
director, his former pupil and enthusiastic admirer, and consisted
wholly of _Spohr’s_ compositions, viz. concert overture in the serious
style; latest violin concerts in _E minor_, executed by the composer;
duett from “Jessonda” sung by Mrs. _Schmidt_ of Bremen and Mr. **;
clarinet concerto, played by Mr. _Köhn_, member of the ducal orchestra;
grand symphony in _C minor_ (No. 5); the “Lord’s Prayer,” for solo,
chorus, and orchestra.
Upon _Spohr’s_ arrival he found the whole of the musical pieces
(the last two of which he himself directed) so well practised under
_Pott’s_ direction, that at the rehearsal he was greatly pleased by
it. At the public performance, also, every thing went off so well,
that Mrs. _Spohr_ expresses herself in a letter home as follows: “We
felt as though we had been suddenly transported to England. The music,
the finished execution, the spacious, densely filled, and splendidly
acoustic building, the enthusiastic applause and admiration--all were
in truth _grandly English_. And all this was doubly surprising and
gratifying when one thinks that this took place in a small town with a
population of only 12,000. Orchestra and singers, three hundred persons
in all, worked together with wonderful harmony. Every piece of music
was excellent, but the impression made by the ‘Lord’s Prayer’ was
_quite indescribable_, and the words in which _Pott_ shortly before
expressed himself to _Spohr_, after a rehearsal of it: ‘Happy is the
man who can pray with such intense devotion; peace must indeed dwell
in his soul,’ presented themselves here in their full import to my
mind. _Spohr_, also, was of my opinion that he had never heard the
piece so well played, for even in the finest shades of the expression
there was nothing more to be desired. The whole platform from which
_Spohr_ led the orchestra, and the steps leading to it, were strewn
with the finest roses; the whole front of the orchestra was decorated
with wreaths; and beneath his bust, crowned with laurel, were the words
‘_Louis Spohr_’ in gigantic letters, composed of roses and laurel
artistically interwoven. While the assembly were listening with the
deepest attention to the splendid tones, it was little imagined by
any one how every enjoyment was embittered to _Spohr_, by a sudden
seizure with cramp in the stomach, which soon became so intense, as
he himself afterwards related, that when conducting the symphony and
the ‘Lord’s Prayer’ he had great difficultly in keeping himself erect.
After the concert we were to have assisted at another _fête_, given by
the minister _von Beaulieu_ at his house, in honour of _Spohr_; but
under the circumstances this became impossible, and we hastened home
with all speed, where, having arrived, _Spohr_ went immediately to
bed, and was obliged to resort to sedatives; but the cramp would not
yield to them, and the doctor who was called in, vainly endeavoured
to afford him relief, so that the pain became intense. At this very
moment when _Spohr_ lay in such a sad condition of suffering that
he expected every moment would be his last, a singular and striking
contrast was presented to his position, by a monster torch-light
procession followed by a large concourse of the inhabitants of
Oldenburg, which halted under our windows, and began a grand serenade
with the overture and several choruses from ‘Jessonda,’ performed by
all the native and foreign musicians then in Oldenburg, together with
three choral societies. Many other pieces were to have been performed,
but by _Spohr’s_ wish, _Pott_ availed himself of the opportunity when
a loud cheer was raised by the crowd, to address them in his name from
the window in a speech of thanks, which, although improvised, was
as well put together and delivered as though he had long previously
studied it. But when he acquainted them with _Spohr’s_ illness also,
a general depression spread immediately through all present, and the
previously so joyous assembled serenaders, withdrew in silent sadness.
In our house, meanwhile, all was remarkably lively: the hostess,
Mrs. _Oppermann_, wife of the Councillor _Oppermann_ of the high
court of appeal, was entertaining two carriage-loads of guests who
had come to the concert, together with all her acquaintance, who had
assembled below to be enabled to hear the serenade music better. In
strange contrast with these intervened the various attendances to the
necessities of our patient, the messages to the apothecary, my agony
of mind--in fact, it was a situation singular indeed of its kind.