me. I never could have believed, after my long, and I think I may
say honourable, career as a musician, that I should have lived to
experience the indignity to have the score of one of my works--not sent
in as the first essay of a beginner for examination and trial, but
_ordered_ by previous application--sent back to me in such a manner.
What you are pleased to assign by way of explanation or excuse for so
strange a proceeding, I cannot possibly accept; for it was no fault
of mine that the opera was not brought out at the appointed time,
and both soon enough and frequently enough had I drawn attention to
the circumstance that I could obtain no leave of absence out of my
vacation time. How the opera, which is known by nobody in Dresden,
should now have lost the charm of novelty I can as little understand,
as that the contents of the opera, which were already known to you
when you ordered it, should now all at once be found objectionable,
while here and in Berlin, it has not met with the least objection in
its present form, nor formerly, when performed in the shape of a play
throughout Germany. Had your excellency felt any anxiety lest the
opera would not remunerate for the time given to its study, and the
expenses it might entail, you could assuredly have found some relief
for your doubts in the many numerously attended performances which have
already taken place here, in Berlin, Brunswick, &c. It is difficult
for me also to conceive how the work of an old experienced composer
should be rejected by a theatre which does not disdain the rapid works
of beginners and dilettanti such as .... and .... The insult that
has been offered to me is therefore wholly inexplicable, and I must
console myself with the reflexion, _that it is the only one of the kind
offered to me during my long career as a composer_, and I congratulate
myself that I am not under a theatrical directorship which so little
understands how to respect the feelings of a veteran artist,” &c. To
this a reply was received from the vice-manager, _K. Winkler_, who
at the request of Mr. _von Lüttichau_, expressed his regret that the
return of his score, which had become necessary, should have so much
offended _Spohr_, assuring him furthermore, that the chief reason for
it was the words and subject of the opera, during the ecclesiastical
excitement.
But that _Spohr’s_ view of the matter was not much changed by this
attempt at exculpation is evident from a letter he wrote to _Richard
Wagner_, in which he opens his whole mind to him, and having first
expressed his disappointment that _Wagner’s_ opera “Tannhäuser,”
which he had proposed to the Prince to have performed in celebration
of his birth day, had not received the official sanction, he avails
himself of the opportunity to detail fully to him the incomprehensible
conduct of the Dresden theatrical directorship. _Wagner_, who then
first was made acquainted with all the particulars, gave expression to
his anger thereat, in so plainspoken a manner, that the publication
of his letter, highly interesting as it is, would perhaps be
unadvisable. After the prospect of a meeting with _Wagner_ in Dresden
had been dispelled in so vexatious a manner, _Spohr_ proposed to him
a _rendez-vous_ at Leipzic, where he intended making a stay of a
few days on his contemplated journey with his wife to Carlsbad. As
_Wagner_ seized the idea with much pleasure, the long desired personal
acquaintance was at length made with the greatest mutual satisfaction,
and letters addressed to the family at home speak among other things of
this meeting, and other interesting circumstances that occurred during
their stay there:
“We are passing our time here most delightfully, and enjoying a very
feast of the finest music. On the very first evening we had a music
party at _Hauptmann’s_, where trios by _Mendelssohn_ and _Spohr_, in
which each master took part, were played; and the company, consisting
chiefly of connoisseurs in art, were highly delighted indeed. On the
following day a very charming dinner-party was given at _Wagner’s_
suggestion, who has himself no means of entertaining friends at
Leipzic, by his brother-in-law, Professor _Brockhaus_, in honour of
_Spohr_. We there made the acquaintance of his sister and several
others of his relatives, all of them most intellectual creatures, and
enjoyed ourselves greatly. Besides the members of the family, _Heinrich
Laube_, the author, and his very learned wife, were present, who gave
a yet more lively impress to the conversation. We were most pleased
with _Wagner_, who seems every time more and more amiable, and whose
intellectual culture on every variety of subject is really wonderful.
Among other things he gave expression to his sentiments on political
matters with a warmth and depth of interest that quite surprised
us, and pleased us of course the more from the great liberality of
feeling he displayed. We passed the evening most delightfully at
_Mendelssohn’s_, who did his utmost to entertain and please _Spohr_.
This family has for me something very idealistic about them, they
present a combination of inward and external features, and withal so
much beautiful domestic happiness, that one seldom sees the like of in
actual life. In their establishment and whole manner of living there
is so much unassuming modesty amid all the obvious luxury and wealth
around them, that one cannot but feel at one’s ease. And to me most
gratifying is his unmistakable attachment to and esteem for _Spohr_.
He himself played a most extremely difficult and highly characteristic
composition of his own, called ‘Siebenzehn ernste Variationen’
(seventeen serious variations), with immense effect; then followed
two of _Spohr’s_ quartets--among them the newest (the 30th.)--on
which occasion _Mendelssohn_ and _Wagner_ read from the score with
countenances expressive of their delight. Besides these, the wife
of doctor _Frege_ sang some of _Spohr’s_ songs, which _Mendelssohn_
accompanied beautifully; and in this manner the hours passed rapidly
and delightfully with alternate music and lively conversation, till
midnight drew on unobserved, and at length gave impressive warning to
break up. _Wagner_, who was obliged to return to Dresden the following
day, came to take leave of us, which both to us and to him was a sad
moment. But after he had left, he was frequently the subject of our
conversation, for he left us the words of a new opera which he had
written (Lohengrin) to read, and which is exceedingly original and
interesting.... Yesterday at the dinner-table we made another agreeable
acquaintance, that of the poet _Robert Prutz_, who being seated
exactly opposite to us, introduced himself, sustained a very lively
conversation, and appeared quite charmed at meeting with _Spohr_. After
dinner a performance was arranged in the church by the pupils of the
Thomas School, where, without any accompaniment _Spohr’s_ psalm with
double choir, ‘Aus der Tiefe’ (out of the deep) and his favorite motet
by _Bach_: ‘Ich lasse Dich nicht’ (I will not leave thee) were sung....
Last evening an extra concert was given for _Spohr_ in the well-known
Gewandhaus, which, under _Mendelssohn’s_ direction, was in every
respect a brilliant entertainment. The programme consisted wholly of
_Spohr’s_ compositions, of which we had not been apprized before hand,
and which was on purpose to take us by surprise. It comprised: 1stly.
The overture to Faust; 2dly. An air from Jessonda sung by the prima
donna, Mrs. _Meyer_; 3dly. Grand violin concerto played to _Spohr’s_
complete satisfaction by the wonderful boy _Joachim_; 4thly. Songs with
clarinet accompaniment, by the wife of doctor _Frege_, _Mendelssohn_,
and a first-rate clarinetist, so wonderfully executed that it went
to the very heart; 5thly. ‘Weihe der Töne,’ which for years has been
a bright-shining star with the Leipzic orchestra. At the request of
_Mendelssohn_, _Spohr_, although he would rather have remained a hearer
only, took the direction of the two last subjects, on which occasion
he was greeted by the orchestra and the auditory, which consisted
of about two hundred select guests, with a storm of applause, as he
had also been saluted with upon his entrance. The whole was a grand
elevating festival, and for _Spohr_ a deeply-felt gratification.
_Mendelssohn_ was extremely amiable, and the whole evening as though
intensely happy, which proved how foreign to his mind is every feeling
of jealousy. This evening the last music party will meet at _Vogt’s_,
where _Mendelssohn_ proposes to himself an especial pleasure, not only
in taking part in _Spohr’s_ first trio as pianist, but as _viol_ in his
splendid third double quartet.”
In this manner up to the last moment was _Mendelssohn’s_ thoughtful
and kind attention evinced to _Spohr_, and upon his departure on the
following morning, when the numerous friends who had accompanied us
to the railway-station had taken leave of him, he was, as the further
accounts of the journey express it, “the last of all, who, as the train
at first proceeded slowly, ran for a considerable distance by the side
of the carriage, until he could no longer keep up with it, and his
kindly beaming eyes were the last that left their expression on the
minds of the travellers from Leipzic,” little anticipating indeed that
it was to be their last meeting on this side of the grave!
Scarcely had _Spohr_ arrived in Carlsbad, than he received a pressing
invitation from the Landgrave of _Fürstenberg_, president of the
society of music of Vienna, to direct there two grand performances
of his renowned oratorio, “The Fall of Babylon,” upon the occasion
of a festival at which 1000 singers would assist. But as this was to
take place in November, and it would be necessary to ask for another
“extraordinary” leave of absence to comply with the invitation, this
was applied for through the Austrian embassy. But notwithstanding
the signature of “_Metternich_” gave its imposing weight to the
application, the Prince refused compliance, and thus not only was
_Spohr_ prevented going, but the performance of his oratorio was
necessarily deferred to a more favourable opportunity.
Among the various incidents which this time occurred in agreeable
relief and interruption to the daily routine prescribed for taking the
baths, was first a concert given by the violinist _Ernst_, of which a
letter speaks as follows: “The concert of so celebrated a virtuoso was
quite an event for Carlsbad, and afforded us much pleasure. Besides
the song scene of _Spohr_, he played several of his own things, some
of which were very beautiful, curious compositions replete with all
manner of difficulties and wonderful artistic resorts for display,
and which he executed with great precision and ease; but although
he played _Spohr’s_ concerts with much care and great expression,
yet we have not only heard it played by _Spohr_ himself, but by his
talented pupil _Jean Bott_, much more correctly. The overcrowded house
presented a curious spectacle, for not only was the space allotted to
the spectators, but the whole stage also, occupied by the public, which
sat round disposed in a large semi-circle,” &c. But amusing scenes of
another kind also occurred at Carlsbad. One day a good-natured invalid
visitor of the baths took it into his head to give a little treat to
the fifteen young serving-women attached to the baths, at which several
hundred spectators were present; and above all, _Spohr_, with his
characteristic good humour, took great pleasure at the sight of the
assembled girls, dressed in their uniform (white gowns, green spencers,
and pink aprons), each with a fresh-gathered rose in her hair, seated
at a long table, and looking around on all the spectators with eyes
beaming with pleasure as they partook of their treat of coffee and
cake. At another time, by a similar but anonymous kind-hearted
individual a parcel was sent to _Spohr_ containing two enormous
herrings, remarkable samples of their species, with the laconic
inscription appended to them: “I love _Spohr’s_ music! The great German
_Spohr_ will not despise the accompanying quite fresh herrings, a
very rare, but permitted dish here. Carlsbad June 6.” Though _Spohr_
had always been used to receive a great variety of presents, and
frequently of the strangest kind, as tokens of esteem and admiration,
yet he had never before received one of so surprising and comical a
kind, at which, with _Ernst_, who happened to be present at the moment
he received them, he laughed very heartily, and then without much
speculation or care as to who the anonymous donor might be, ate with
much relish the delicious fish, as a change from the scant prescriptive
supper permitted to the bath patients. As the greatest moderation
not only in physical but mental exertions and enjoyments formed part
of the bathing cure, _Spohr_, as a conscientious patient, had at
first considered it a duty to refrain from every musical excitement,
particularly from that of composing, until the impulse became so
strong within him that he thought it more prejudicial to suppress by
force than to give some form to the vivid ideas that floated across
his fancy; and thus with unforced readiness flowed from his pen the
last part yet wanting to complete the fourth pianoforte trio which he
had already begun in Cassel; and it being as it were the bubbling and
overflow of the gaiety of his spirits, he was accustomed to call it by
way of souvenir of the benefit he derived from the bubbling springs of
Carlsbad, “_Der Sprudelsatz_” (The bubble piece). As however there was
no good player on the violincello in Carlsbad, he thought he should be
obliged to wait till his return to Cassel for a thorough performance of
the trio; but during a short stay at Meiningen on his return journey,
_Edward Grund_, the already frequently mentioned music director, with
incredible diligence took all the requisite measures for getting up a
quartet party on the same evening in his house, where _Spohr_ had the
unexpected opportunity of hearing his trio, with the aid of his wife
and the distinguished violincellist _Metzner_, for the first time,
which afforded also no little delight to the company present. As it
also soon became a favorite piece with the musical circles of Cassel,
_Spohr_ kept it by him for a long time in manuscript, before he sent it
to his publisher, _Schuberth_, who looked forward with truly restless
impatience to the appearance of this trio of _Spohr’s_ in order to make
it public. (Op. 135.)
In the beginning of the year 1847 the day drew near at length, the
celebration of which had for weeks beforehand set the natives of
Cassel on the tip-toe of pleasurable expectation, that, namely, of
his twenty-fifth year’s jubilee as director at the court theatre of
Cassel. The lively interest taken far and near in this festival evinced
itself in so many demonstrations of attachment and esteem towards the
individual thus honoured, that a published account of them written
by Dr. _Frederick Oetker_, the proceeds of which were devoted to
charitable purposes, formed a complete pamphlet, for a short extract
from which we have alone room here:
“Early on the morning of the 20th. January, the recipient of the day’s
honours was awakened from his slumbers by a serenade played by his
pupils _Jean Bott_ and _A. Malibran_, who, assisted by musicians of
the court orchestra, performed his second double quartet. This was
followed by a long succession of congratulatory visits from relatives,
friends, pupils, and admirers of all classes and from every quarter,
who came to express their wishes for his health and happiness. From
the society of St. Cecilia there came a well selected deputation,
composed of representatives of soprani, alti, tenori and bass, in
whose name the secretary _Knyrim_, the only remaining original member,
expressed in hearty words their grateful acknowledgement of the many
services rendered to art, and to the society in particular, by the
honoured jubilant. These were succeeded by the postmaster-general
_Nebelthau_, as member of the council of state, who presented _Spohr_
a congratulatory address in writing from the chief magistrate of
Cassel, and then the music director from Göttingen, Mr. _Wehner_,
delivered a wreath of laurel from that place, accompanied with a
congratulatory poem, and with a diploma nominating _Spohr_ an honorary
member of the singing association of Göttingen. Accompanied with a
most obliging letter the King of Prussia sent to him the order of the
red eagle, third class, and the Prince, who had some years before
already conferred upon him the Hessian order of the lion, forwarded
to him upon this occasion a further mark of distinction, nominating
him music director-general, with grant of official character at court.
The rescript of this patent was personally handed to _Spohr_ by the
chamberlain _von Heeringen_, who the previous year had been nominated
intendant-general of the court theatre, in order at the same time to
express both his good wishes and the high esteem he felt for _Spohr_
as a man and as an artist, which he moreover proved upon this occasion
by the splendid festal performances he had ordered at the theatre
in celebration of this day. This consisted in a musical-dramatic
production “of scenically connected music-pieces from the operas of
_Spohr_,” the tickets of admission to which, besides those to the
extra standing places, had been issued many days before, so that the
house was actually crammed. When _Spohr_ made his appearance in the
box in the first tier, which had been appropriated to him and his
family, he was received with the most tumultuous demonstrations of
joy, with which the strains of his overture to the opera of “Alruna”
soon mingled. This was followed by a tableau from “Zemira and Azor,”
representing the union of the lovers. After the conclusion of this
tableau, as also after each of the following scenes from _Spohr’s_
operas: “Zemira”, “Zweikampf,” “Jessonda,” “Berggeist,” “Pietro von
Abano,” “Alchymist,” and “Kreuzfahrer,” the fairy with her golden magic
wand came upon the stage and introduced the succeeding scene each
time with appropriate verses. After each piece of music the outburst
of applause was repeated, and at its conclusion redoubled in energy,
to be again resumed with equal perseverance as in succession the two
overtures to the “Mountain Sprite” and to “Faust” were executed with
remarkable precision under the direction of _Bochmann_ the military
band-master. Then followed an appropriately conceived festal-play
called “Die Huldigung” (The Homage). The scene represented a handsome
park ornamented with statues, vases and garlands; in the back ground a
modest dwelling, but richly decorated with garlands of flowers: _The
house, in which Spohr was born_, in Brunswick. Gardeners and maidens
are busied in decorating the garden; to their question as to the
purpose and occasion of the festival the steward informs them, telling
them the name of the honoured jubilant, and in citing his works speaks
also of ‘Die letzten Dinge’ and ‘Der Fall Babylons.’
“All now set up a shout of joy, and from every part of the house
rang the enthusiastic cheers of the excited assembly. Upon this the
orchestra struck up the polonaise in “Faust,” while the committee of
the fete waited on _Spohr_ to conduct him to a throne of flowers, where
he was again greeted with a poetical address, and a crown of laurel
placed upon his head “as Apollo’s favoured son,” amid the joyful vivats
of the public. After the fete at the theatre was over, and he proceeded
to partake of a family supper at the house of his son-in-law _Wolff_,
he received late in the evening a brilliant serenade from the members
of the lyrical association, who had assembled before the house by the
light of numerous coloured lamps. The singing being concluded they then
sent up a deputation to present the diploma of an honorary member of
the society to the jubilant. Thus terminated this eventful day, but not
the festivities; for the following day brought further congratulatory
addresses in prosa and verse with honours of every kind, among which
the presentation of the freedom of the city from the chief magistrate
of Cassel, and as also worthy of mention, the gift of a costly silver
vase from the joint members of the orchestra and theatrical company,
presented by the committee of the festival.”
On the twenty-second of January another grand fete took place, given
as a surprise to their friend and master by the members of the quartet
circle, so frequently adverted to. After _Spohr_ had been conducted
with great ceremony into the presence of the company, composed of about
seventy persons, a congratulatory poem composed by Dr. _Oetker_ was
read.
The musical part of the fete which now followed consisted of _Spohr’s_
third double quartet, executed under the direction of his pupil _Jean
Bott_; of two of his incomparable songs with clarinet accompaniment,
sung by a distinguished dilettante; and the pianoforte quintet with
wind-instrument accompaniment. After the conclusion of these extremely
successful performances, all adjourned in the best spirits to the
supper-room, where, seasoned with toasts both of earnest and mirthful
import, the happy evening was brought to a close in an appropriate
manner.
The account of this jubilee published shortly after by _Fr. Oetker_
gave occasion at the same time to _Spohr_ for the commencement of
his autobiography. The author of that pamphlet having at the same
time expressed the intention of following it up with a detailed
account of his life, requested _Spohr_ to furnish him first with the
necessary notes; but he himself, while making the necessary sketch
of it, took so much pleasure in recalling the varied events of each
year as they presented themselves to his memory, that he conceived
the idea of preferring to undertake its full detail himself.[40]
With a lively interest he now immediately set himself to this work,
which nevertheless proceeded but slowly, when the impulse for musical
composition assumed again its mastery. He then first wrote six _pièces
de salon_ for violin and pianoforte, distinguished by the titles:
_Barcarole_, _Scherzo_, _Sarabande_, _Siciliano_, _Air varié_ and
_Mazurka_, collected in one volume as Op. 135, published by _J.
Schuberth_; these were followed by his fourth double quartet, and
some months later, at the express wish of the Philharmonic Society of
London, by the eighth symphony (_G minor_), which appeared at Leipzic
as Op. 137 (_Peters_), in score and arranged for four hands for the
pianoforte.
[40] From this somewhat accidental origin of _Spohr’s_ autobiography
it may be readily inferred, that it contains nothing more than a
faithful picture of his eventful life, interesting to the majority of
those who take a warm interest in his musical compositions; and that it
was not his intention in any manner to have it considered in the light
of a contribution to the history of art, nor as a critical opinion
of the works of his colleagues in art, which has been here and there
erroneously expected from this biography.
Subsequently also, _Spohr’s_ activity was unusually taxed at the
theatre, as he was required for the approaching Whitsuntide holidays
to prepare not only the usual opera but also (an exceptional case)
a grand concert, in which among other things his double symphony
and his first concertante were executed by himself and his pupil
_Jean Bott_. For Whitmonday a new opera, “Arria,” by _Hugo Stähle_,
had been selected, which as the maiden-work of a young composer who
had grown up amid them had greatly awakened the interest of all
lovers of music in Cassel. Already when a boy the young musician had
exhibited such prominent talent, that _Spohr_ was induced, at the
wish of his father, Major _Stähle_ of Cassel, to take him as a pupil
in composition. With constantly increasing interest he now watched
the progress of his talented pupil, who, already a good pianist, soon
tried his hand at greater pianoforte-compositions, among which a
quartet in _A major_ (Op. 1, published by _Schuberth_) is especially
remarkable as a success. Encouraged by this, he then, though not yet
one and twenty years of age, ventured under _Spohr’s_ guidance upon
the composition of music to the opera above named, written by his
friend _Jac. Hofmeister_, and that so fully satisfied _Spohr_, that
upon his pressing recommendation its performance was determined upon
and soon put in process of execution. Though _Spohr_ experienced real
satisfaction at the highly favourable reception this opera met with
from the public, and looked forward hopefully to a brilliant future
for the young composer, this first triumph was unhappily his last; for
after the lapse of a year, he was seized with an inflammatory fever,
which arrested his career of promise by an early death!