direct according to invitation the performance of some of his works,
he at length resolved in the summer of 1847, to yield once more to the
reiterated invitations he had received, and to direct the three grand
concerts, in which the Sacred Harmonic Society proposed to give the
whole of his sacred pieces--oratorios, psalms, &c. At the commencement
of the theatrical vacation he therefore set out, accompanied on the
journey to England by his wife and sister-in-law, and this time by way
of the interesting cities of Brussel and Ghent to Ostend, where he
proposed to embark. A letter written home adverts as follows to their
stay in Ghent: “On our way we had been informed that upon the very
day of our arrival a grand singing festival was to take place, of the
united Flemish and German lyrical societies; but as we did not arrive
here before 7 o’clock in the evening, some time after the chief part
of the concert had begun, we thought to avail ourselves of the fine
summer evening to take a walk through the town, which we found large
and handsome beyond our expectation. Scarcely however had we proceeded
above a hundred yards when _Spohr_ was recognised by some gentlemen,
who hastened towards him with the greatest surprise, and compelled
us almost by force to go with them and hear the second part of the
concert, the first part being just finished. In this manner we were all
three hurried into a fine building, the ‘Palais de Justice’ and stood
suddenly in the immense hall filled with several thousand persons,
when at the same moment one of the gentlemen who brought us in, a
member of the committee of the festival, with a loud voice called out:
‘Messieurs, le grand compositeur _Spohr_ vient d’arriver dans notre
ville, le voici!’ At this announcement the whole assembly rose from
their seats, and clapping their hands cried: ‘Vive _Spohr_, le grand
_Spohr_!’ and a perfect shower of flowers in the shape of bouquets
large and small were showered upon him from all sides. It was long
before the tumultuous applause ceased; meanwhile seats were yielded to
us in the best places, and there we sat somewhat out of countenance in
our dusty travelling costume in the midst of handsomely dressed ladies.
But the whole scene, from its very unexpectedness, had something
extremely original and almost overpowering about it. We then heard,
with the rest, the second part of the concert, in which the different
lyrical associations sung in part with, and partly without, orchestral
accompaniment. They all met with the most lively applause, which their
execution in reality also deserved.
“It lasted until past 9 o’clock, and then a crowd of persons pressed
forward to salute _Spohr_ and to speak to him, so that it was late
enough before we got home to supper, and retired to rest. But this was
again to be of short duration, for between 11 and 12 o’clock we heard
all manner of noises and preparations for a grand serenade, which the
Ghent society ‘Des Mélomanes’ had resolved upon giving to _Spohr_.
_Nolens volens_ he was obliged to get out of bed and dress anew not
only in acknowledgement of the fine music and tremendous vivats of the
assembled crowd, but also to receive a deputation, which at the solemn
midnight hour announced to him his nomination as honorary member of the
society,” &c.
Upon _Spohr’s_ arrival in London he and his travelling companions were
again hospitably received in the friendly family of Professor _Taylor_,
and for them now began in every respect a period of great enjoyment.
The oratorio performances in Exeter-Hall appointed for every Friday,
went off with their usual finished perfection; but the programme that
had been previously determined upon had suffered from the alteration,
that in place of the “Calvary,” which it was feared would here also
excite objection on the part of the clergy, a second performance of the
“Fall of Babylon” was announced; while in the third concert, as it had
been previously determined, “Die letzten Dinge,” the “Lord’s Prayer,”
and _Spohr’s_ recently composed 84th. Psalm after _Milton’s_ metrical
translation, were given. The enthusiasm at all the three concerts,
which was scarcely susceptible of increase on all that had previously
been shewn, was evinced this time more particularly by rapturous
encores of a great number of choruses and solo pieces. The intervening
days were passed in a no less satisfactory manner, in which all
emulated in affording some enjoyment, or in testifying their respect
for _Spohr_ in various ways. In varied and constant interchange,
invitations, festivities, promenades and railway excursions succeeded
each other, one of which extended as far as 70 English miles, to the
celebrated university city of Cambridge, with its grand and peculiar
style of architecture; and another to the city of Ely, remarkable for
its situation upon a beautiful and fruitful hill rising from the midst
of a low moorland, and yet more for its beautiful cathedral, considered
one of the finest specimens of Gothic architecture in England. In
this, as a remains of its former splendour, the finest ecclesiastical
psalmody is still chanted during divine service by sixteen singers
especially maintained for that purpose, and seldom in that solitary
place could perhaps be found hearers so devoutly attentive and edified
as were _Spohr_ and his travelling companions.
In pleasant reunions with the _Horsley_, _Benedict_ and _Taylor_
families, his most intimately known friends, _Spohr_ especially
passed many happy hours, in whose circles allied so intimately to art
and artists, fine music was a never-failing enjoyment, and in which
frequently, to the delight of his hearers, _Spohr_ contributed his
personal aid. The more decidedly however, did he decline every request
to perform in public, and in one exceptional instance only consented
to assist at a concert given in his honour by the _Beethoven_ quartet
society. The programme of this concert, which displayed the heading
“Homage to _Spohr_,” comprised however on this occasion nothing of
_Beethoven_, and three compositions of _Spohr_ only, selected from
different periods of his life, viz: 1st. A quartet (_G minor_), a
production of his early youth; 2dly. A duet composed about 20 years
later, played by _Joachim_ and _Sainton_ in a masterly manner, and
3rdly. The third double quartet (_E minor_), in which _Spohr_ took the
first violin part, and by his play and by the whole composition, the
first “number” of which alone had kindled the admiration of the public,
drew down a very storm of applause. The newspapers adverted in terms
of the highest praise to the selection of the three compositions and
to their separate beauties. Upon this occasion, respecting the duets
the “Times” said as follows: “These duets for two violins belong to
the greatest productions of _Spohr’s_ richly inventive genius. Out
of seemingly small materials the great composer has achieved harmonic
effects scarcely inferior in richness and fullness to the quartet. The
duet in _E flat_ is positively overflowing with beauties of melody and
counterpoint, a perfect masterpiece.”... And added further on: “The
double quartet in _E minor_ is one of _Spohr’s_ most surpassingly rich
compositions.... Every separate theme bears the stamp of genius, and is
worked out with a perfection of finish that displays the highest degree
of intelligence.”... “If _Spohr_ had never written anything else, his
fame would have been established by this work alone, as one of the
greatest composers in the world.”... “_Spohr_ plays now but seldom in
public, but both musicians, and the general public alike, eagerly seize
the rare opportunity of hearing the greatest violinist of the present
day. His style is a pattern of purity and taste.... He not alone
produces difficulties of every kind, and handles them with the ease of
mere play toys,--but in his execution displays moreover the full energy
and inspiration of youth.”...
The end of the vacation was now rapidly drawing near, and with it
once more the hour of parting; and on the last days of his sojourn so
manifold were the demands made upon his time and attention that all his
habitual calm self possession was taxed to the utmost. With heart and
mind impressed with happy and elevating reminiscences he returned to
his native country, where with his accustomed cheerfulness and zeal he
was soon re-engaged in the performance of the duties of his post.
In the beginning of November he was plunged into grief by the sudden
intelligence of the death of his friend _Mendelssohn_, deeply lamenting
whose loss both as a man and a musician, he expressed himself as
follows in a letter to _M. Hauptmann_: “What might _Mendelssohn_ in
the full maturity of his genius not have written, had fate permitted
him a longer life! For his delicate frame the mental exertion was
too great and therefore destructive! His loss to art is much to be
lamented, for he was the most gifted of then living composers, and his
efforts in art were of the noblest!”--His next thought was to institute
a festival _in memoriam_ of the too early departed one, but as he
received for answer to his proposal to that effect, from the intendant
of the court theatre, that: “the proposed festival in memory of the
deceased could not be permitted at the concerts of the court theatre,
as it did not find approval in the highest quarters,” he determined to
give it on a smaller scale at a private concert in celebration of the
25th. anniversary of the St. Cecilia society on the 22nd. November,
and upon the occasion to inaugurate the fete with a poem composed for
the occasion with a chorus from _Mendelssohn’s_ “Paulus.” But after
everything had been arranged for the best and the grand rehearsal been
held, intelligence was suddenly received of the dangerous illness of
the Elector Wilhelm II., who resided in Frankfort, which was followed
by that of his death, and the order for a general mourning throughout
the Electorate and a desistance from every kind of music on the
following days. Hereupon, after a delay of a month, the performance of
the projected festival was again about to take place, and _Spohr_ had
once more fixed the day for it, when death once more intervened--this
time afflicting his own family with a very painful loss. On the 18th.
December _Spohr’s_ mother-in-law was seized with illness, and after a
few days’ suffering was snatched from the disconsolate family to which
she had been bound by ties of the tenderest affection. The Christmas
holidays, which had usually been with them a period of happy festivity,
were now changed to days of gloom and mourning, and the more so from
the circumstance that Mr. _Pfeiffer_ (father) was laid on a sick-bed
by the unexpected blow, and the happy reunion in the paternal house,
where _Spohr_ always felt so happy, and so well knew how to make others
so, seemed to be interrupted for a long time, if not for ever! The
subsequent weeks passed amid cares and anxieties, and not until his
father-in-law’s convalescence could _Spohr_ think of celebrating the
long-prepared-for festival.
The programme was so arranged, that it presented in chronological
order twelve music pieces of _Bach_, _Händel_, _Haydn_, _Mozart_,
_Beethoven_, _Hauptmann_, _Mendelssohn_ and _Spohr_, as specimens of
the style of each of those masters, to whose works the St. Cecilia
society during its existence of twenty-five years had especially
devoted its efforts. After the last song piece but one: “Wir preisen
selig die” &c., from “Paulus,” a poem was recited, entitled: Feeling of
sorrow upon the early death of _Felix Mendelssohn-Bartholdy_.
This was followed by the presentation of a double breast-pin set with
diamonds, accompanied with a poetical address to _Spohr_--the subject
represented by the pin being a violin, and bass-clef. A “Hymn to
_Spohr_,” composed by _H. Stähle_, was then sung; and in conclusion,
at the banquet which followed, a discourse was delivered relative to
the origin and services of the society for the prosperity of which the
speaker himself (Mr. _Weinrich_), in the triple character of singer,
librarian, and treasurer, had laboured with unwearied zeal for many
years.
In 1848, shortly after the outbreak of the disturbances in France,
_Spohr_, somewhat under the influence of ideas of liberty, &c.,
composed his sextet for two violins, two viols and two violincellos
(Op. 140, published by _C. Luckhardt_ of Cassel), on making entry of
which in the list of his compositions, he appended the words: “Written
in March and April, at the time of the glorious revolution of the
peoples for the liberty, unity and grandeur of Germany.” And this
composition, so rich in freshness of melodies, in genuine ætherial
harmony, that scarcely any other of _Spohr’s_ works surpasses it,
furnishes an eloquent testimony to the state of his feelings and his
aspirations, which, soaring above the storms of the present, speak
only of peace, hope and concord, as in spirit he beheld them spring
out of the momentary struggles. Satisfied as _Spohr_ might feel with
this composition--the first since the dawning of the new æra upon
Germany--he nevertheless for some time wholly abandoned all further
composition, feeling, as he complained in a letter to his friend
_Hauptmann_, that “the excitement of politics and the constant reading
of the newspapers incapacitated him from giving his attention to any
serious and quiet study.”
On the 6th. August a grand popular festival took place in Cassel, which
kept the whole of the inhabitants in a state of joyous mobility for the
day. It commenced early in the morning, with the public recognition of
the imperial administrator by the garrison assembled upon the “Forst.”
This was followed by the consecration and presentation of colours to
the newly-formed corps of body-guards, combined with a grand church
service in the presence of the Electoral family upon the Bowling-green
in the Karlsaue, and in the afternoon there was a people’s festival,
in which the whole population of Cassel--a mixed troop of all
classes--flocked to the Aue, either as participators in, or spectators
of, the popular games, the dancing and the music. Towards evening, to
the surprise of everybody the Elector, in plain black dress-coat, was
seen threading his way among the joyous crowd, with looks expressive
of the cheerful interest with which he acknowledged the cheers of the
people who thronged every part of the park. The festivities of the day
were terminated by a concert under _Spohr’s_ direction, executed by the
singers and members of the choral societies of Cassel in front of the
orangery, at which also the Elector appeared, and after a lengthened
conversation with _Spohr_, asked him expressly for the song “Was ist
des Deutschen Vaterland.”
In June 1849 _Spohr_ set out for Carlsbad, and stopped on his way
thither a few days at Leipzic, where in the circle of his musical
friends, he again passed many happy hours devoted to his noble art.
On the first evening, at the house of his friend Mr. _Vogt_, two of
his latest and as yet unpublished compositions--the fourth double
quartet (_G minor_) and the but recently finished 31st. quartet (_C
major_)--both of which were subsequently published by _C. Luckhardt_
in Cassel as Op. 136 and 141. The double quartet was received more
especially with such warm admiration, that _Spohr_ gratified the wish
expressed by several of his auditors to repeat it once more on the
following day at the conservatory before a large circle, among whom
were the teachers and pupils of that institution. On the last evening,
his old friend _Moscheles_ prepared for him a brilliant fête, and
embellished the musical part of it by his own masterly performance of
_Spohr’s_ first trio, and his pianoforte quintet with wind instruments,
after which the strains of a choral song, “Honour to _Spohr_,” were
suddenly heard from the garden in front of the house, and some of his
four-part songs, some of _Mendelssohn’s_ and some of _Hauptmann’s_,
were executed in a most effective manner.
The now ensuing stay in Carlsbad, extending to several weeks, was
upon this occasion particularly pleasant in many respects. In the
intercourse with several distinguished men well known for their
public activity, _Spohr_ took great pleasure. Among these especially
were _Hansemann_ of Berlin and _Simson_ of Königsberg, to the latter
of whom, from the thorough community of sentiment in their mutual
political creed, he was especially attracted. As both men evinced at
the same time a warm love of music, they, together with their families
were soon admitted into the small circle of the elect who had the
_entrée_ to the musical performances of _Spohr_ and his wife. With
these and other charming families the afternoons were then passed in
excursions on all sides into the beautiful environs, in which _Spohr_,
although long since well acquainted with every spot, always experienced
a new delight and one equally shared by his wife.
From his stay in Carlsbad _Spohr_ also experienced the most desirable
benefit to his health, resulting in so complete and permanent
a relief to the liver complaint which had recurred at previous
frequent intervals, that, grateful as he felt for the pleasant and
health-restoring time he had passed there, he had now no further
necessity to resort to the wonderful efficacity of its waters.
Strengthened and refreshed in body and mind, he returned to Cassel,
and shortly afterwards began the composition of his fifth pianoforte
trio (_C minor_, Op. 141, published by _Schuberth_ in Hamburg); which
was followed by three duets for two soprani, published by _Peters_ of
Leipzic, which for their sweetly expressive melodies and their ease of
performance, like those which had previously appeared from the pen of
_Mendelssohn_, soon became favorite pieces in musical circles.
Towards the end of the year 1849 _Spohr_ was afflicted by a heavy
sorrow, in the sudden illness that befell his wife the day after
Christmas Day, and which increased so much in severity as to imperil
her life at the entry of the new year. At length, however, her good
and unimpaired constitution, aided by the most unremitting care,
overcame her malady, and _Spohr_ hailed once more with delight the day
when she could again resume her accustomed seat by his side at the
dinner-table. But on the next day (January 22) an untoward accident
befell himself. While on his usual daily way to the theatre rehearsal,
a sharp unexpected frost having set in during the night, he slipped,
and fell with such violence as to inflict a very severe blow on his
head, from the consequence of which the unremitting care of his
experienced medical attendant Dr. _Harnier_ did not re-establish him
till after the lapse of several weeks. Shortly after his recovery, he
wrote his ninth symphony, “Die Jahreszeiten” (The Seasons), the plan of
which had much occupied his mind during his illness, and as he himself
complained, “regularly haunted him during the long sleepless and
feverish nights.” He gave in so far a new form to it, that he divided
it into two grand themes, with the designations: Part I.: Winter,
transition to spring, spring. Part II.: Summer, transition to autumn,
autumn. Although _Spohr_ wrote the symphony in the dull cold days of
winter, the result nevertheless was just the least characteristic of
his _winterly_ intentions. While in the _spring_ theme every note rings
joyous with the glad awaking of nature,--in that of _summer_, the
sultry heat is expressed in tones the effect of which is such, that
the astonished hearer positively seems to _feel_ it--and lastly the
_autumn_, with its exhilarating music of the chase, and the masterly
interwoven Rheinweinlied (vintage song of the Rhine)--can scarcely fail
in inspiring the hearer with the most lively enthusiasm.
About this time _Spohr_, with every lover of music in Cassel,
experienced great pleasure from the visit of a young female artiste
nearly related to him. This was _Rosalie Spohr_, the second daughter
of his brother _William_. From early childhood she had evinced a
passionate love of music, and subsequently devoted herself with
unwearying zeal to the study of the harp. Although at first it was not
the wish of her parents that their daughter should perform in public,
yet when they had subsequently become convinced of her real artistic
talent, they could no longer oppose her ardent wishes, and at the age
of 22 she proceeded, accompanied by her father, upon her first musical
tour. After she had given proof of her abilities in several public
performances at Hamburg and Leipzic, she visited Cassel, where she
played several times in private circles, and at one concert at the
theatre under the direction of _Spohr_, on which occasion she not only
earned the warmest approbation of a delighted auditory but a yet more
gratifying reward in the commendatory words of her highly-esteemed
uncle. The young musician subsequently achieved many a brilliant
triumph in her further visits to the larger cities of Germany and
Holland; but her promising artistic career was shortly brought to an
unexpectedly early termination, first by deaths in her immediate family
circle, and afterwards by her marriage with count _Xavier Sauerma_.
During the summer vacation, in order at length to pay his long-promised
visit to Breslau, _Spohr_ proceeded thither by way of Leipzic in the
hope of hearing _Schumann’s_ new opera of “Genoveva;” but to his great
regret, upon his arrival there, he was informed of the delays that
had intervened to defer its performance, and was obliged to content
himself with attending several rehearsals, but which, on account of the
frequently interrupting repetitions, could naturally afford him but
a very imperfect conception of the whole work. Although by no means
an admirer of the compositions of _Schumann_ so far known to him, in
which he had frequently found a want of euphony and melodious breadth
of harmonies, he formed a very favourable opinion of the opera, and it
especially pleased him to observe that the same method of treatment
which he had resorted to in the composition of the “Crusader” had been
followed, in that _Schumann_ did not permit the unnatural interruption
of the action by a wearisome and constant repetition of words. It was
no less interesting to _Spohr_ to become acquainted with some of his
larger pianoforte compositions, the desired opportunity for which was
afforded him at the musical parties given to him, at which Mrs. _Clara
Schumann_ played a trio and pianoforte-concerto of her husband’s with
the most finished excellence, with which exception all the rest were
compositions of _Spohr’s_, among which the sextet he wrote during the
March revolution: and at an extra-concert at the Gewandhaus his newest
symphony, “The seasons,” was performed to the great delight of all who
heard it.
The remainder of his stay in Breslau, which was there expressively
designated as a “fortnight-long _Spohr_ festival,” was a continuous
round of entertainments, musical soirées, &c. The “Neue Oder-Zeitung”
describes _Spohr’s_ advent as “an event, that had set all the educated
classes of the town in commotion,” and further adds: “Everybody crowds
forward to see the German master--all are anxious to say that they
have at least had the satisfaction of a personal meeting. There is a
peculiar gratification in standing opposite to the man who, though his
eye rests upon us with the coldness of the stranger, has been long
known to us in spirit as one of our best and dearest friends--whose
works have recalled to us the golden dreams of our youth, and whose
noble creations purify our souls. All in Germany who love music and who
play, recognise the master to whom as musicians they are indebted for a
great part of their culture, for many elevating feelings, many hours of
happiness. Is it then to be wondered at that every one crowds around
the master--that all are ready to acquit part of that debt to him by
loud and honourable acknowledgements?”