was followed in the evening by a grand serenade and procession by
torch-light, for which all the musical and choral societies of Breslau
had met to execute the choicest pieces of music, chiefly selected from
_Spohr’s_ operas, and which at intervals they gave singly, or executed
in combination and _en masse_. At the grand concert that took place
under his own direction at the spacious and handsome Aula, his own
compositions alone were given: Overture to and air from “_Faust_,” the
third symphony, with the “Lord’s Prayer;” and the “Breslauer Zeitung”
designates it as “a musical festival singular in its kind in the city
of Breslau, for that _Spohr_ at the present time was the _only_ one who
had so much distinguished himself in every kind of composition, that
the church, the concert room, and the theatre, could equally boast of
his works; and that such a performance by such united powers (singing
academy, theatrical orchestra, society of musicians, &c.) had never
yet taken place there.” At the different banquets that were given to
_Spohr_, his music in various ways formed part of the entertainment,
and the songs that were written in his honour for the occasion had been
adapted to appropriate melodies of his, which greatly increased their
effect and frequently took the company by surprise.
At the express wish of the friends of music of Breslau, he determined
to assist personally at a concert given in the smaller saloon of the
Aula, before a great number of musical amateurs who had been invited;
in his sextet and third double quartet, of which the “Breslauer
Zeitung” speaks with much enthusiasm, and after dwelling upon the
generally acknowledged specialities of his play, says further: “that
the master at his _present age_ still possesses all those specialities;
that he plays with the fire and energy of a young man, and throws
off the greatest difficulties with a power and boldness that are
astonishing--that it is a thing quite _unusual_ and was never seen
there before.”
On the part of the directors of the theatre the happy selection of
_Spohr’s_ opera “Zemire und Azor” was made in his honour, which, with
its charming melodies, never fails to make the most pleasing impression
on the public on the first time of hearing; and with its music so truly
appropriate to its subject, opens to us as it were the bright world
of fairy land, which although more than ever fading away from the
materialistic age in which we live, yet idealised by such sweet sounds,
can never lose its fascination for the mind. This effect was produced
on this occasion in Breslau also, as demonstrated by the brilliant
reception with which it was welcomed, and the generally expressed
wish for its speedy repetition under _Spohr’s_ direction, who then
also experienced great pleasure in those two fine performances of his
work.--He was no less gratified by the organ concert given him by his
friend _Hesse_ in the fine church of St. Bernard, in which he exhibited
his great mastery of that grand instrument in every possible manner.
Devoted admirer and adherent of _Spohr_ as he was, he was still loathe
to part from him, when after a fortnight passed in Breslau he departed
with the purpose of making an excursion in the Riesengebirge with his
wife. As a guide intimate with the localities _Hesse_ accompanied
them, and was not a little gratified in witnessing the feelings of
delight with which _Spohr_ was impressed by the natural beauties of his
Silesian fatherland. Neither was music, loved music forgotten, for it
was not only the subject of daily discourse, but in the Riesengebirge
itself the powerful serenades of the music chorists of Warmbrunn and
Hirschberg greeted their master, _Spohr_.--The return journey to Cassel
was made _viâ_ Berlin, where _Spohr_ found an invitation from the
conservatory, which, although but thinly composed in summer, performed
nevertheless a part of his oratorio “Calvary” and his psalms with
double chorus in a brilliant manner, by way of compensation both to
themselves and him for his inability to comply with the invitation
they had given him almost every winter to come and either personally
direct or hear his oratorio.
Meanwhile the political state of Germany, and more particularly of
Hesse greatly grieved _Spohr_, and as the best consolation he abandoned
himself to his musical studies, the zest for which did not leave him
even in this time of trouble and sorrow. In the course of the months
of October and November he composed his seventh quintet for stringed
instruments (_G minor_, Op. 144, published by _Peters_), and three
songs from “One thousand and one days in the East,” by _Bodenstedt_
(also published by _Peters_).
It was in the summer of this year that _Spohr_ experienced the malice
and chicanery of the court. He had intended to start the first
day of his vacation for a tour in Switzerland and upper Italy. He
accordingly sent in his request to the Elector, which he considered a
mere pro-formâ matter. To _Spohr’s_ great surprise the answer was in
the negative--no leave of absence would be granted. Hereupon _Spohr_
set off without leave. He passed through the _Via Mala_, over the
Splügen to Milan and Venice, and returned over the St. Gotthard pass
to Lucern, and so back to Cassel, where he arrived before the vacation
had expired. After a short repose he availed himself of the remaining
time to pay a long-promised visit to _Wehner_ the director of the
orchestra at Göttingen, who, conjointly with all the lovers of music at
that place, used every exertion to do honour and afford gratification
to their esteemed guest. A serenade given by the members of the choral
society on the first evening of his arrival was followed on the next
morning by a musical greeting performed by the band of the regiment
lying at Nordheim in the immediate neighbourhood. At a grand concert
given at the Aula _Spohr_ directed in person his symphony “Die Weihe
der Töne,” which was followed by his potpourri on themes from Jessonda,
performed by one of his most distinguished pupils, _Auguste Kömpel_,
who when a boy had awakened the warmest interest on the part of _Spohr_
by his remarkable talent, and after having studied under him for
several years with the greatest success, was first appointed a member
of the court orchestra at Cassel and subsequently Kammermusicus and
member of the royal orchestra at Hanover.[41] As finale to the concert
_Mendelssohn’s_ music to Athalia, combined with a melodramatic poem,
was executed by the members of the Göttingen choral society; and thus
_Spohr_, who had been present at its grand rehearsal with the greatest
interest, had the much desired opportunity of becoming acquainted with
the only one of the grander lyrical compositions of _Mendelssohn_
which he had not yet heard. On the following day there was also some
excellent music.
[41] To him, as a true representative of the _Spohr_ school was the
preference given over all the competitors who bid in emulation of each
other and at very high prices for the highly coveted Stradivari violin
of his honoured master; and which became his property one year after
the decease of the latter.
_Wehner_ had made arrangements for quartet music at his own house, and
previous to a large dinner party, which he gave as a mark of respect
to _Spohr_, some exceedingly fine music was performed with the most
finished excellence, and to the delight of all present _Spohr_ himself
took part in his own sextet. The dinner was seasoned by a succession of
appropriate toasts and piquante speeches, the chief subjects of which
were music and politics, and lastly also “_Spohr’s_ bold stroke”--the
journey without leave--was drank amid the clang of glasses and the
enthusiastic cheers of the company, who highly approved of the spirit
he had shown. But the “bold stroke” was, as may be imagined, considered
with much less approbation in Cassel, and a few weeks after _Spohr’s_
return he was officially required by the general-intendant to explain
and justify “his absence from Cassel without leave.” His explanation
was considered unsatisfactory, and he was condemned to pay a fine of
550 thaler (82 _l._ 10 _s._). He went to law; but the end of it was
that he paid the money, which was handed over to the pension fund
instituted by him.
* * * * *
It was in the midst of these troubles that he wrote a series of six
_pieces de salon_ for violin and piano and the 32nd. violin quartet
(Op. 145 and 146; Leipzig, _Peters_).
In the beginning of the year 1852 _Spohr_ received a visit from the
director of the Italian opera in London, Mr. _Gye_, who proposed to
him to direct there his opera of “Faust” during his summer vacation,
and for that purpose to write a connecting recitative instead of the
dialogue in the original, by which means alone the urgent wish of the
Queen for the performance of the opera on the Italian stage could be
gratified. As _Spohr_ at first considered that such a change would be
impossible in many of the scenes, he felt compelled to decline the
proposal; but they were not so easily to be pacified in London by so
unexpected an answer, and after receiving several further pressing
letters upon the subject, _Spohr_ set himself to work, and, contrary
to his own expectation, with such satisfactory results, that after its
completion he expressed himself upon the subject in a letter of the
21st. May to _Hauptmann_ in the following words: “You have no doubt
already heard that at the express wish of the Queen of England and of
Prince Albert I have remodelled my opera “Faust” for the grand opera.
This work has afforded me great pleasure, and agreeably engaged me for
a period of three months, in which I have been as it were transported
completely back to the happy days of my youth in Vienna. At first,
with the assistance of my wife, I had to alter the dialogue scenes
in such a manner as to adapt them to composition. In doing this I
have endeavoured to impart more interest to them than they previously
possessed, and to make elision of those things which from the first had
displeased me at many performances I had seen of this opera. I think
and hope that I have succeeded in both. I had then to replace myself
as it were in the same mood, and style in which I wrote Faust, and I
hope that I have succeeded in this also, and that no one will observe
a difference of style between the old and the new. The opera consists
now of three acts; the second concludes with the wedding scene, and
the third begins with a new entr’acte, which depicts with reminiscences
from the trio of the torch-dance and the witches’ music the night of
debauch passed by Faust, and then passes into a grand recitative by
Mephistopheles, to which his air in _E major_ is connected. After the
disappearance of the witches a recitative by Faust follows, blended
with intonations of former and later conception, and hereupon a shorter
one between him and _Wagner_, which is succeeded by the concluding
finale. My curiosity is now intense to hear the opera in its new form!
Should nothing come of the journey to London, I hope to hear it soon
at Weimar, as _Lisst_ has asked for it in its new form for the court
theatre there.”--The new recitatives thus reached London so early, that
weeks before _Spohr’s_ arrival there the study of the parts could be
commenced; but at the first rehearsal he remarked that the in every
other respect so greatly distinguished Italian singers, were not all
he could have desired in their comprehension of this to them wholly
foreign style of music, for which reason he immediately ordered daily
thorough rehearsals under his own direction, in which he soon had the
satisfaction of seeing that the whole of the singers entered more and
more into the conception and spirit of his musical intentions, and
submitted with the greatest willingness to his every nod, until every
thing went so faultlessly that after the four last grand rehearsals
which took place, and the lapse of three weeks, it was possible to give
a perfect public performance.
To avoid all seeming reiteration of the numerous musical events and
marks of respect, that in the interim were shewn to _Spohr_ on this
visit, it will suffice to mention one agreeable surprise only of
which _Spohr_ used to speak with delight in after years. This was the
magnificent performance of his oratorio “Calvary” (des Heilands letzte
Stunden) at Exeter Hall, under the excellent conducting of _Costa_; and
which, performed by greater masses of assistants than at the memorable
Norwich festival (700 singers and musicians), completely overpowered
_Spohr_ himself, as well as the enthusiastically delighted public; in
so much, that he was obliged to agree in the remark of his friends,
that the effect in many parts, especially that of the powerfully
imposing choruses, was more immense than the composer himself had even
conceived.
On Sundays, on which days, according to English custom, the theatres
are closed, there are no concerts, and even all private music is
hushed, _Spohr_ gladly availed himself of the invitations he received
to make excursions far away from the gigantic town, to recruit his
energies somewhat in the fresh air, from the daily musical fatigue and
excitement. Sometimes it was to Clapham and Kensington, on a visit to
the _Sillem_ and _Horsley_ families; sometimes farther by railway to
Sir _George Smart’s_ pleasant country-house at Chertsey, which _Spohr_
always called “the little paradise;” or to Professor _Owen’s_ in
Richmond-park; from which he always returned requickened in mind and
body to the wear and tear of London life. _Owen’s_ charming residence
and his amiable manners were always subjects of agreeable recollection
to _Spohr_, and he would often relate how the celebrated naturalist, in
his kindly unassuming manner, would come out to welcome him on a hot
summer’s day, clad in a light summer jacket and a broad-brimmed straw
hat, but in honour of “his welcome renowned guest,” decorated with the
Prussian order “pour le mérite,” and then till late in the evening
devise every possible means of affording him pleasure and entertainment.
Meanwhile the rehearsals of Faust had prospered so well, that on the
15th. July the first public performance took place under _Spohr’s_
direction, and a letter written home refers to it in the following
manner:
“The opera went off incomparably well, and made a wonderfully powerful
effect upon everybody. Indeed to us also it appeared in quite a new
light--everything was so grand, so splendid! The new additional themes
blend charmingly with the whole, and present singularly fine effects.
Decorations, scenery, all are new, exceedingly brilliant and got up
at great expense: orchestra, singers, and chorus, did their best,
so that the Londoners say, that they have not seen so splendid an
operatic performance for many years; and it was received throughout
also with the most enthusiastic applause. That the foreign (almost all
Italian) singers would have sung this German music with so much zest
and pleasure, we could scarcely have believed possible. Those who most
distinguished themselves were Mrs. _Castellan_ (Kunigunda), _Ronconi_
(Faust), _Formes_ (Mephistopheles), and _Tamberlik_ (Hugo). The latter
charmed every body, for he has a splendid tenor voice with immense
power, and he executed the beautiful air, accompanied by a magnificent
chorus of forty male voices, with such fire and irresistible power
that a _da capo_ was called for by general acclamation. And _Formes_
also, in his song in _A major_, which had greatly gained by the newly
composed exceedingly beautiful introduction and recitative scene....
The whole house was in ecstacy, and in the intervals between the
acts, and at the end, _Spohr_ was warmly congratulated by a host of
friends and admirers.” With similar success and with yet more perfect
execution, the second and third performance of Faust, under _Spohr’s_
direction, took place within a few days; after which he once more left
England, accompanied to the place of embarcation by numerous lovers of
music, who up to the last moment projected the most inviting plans for
the next summer.
Agreeably impressed with the successful issue of his journey, he
returned to Germany, picturing to himself the happy hours in which,
as was his custom, he should again relate amid the expectant circle
at home the interesting incidents of his visit. But this time the
pleasure of once more meeting the members of his family was but too
soon overshadowed, and _Spohr_ beheld with much alarm the suffering
constitution of his father-in-law, whose declining bodily strength
had for some time past excited the utmost anxiety; but which assumed
appearances so threatening during the last few weeks, that the anxious
members of his family, despite their tender care and hopefulness,
could no longer deceive themselves as to the near approach of his
dissolution. With sorrowing hearts they beheld with every day the
nearer approach of the long-dreaded moment; till on the 4th. October
1852, the loved and honoured parent breathed his last. This sad event
cast an enduring shadow over _Spohr’s_ life, for with his wife he not
only lamented the loss of the beloved father, but mourned thenceforth
that of the truthful friend whose feelings and sentiments had been so
congenial with his own.
* * * * *
In the autumn of 1852 the duties of _Spohr’s_ office were unexpectedly
much alleviated by the nomination of a second director; an appointment
which indeed, with his great activity and as yet unimpaired powers,
he had never contemplated as a thing to be desired; but which was
nevertheless the more agreeable to him from the circumstance that
the newly-created appointment was given to his favorite pupil,
concert-master _Jean Bott_, in order to secure his rejection of the
post of musical director at Hanover, which had been offered to him
under very favourable circumstances. By this means the Cassel court
orchestra was saved the loss of so distinguished a member, and his
services were fully secured. _Spohr_ consented also very willingly
to the requisitions of the managers of the theatre to abandon to the
direction of the new co-director the operas proposed, and suggested but
few modifications in this arrangement. By this means _Bott_ assumed the
direction of a number of light operas, chiefly French and Italian, but
undertook as heretofore to lead as first violin in the orchestra under
_Spohr’s_ direction in all grand German operas, which were reserved
to the latter. The repertory of the new and zealous co-director soon
received an interesting addition, for in the beginning of the year
1853 _Shakspeare’s_ “Midsummernight’s Dream,” with _Mendelssohn’s_
music, was performed on the Cassel stage for the first time; on which
occasion _Spohr_ expressed himself in the following words in a letter
to _Hauptmann_: “The most charming music that I know of _Mendelssohn_
is indeed his music to the “Midsummernight’s Dream,” which has at
length been performed here also, and right well. _Bott_ practised
the orchestra in the music most assiduously, and for me it was a
great enjoyment to be enabled for once to listen as auditor to the
performance of good music.” In regard to _Spohr’s_ own labours the same
letter then speaks further: “We are now studying ‘Tannhäuser,’ (which
the Elector has at length permitted), and we shall give that opera for
the first time on Whitmonday. It will be put on the stage with the
greatest care and both decorations and costumes will be rich. There is
much that is new and beautiful in the opera, but much also that is most
distressing to the ear. For the violins and basses it is more difficult
than anything I ever yet met with,” &c.
After the first performances of this difficult work had passed off
in the most successful manner, _Spohr_ wrote again respecting it to
his friend _Hauptmann_: “‘Tannhäuser’ was performed last night for
the third time, and again to a full house. The opera has gained many
admirers, by reason of its earnestness and its subject-matter, and when
I compare it with others produced of late years, I am also of their
way of thinking. With much of what was at first very disagreeable to
me I have become familiarised from frequent hearing; but the want of
rhythm, and the frequent absence of rounded periods is still to me very
objectionable. The manner in which it is performed here is really very
fine, and in few places in Germany can be heard with such precision.
In the enormously difficult ‘ensembles’ of the singers in the second
act, not one single note was omitted last night. But with all that, in
several parts these assume a shape which make a downright horrifying
music, particularly just before the part previous to where Elizabeth
throws herself upon the singers who rush upon Tannhäuser.--What faces
would _Haydn_ and _Mozart_ make, were they obliged to hear the stunning
noise that is now given to us for music!--The choruses of pilgrims
(but which are here supported by clarinets and bassoons _p_.) were
intonated so purely last night, that I became somewhat reconciled for
the first time to their unnatural modulations. It is astonishing what
the human ear will by degrees become accustomed to!” &c.
Although, as may be inferred from the above remarks, _Spohr_, with his
preminent sentiment for harmony and beautiful, regular forms in music,
could not readily reconcile himself to the tonic creations of more
modern times, which so frequently deviate from them, he nevertheless
took a lively interest in them, and was so anxious to become acquainted
with _Wagner’s_ newest opera “Lohengrin,” that while awaiting the
as yet witheld permission of the Elector for a full theatrical
performance, he determined upon giving some scenes from it at the
ensuing winter concerts, and wrote to _Hauptmann_ on the subject as
follows: “If you wish to afford us a pleasure by sending something for
our winter concerts, let me ask of you the music to ‘Lohengrin.’ I was
in correspondence with _Wagner_ this summer, and he knows that I am
exerting myself to put that opera upon the stage here, also. He will
therefore have no objection to a performance of some scenes beforehand.
I shall write to inform him of it also upon a fitting occasion, but I
do not like to renew the correspondence on the subject, without being
empowered to ask at the same time for the score for our theatre, which
will not be before next summer, for the birthday of the Elector.” This
expectation was nevertheless not realised, for the Elector’s permission
was neither granted for the day appointed, nor upon a subsequent
reiterated solicitation; and in this manner _Spohr_ was never enabled
to hear this opera, which both in Cassel and other places he had
repeatedly striven to do.
With the approach of the vacation of the summer 1853 _Spohr_ made
preparation once more (for the sixth and last time) for the journey
to England, whence in the month of January he had received, (and as
chance would have it upon the same day) two letters of invitation from
two wholly different parties. One, from the theatre-director _Gye_,
contained a recapitulation of the plan formed in the previous summer,
of bringing out an Italian translation of _Spohr’s_ “Jessonda” during
the approaching season; the other, from Dr. _Wylde_, the director of
the recently instituted New Philharmonic Society, contained a pressing
invitation to _Spohr_, to undertake the direction of the grand concerts
which the society contemplated giving during the summer months. The
latter attractive invitation was the one that decided his yet wavering
resolution, since it was of the greatest interest to him to procure a
hearing for his grander orchestral compositions, which would there be
performed with all that power which was already known to him, before
a public who, like all the performers, understood so thoroughly the
spirit of his music.