awaited him, for on his first visit to Dr. _Wylde_ he was pressed
by him to proceed immediately to a morning concert then about to
take place, and arrived there just in time to hear an excellent
performance of his nonett, and at the conclusion was warmly greeted
by the audience, to whom the announcement of the presence of the
composer was both an agreeable and sudden surprise. Under similar
circumstances he was present the next evening at the last Philharmonic
concert in the Hanover Square Rooms, where he was greatly gratified
by the very successful performance of his historical symphony, which
was enthusiastically applauded. A few days afterwards the first of
the concerts of the New Philharmonic Society took place under his
personal direction, of which mention is made as follows in a letter
written home: “Last evening _Spohr_ consummated the first of his great
achievements; the direction of the fine New Philharmonic concerts in
Exeter-Hall, where he was again received with the same enthusiasm as
formerly, and which was manifested throughout the whole performance.
We found our exalted expectations of this gigantic orchestra, wholly
composed of musicians of high standing, fully realised, and the
impression made by the immense mass in the spacious and densely
crowded hall was truly grand and imposing. Even the ninth symphony of
_Beethoven_, abnormal as are many things therein, and especially the
last subject, with the ‘song to pleasure,’ executed in the finished
manner it was, afforded a real enjoyment. _Spohr’s_ ‘Overture in the
severe style’ opened the concert, and had a grand effect; as also that
of ‘Jessonda,’ which was even encored. This was followed by the tenor
song in ‘Jessonda,’ splendidly sung by _Th. Formes_, and received with
tumultuous applause,” &c.
Not less interesting also was the programme of the last concert
directed by _Spohr_; it comprised besides his own compositions--a
quartet concerto, a double symphony, and the overture to the “Mountain
Sprite,”--the _D major_ symphony of _Beethoven_, the overture
to “Fidelio,” the duet for two pianofortes of _Mendelssohn_ and
_Moscheles_ (executed by Miss _Claus_ and Miss _Goddard_), and some
other pieces. The performance of the whole of the pieces of music
was all that could be desired, and in regard to the fine effect of
_Spohr’s_ symphony, a letter specially remarks: “The double symphony
seemed as though it had been written expressly for such orchestral
powers and for this place. The lesser orchestra was, in accordance with
several trials made at the rehearsal, placed high up above, and apart;
and sometimes between the powerful and imposing masses of tone of the
larger orchestra it sounded really like music from another sphere.”
The chief object of _Spohr’s_ journey to London was thus once more
fully achieved: but on the other hand the projected performance
of “Jessonda” during the same time, met with numerous unexpected
obstacles. In order to allow _Spohr_ the number of rehearsals he
considered necessary for the study of the work, another opera, also
a newly studied one, “Benvenuto Cellini,” by _Berlioz_, was selected
for performance during the intervening opera nights; and as is the
custom, was to be repeated several times without further rehearsal.
But upon the very first night of its performance, it met with a
very unfavourable reception from the public, and _Spohr_ himself,
interested as he felt to hear this much-talked-of music, respecting
which opinions were so conflicting, was not much edified thereby, as
appears from a letter written to his friend Mr. _Lüder_: “In the opera
of _Berlioz_, which I heard in London this summer, there are some fine
things, but scarcely has one begun to feel interested in it, than there
comes a something so bizarre and harsh, that all the pleasure one has
felt is destroyed. I have a special hatred of this eternal speculating
upon extraordinary instrumental effects, for his opera contains without
doubt many really happy conceptions both melodic and dramatic, and
these are always marred by them. This it was also that displeased the
London public, which was at first very favourably disposed towards
him, and received him upon his entering the orchestra with loud
applause; but as the opera proceeded their dissatisfaction increased,
until at length, upon its conclusion, the audience broke out into one
general storm of hisses and whistling; a circumstance never known to
have occured before at the Italian opera in London in presence of the
Queen!--It is with _Berlioz_ as with all the other coryphées of the
music of the future; they do not abandon themselves to their natural
feelings in their work, but speculate on things which have never yet
been. That is the reason why these gifted musicians seldom write
anything that is enjoyable, particularly for people who in the last
century grew up in the knowledge of _Haydn_, _Mozart_ and _Beethoven_,”
&c. With so explicit an opinion as that pronounced by the London
public, the theatrical direction did not dare risk a second performance
of the opera, and other operas were obliged to be substituted, which
required also several rehearsals, and “Jessonda,” which was as yet
only in the first stage of study, was still farther postponed. This,
nevertheless, was no great source of uneasiness to _Spohr_, and the
time thus gained was agreeably occupied by him in other musical
enjoyments.
On this visit indeed _Spohr_ and his wife found a home replete with
every domestic comfort in the house of Dr. _A. Farre_, who emulated
with his kind lady in his attentions towards them, and kindly
devoted every hour that his professional engagements permitted to the
entertainment of his guests; in this manner a warm friendship was soon
established between the two families, and the weeks passed under his
roof were ever recalled by _Spohr_ as among the most pleasing of his
recollections. As Dr. _Farre_ and several of his medical colleague
were very musical and good singers, they had formed themselves, in
conjunction with some other families devoted to the art, into a musical
circle, in which music of a high class was zealously cultivated, and
that of _Spohr_ was more especially the favorite. In a soirée of this
kind he had one evening the agreeable surprise to hear his oratorio
“Die letzten Dinge” performed by eight and twenty dilettanti with
faultless precision, a production which, in rare contrast with the
habitual English taste for massive instrumentation, appealed to the
feelings in the most pleasing manner by the _perfect purity_ and
intensity of its expression. At a brilliant musical soirée given by
Dr. _Farre_ himself, in compliment to his guests, a succession of
pieces selected from _Spohr’s_ different operas was also given in
the most efficient manner, and was subject of no small surprise and
gratification both to him and the assembled company.
Meanwhile, the rehearsals of “Jessonda” had slowly proceeded, it
is true, but there had arisen so many causes for a delay in its
production, that before this could take place, the period of his
vacation expired, and _Spohr_ was obliged to leave London for Germany;
but in doing so he had the satisfaction of leaving his opera in charge
of a worthy representative, Mr. _Costa_, under whose direction, a
fortnight afterwards, it was performed several times with the most
brilliant success.
Upon his landing at Calais _Spohr_ was warmly received by the amateurs
of music of that town, who had become apprised of the day of his
arrival, and he was invited by them to a grand entertainment given in
his honour. Its chief feature was a luxurious banquet, but of which
also an agreeable musical surprise formed a part; for at the conclusion
of the dinner the pleasing notes of _Spohr’s C minor_ quartet were
heard in the adjoining apartment, which was followed by the execution
of several other pieces, and continued up to the departure of the
delighted guests at a late hour. This day, so unexpectedly passed in
Calais in the midst of musical and festive enjoyments, was a subject
of special gratification to _Spohr_, as he had least of all expected,
here, upon the soil of France, to have met with such proofs of esteem
and so much admiration for his music.
On the return journey he was much occupied with an idea which he had
conceived in England of a new grand composition for the pianoforte
with instrumental accompaniment, and which upon his arrival home
he forthwith began with zest and spirit. Thus was produced--in the
seventieth year of _Spohr’s_ age--one of his finest masterpieces,
the septet for pianoforte, two stringed and four wind instruments,
replete with the freshness of youthful thought in every part, with
a _larghetto_ which has scarcely its equal in bewitching harmony
and beauty of modulations. While yet in manuscript it was publicly
performed at the next subscription concert, on which occasion both
the composition and the excellence of the execution met with the
most favourable reception and acknowledgement. The pianoforte part,
which was as grateful as it was difficult, was taken by _J. Bott_,
and the audience testified yet more warmly their just appreciation of
his execution from his having displayed also on the same evening his
brilliant talent as violin player in _Spohr’s_ 15th. violin concerto.
By the desire of the lovers of music of Cassel, a repetition of the
new septet was given at the next concert; after which, while yet in
manuscript, it was performed at one of the quartet soirées in Leipzic,
and the fullest justice done to the pianoforte part by the truly
artistic execution of _Moscheles_, and received there by the public
with the most gratifying applause.
For the next summer vacation (1854) _Spohr_ had contemplated another
journey to Switzerland; and so great this time was his desire to
pass once more the most pleasant summer month in the undisturbed
enjoyment of the beauties of nature, that the numerous invitations
he had received to the musical festivals in England and Holland were
powerless to induce him to relinquish his long previously projected
plan. As he was on the eve of departing, he received by telegraph a
farther pressing entreaty from his grand-daughter _Antonia Wolff_
at Ratisbonne, who had there married a collegiate professor, a Mr.
_Schmitz_, and who besought him to go by way of the old imperial
city, where a visit from him had long been anxiously desired by all
lovers of music, and to pass a few days with his grand-children and
great-grand-children. Attractive as was this invitation, _Spohr_ with
regret felt compelled to decline it, his holidays being so strictly
limited; and no railroad existing at that time to Ratisbonne, it would
have led him too far out of his projected route.--After a short sojourn
at Marburg, Heidelberg, and Baden-Baden--so famed for the beauty of
their respective environs--he proceeded to the south of Switzerland,
and especially enjoyed the voyage by steamboat upon the magnificent
lakes. After a few days’ stay at Lausanne, Geneva, and Vevay,
further excursions were then made into the more easily accessible
neighbourhood, where all around smiled in summer’s rich attire, while
beyond the lake rose in majestic contrast the lofty chain of the Alps,
with its snow-capped summits.
Leaving the lake of Geneva the travellers continued their journey
to Freiburg and Bern, at both which places quite unexpectedly calls
were made upon the interest they took in music. At Freiburg, as soon
as they had alighted at the hotel, _Spohr_ was invited to join the
other strangers present in a subscription towards the honorarium
which it was there customary to tender to the organist of the church
of St. Nicholas, for the performance of a piece of music upon its so
much celebrated organ. At the appointed hour, just as the shades of
evening closed around, the small party assembled, and solemnly pealed
the tones of the mighty organ through the spacious and empty aisles
of the stately church, producing their wonted powerful effect upon
_Spohr_. The organist, either not aware of the high musical authority
before whom he was playing, or thinking to impose on him like the other
strangers present by the exhibition of his wonderful artistic skill,
struck up suddenly in the most inappropriate manner sundry things from
modern operas, and then concluded with such a thundering peal on the
instrument that the first exalted impression was wholly obliterated and
_Spohr_ could not forbear the undisguised expression of his disapproval
of such a profanation of the grand fabric of sounds, which, with its
inscription: “_In majorem gloriam dei_,” seemed rather to him in a more
exalted degree worthy alone to intonate the praises of God.
Scarcely arrived in Bern, _Spohr_ was surprised to see notices stuck
up at the corners of the streets announcing two concerts of sacred
music in which his oratorio “Die letzten Dinge” formed the chief
feature of each, though preceded on the first evening by a cantata by
_Sebastian Bach_, and on the second by four of _Marcello’s_ Psalms.
The first concert had already taken place the evening before, but as
a great number of hearers as well as performers had come in from the
neighbouring towns to the second concert, Mr. _Edele_, the director of
the “Society of Ancient Classical Music” at Bern, had made arrangements
to give a repetition of the oratorio on the next evening, so that at
this second performance of it _Spohr_ was enabled to hear it executed
with the greater precision. As the news of _Spohr’s_ presence soon
spread through the church, the opportunity was seized of giving the
composer of the work which had just been performed with such devout
inspiration, a public mark of the great esteem in which he was held
in Bern; and in the later part of the evening he was suddenly greeted
by a quickly improvised serenade, and addressed in several animated
speeches. On the following morning _Spohr_ left Bern, and after
spending several pleasant days with his female fellow-travellers in
the Bernese Oberland and on the shores of the Vierwaldstädter Lake,
he continued his journey across the Lake of Constance to Bavaria and
its capital, Munich, where the much-talked-of grand exhibition of
industry had just been opened. Though the one week spent there may
have been found scarcely sufficient to see all the treasure of art and
manufacture which had been collected partly for permanent and partly
for a short exhibition only, the travellers do not appear to have
thought a longer stay desirable, for they soon experienced also the
prejudicial influence of the bodily and mental over-exertion, which,
combined with the still more injurious climatic influences which during
that disastrous summer carried off so many of the visitors to that
then overcrowded city. Under such circumstances nothing could be more
desirable than a visit to Alexandersbad, where Dr. _Theodor Pfeiffer_,
a near relative, and proprietor of the cold-water-cure establishment,
had long kindly invited them. A short stay in that place, with its
healthful mountain air, sufficed to restore their depressed animal
spirits, and _Spohr_ gladly joined in all the social parties in their
excursions to the romantic environs, and shared in all the cheerful
parties of the company at the baths, which in kindly social spirit
lived as one family. All this, together with the whole arrangements and
rules of life, which were simple and in accordance with nature, were
so much to _Spohr’s_ taste, that from that time he always considered
Alexandersbad as the beau-ideal of an invigorating summer residence,
and after another visit there he firmly maintained that opinion for the
rest of his life.
_Spohr_ commenced the following year (1855) with the composition of six
four-voice part-songs for soprano, alto, tenor and bass, which were
soon after excellently sung at a private concert of the St. Cecilia
society with double vocal support, under his own conducting, and aided
by his own powerful bass. They made an unusual sensation among the
lovers of music present, above all one entitled “Man’s Consolation”
(the words by _von Müller von der Werra_), which went home to all
hearts.
In the spring of the same year, _Spohr_ obeyed an invitation from the
king of Hanover to direct his double symphony, and several other of
his compositions, at a grand concert. Upon his arrival at the railway
terminus he was met by music-director _Wehner_, at the head of a
numerous body of musicians and friends of the art, and in the evening
at the hotel he was saluted with two serenades, by the military band,
and the members of the choral society. On the subject of the pleasant
days he passed in Hanover upon that occasion both in a musical and
festive point of view, _Spohr_ wrote to his friend _Hauptmann_: “I
enjoyed myself much on my little excursion to Hanover. I played a
quartet at the King’s, and it seemed to me that his musical culture
went so far as to like that kind of music. At a morning concert got up
by the chapel royal to let me hear two of my compositions which they
had very carefully practised, I played also my quartet (_E minor_). The
compositions adverted to were the 7th. violin concerto, executed in a
very masterly manner by _Joachim_; and the first double quartet, of
which _Kömpel_ played the first violin in the first, and _Joachim_ in
that of the second quartet. This also, was played in the most finished
manner. On the second day the chapel royal gave a first rehearsal of
my symphony, “The Terrestrial and Divine in human Life,” which was
followed by a grand dinner, which lasted five hours, and during which
the speeches, songs and toasts were numerous and varied. Although
much exhausted I was obliged to go to a musical party in the evening
given by my old friend _Hausmann_, where I played two of my quartets,
and as on the previous evening, did not get to bed till two o’clock.
On the third day there was a grand rehearsal in the forenoon, and in
the evening the concert for the benefit of the poor, for which the
King had sent me the invitation to come to Hanover. I conducted the
first half, consisting of the overture and duett from ‘Jessonda’ and
my symphony. All these, executed in a masterly manner, particularly
the double symphony, which I never heard better played, not even in
London. The small orchestra led by _Joachim_ was composed of the élite
of the chapel royal and was very conveniently placed on the stage, so
that it was advantageously separated from the large one. The latter
was composed of twenty violins, six viols, five violincellos and five
counter-basses. It contrasted well therefore by its imposing power, in
the sonorous and not too spacious theatre, with the solo orchestra upon
the stage. The effect was very satisfactory. But in fact the orchestra
is a very superior one, particularly in the stringed instruments. The
harmony comprises certainly several distinguished virtuosi, but in
ensemble, it is neither so even in tone, nor so pure in intonation as
ours. The second part of the concert was conducted by _Fischer_; it
consisted of the overture to “Euryanthe,” _Beethoven’s_ violin concerto
(with new, superfluously long, very difficult and ungrateful, cadences
by _Joachim_), and some ‘numbers’ of ‘Lohengrin.’ The concert was
crowded and must have brought in a round sum to the poor-box.--On the
morning before I left a deputation from the chapel royal presented me
with a leader’s bâton more rich and tasteful in design than anything
of the kind I ever saw. As I afterwards learned, it was made by order
of the king, to be presented to me by the chapel royal. It consists
of a beautifully grooved ivory staff with a golden handle richly set
with coloured stones, with a similar gold ornamentation at the top,
ending in a knob set likewise with small stones. The whole thing is
extremely tasteful, and has upon the handle in raised letters: ‘The
Royal Hanoverian Chapel to Music-director-general Dr. _Spohr_, March
31st. 1855.’ The Elector, who sent for the work of art to inspect
it, expressed himself, as I am told, upon returning it, with very
unreserved dissatisfaction that the inscription did not express
‘Director-general of Music to the Elector,’ and said, “who will know
hereafter whose director general of music he was!”[42] &c.
[42] The leader’s bâton here described with such evident satisfaction,
formed a worthy companion to a scarcely less costly and tasteful
one that _Spohr_ had been presented with by his faithful pupil _F.
Böhme_ of Holland. He was always very proud of such appropriate and
artistically executed presents, and it was always his custom to take
them out of their respective cases with his own hands, and to replace
them after use with equal care.
The first impression experienced by _Spohr_ on his return from
Hanover, was also an agreeable one, for he found at home a telegraphic
message that had arrived during his absence, to the following effect:
“Inspruck, March 27th. 1855, 10 m. p. 10 at night. One hundred and
fifty dilettanti of Inspruck, who have just performed the music of
“Jessonda” with rapturous applause, send to the master their heartfelt
greetings.” The letters which subsequently arrived from Inspruck
informed him in a more detailed manner, “that the opera had been three
times performed there in the national theatre to crowded houses, for
the benefit of the fund for the relief of the poor, and in a manner
surpassing all expectation, by musical and vocal dilettanti;” and
expressed at the same time “the hope that the friends of music in that
place would have the gratification of greeting the honoured and veteran
composer in their own mountains in the course of the year, and hear
again that classic opera under his own personal direction.”
That hope however was not realised, for the journey contemplated
this year was in the opposite direction, towards the north; first to
Hamburg, where _Spohr_ had not been since the great fire in 1842, and
was therefore greatly interested to see the magnificent manner in which
it had been rebuilt. Fully satisfied in that expectation, he had at
the same time the pleasure of seeing again several much-loved friends
(among whom the family of the _Grunds_), and to hear many successful
musical performances, both in private and public circles.--Being so
near to the sister town Lubeck, to which his wife was still fondly
attached, and for whose kind-hearted inhabitants he himself, since his
visit in the year 1840, had a predilection, it was natural that both
should much desire to make a trip thither, upon the railway which had
since then been opened to connect the two towns. Although it is true
that during the fifteen years which had elapsed, many former friends
had gone to their last rest, yet the venerable old instructor was still
living, and met his former lady pupil and her renowned husband with
the same warmth of heart. Verging upon eighty years of age, he had
recently retired from professional life, but the institution he had
so long successfully directed flourished still, conducted in the same
spirit by his worthy son Dr. _Adam Meier_; and _Spohr_ and his wife,
deeply moved by his touching kindness, took up their abode beneath the
hospitable roof that was so endeared to them by past recollections.--As
the interests of music were also well represented by Kapellmeister
_Hermann_, a former pupil and a warm partizan of _Spohr_, the days
passed agreeably in social intercourse with old friends and new
acquaintances.
In the course of the year 1855 _Spohr_ wrote his 33rd. violin quartet
(Op. 152, published by _Siegel_ of Leipzic) and three grand duets for
two violins (Op. 148, 150 and 153, published by _Peters_ of Leipzic)
which last he dedicated to the brothers _Alfred_ and _Henry Holmes_ of
London. Neither could he have commended his work to better hands to
ensure a performance and publicity worthy of them, for although those
young artists never had the advantage of his personal instruction, yet
by dint of a diligent study of his “Violin School,” they had become so
penetrated with the spirit of his composition and his style of play,
that _Spohr_ during his last stay in England had been exceedingly
gratified to hear his older violin duets executed by the two talented
youths in a really masterly manner; and when a few years afterwards,
upon an artistic tour on the continent, they visited Cassel, they
caused, as _Spohr_ himself remarks in a letter: “everywhere the
greatest sensation by their splendid play, and especially excited
admiration by the highly finished and surprising performance of his
duets and concertantes.”