winter, the sleeplessness and nervous excitement which had affected
him so prejudicially at Leipsic also, increased during the long
nights, and from that time slowly but obviously augmented; leaving as
their result a still greater debility and uneasiness during the day;
his cheerfulness abandoned him entirely.--Shortly after his visit to
Leipsic, where the orchestral pieces under the excellent direction of
_Rietz_ gave him especial pleasure, he wrote among other things to
_Hauptmann_.... “I cannot express to you how this time all the music
I heard in Leipsic pleased me.... From the devotional sentiment which
your motette raised in me on Sunday, I envy you not a little the
energy with which you still continue to work, while with me it is all
over with composing and with violin play! Yesterday I received from
_Zellner_, the musical critic at Vienna, the intelligence that one of
my oratorios is to be performed there, and he invited me on the part
of the originators of the design, to come and direct it myself. For
several years the Austrian society had contemplated giving my ‘Fall of
Babylon’ as a musical festival in the Imperial Riding School; but then,
even with the aid of _Metternich_, I could not get permission to go
there. Now, when I could get away, as I am an invalid, and the journey
too far and fatiguing, I am obliged to renounce it. I shall therefore
decline the invitation and content myself with shorter journeys in
the fine season of the year. But on such occasions, struggles with my
inclinations and low spirits always follow! and so one is induced to
envy the lot of several who were personally known to me, who of late
died suddenly....” Impressed with similar painful thoughts and not
without many inward struggles, _Spohr_ wrote the letter to decline
the invitation that he received at that time to Königsberg, to the
centenary _Händel_ Festival, where he had been chosen to direct the
magnificent “Messiah” and one of his own works; and where it was
intended to pay to him, as sole worthy representative of the great
_Händel_, all the homage and honours which could not be rendered to
_Händel_ personally, in all the overflowing fulness of their warmth.[44]
[44] To the many marks of honour which _Spohr_ still received in the
latter years of his life must be added also his nomination to the
honorary membership of the “Musical Society,” which had just previously
been instituted in London. Upon the occasion of his presentation with
this diploma, an enumeration of the various diplomas which he had
already been presented with gave an amount of _Thirty-eight_, among
which was one from New York, from Buenos-Ayres, St. Petersburg, and
Stockholm, with two from Rome and two from Holland.
As _Spohr_ for many years had been considered by the whole musical
world as the highest authority in everything that pertained to his art,
a day seldom passed without bringing applications or requests of some
kind, frequently from the most distant localities, which his ever-ready
disposition to oblige never permitted him to leave unnoticed, but to
which, now although with a heavy heart, he was more and more compelled
to waive replying. One application nevertheless may here be mentioned,
which, coming at a particularly favourable moment, rekindled his
zest to make a last essay at composition, and which in reality also
was his last! For many years he had been repeatedly solicited in the
most irresistible words by Mr. _Chr. Schad_, the publisher of the
Almanack of the German Muses, to write a few little songs for it, and
_Spohr_ had each time the satisfaction to learn that those willingly
bestowed little contributions were received with a more than usual
approbation. In the autumn of 1857, when with considerable timidity he
had endeavoured to satisfy Mr _Schad’s_ urgent wish for a composition
for the words of the old ballad of _Walter von der Vogelweide_, “the
silent nightingale,” he received a very poetical letter of thanks
expressing the writers “admiration of the musical sentiment and depth
of feeling with which the beautiful ballad had been rendered by the
composer,” and that “it is a great satisfaction for a German heart
that two masters of his nation, although separated by an interval of
six hundred years, should have exhibited the rich treasures of their
inmost feelings, in so noble, so simple and so harmonious a form of
words and tone,” &c. Now at length, in October 1858, six months after
having laid aside his incompleted requiem as his last composition,
he received another letter, beginning with the words: “Your silent
nightingale which built her harmonious nest in the thick verdure of
last year’s Almanack of the Muses, has met with the loudest approbation
of the German nation for the very eloquence of that silence. And who
better than the loved great master _Spohr_ would know how to utter
sounds more replete with the soul’s harmony,--who know how to move
more deeply and purely a German heart! No wonder is it that I again
knock at your door to-day. I come in the name of, and at the request
of, more than eighty of the best hearts and heads in Germany, who have
chosen me as their standard-bearer for a noble patriotic object.... I
lay before you three of the most beautiful of _Göthe’s_ songs for your
unrestricted choice, and resign myself to the pleasing hope of seeing
one or the other enveloped in a melodious garb by your master-hand.”
And, indeed, already on the following morning his wife heard with
joyful emotion the sound of the long-silent keys of the pianoforte, in
his room, and his still pleasing voice as he sang in accompaniment. A
few hours afterwards he came also with a look of pleasure to fetch her,
to sing to her forthwith the new music he had composed to _Goethe’s_
“Herz, mein Herz, was soll das geben,” having already completed it as
regarded the chief thing; though the rhythm and conclusion not being
yet to his fancy, would require a longer time to finish. When however,
his wife, greatly pleased with the lively, pretty melody, could not
refrain from making the observation that it had a very striking
resemblance to _Beethoven’s_ composition to the same words, he assured
her that he had no knowledge of it, or at least no recollection of it
at all, but expressed the wish to have it procured, in order to satisfy
himself of the resemblance.--With his own song he was now tolerably
satisfied, and said, with truth also, that it would have a very good
effect, if those who sung it did not _spoil it by too slow a Tempo_,
as was so frequently the case with his compositions, a remark which is
in so far characteristic, as _Spohr_, so often as he heard his works
performed abroad, or not under his own immediate direction, always felt
annoyed by the time being taken frequently _too slow_, but scarcely
ever complained of one taken _too fast_. When at length the new song
was studied under his superintendance by his niece _Emma Spohr_,
who, gifted with a fine voice, always sung songs of the kind in the
family-circle, he sang to her himself with the most lively emotion, and
with almost breathless rapidity, the three closely following strophes,
without interlude, to encourage her to a similar execution. But a few
weeks afterwards, when he again caught sight of the manuscript, he
said, with a sorrowful expression of face, that the song was worthless,
and regretted that he had sent it for publication in the Almanack of
the Muses!
As evidence of his restless impulse to be usefully active, one instance
may here be adduced:
When, after breaking his arm, he was compelled to give up violin
playing himself, he thought also that he could no longer give
satisfaction as a _Teacher_ of his instrument; he had dismissed his
last violin pupils, young persons without pecuniary means whom he
instructed from a humane feeling and zeal for the art.--But now, in
December 1858, he again resumed his labours as a beneficent instructor,
and expressed himself to _Hauptmann_ upon the subject in the following
words: “In order still to be somewhat actively engaged in the cause
of art, I have commenced giving pianoforte lessons gratis to a young
lady who wishes to qualify herself for a teacher of that instrument.
But when it is requisite to play anything to my pupil, I am of course
obliged to call my wife or sister-in-law to my assistance.”
In this manner, the this time especially dreaded winter,--his last--had
come! On New Year’s morning 1859, after a sleepless and restless night
passed in a state of painful nervous excitement, he received in earnest
silence the wishes of the season from his family and friends,--but
still looked forward with hope to a “fine spring and summer,” which
he contemplated passing happily once more, partly at home among his
favorite flowers, and partly in little journeys. For such journeys,
which his friends always designated as “little triumphal excursions,”
the most alluring invitations had again long been received from all
sides, but of these of course he could only accept those which were
to places most easily accessible. When upon such occasions with an
effusion of grateful satisfaction he gave utterance to his feelings
in the words: “It often seems to me as though all the world thought
only of conferring upon me a very feast of pleasure before I die,”
it was unfortunately always followed by the sad addition: “but no
one knows how miserable I feel, and no one can relieve me of my
sufferings.”--With almost morbid impatience he now looked forward
to the next spring, when he had proposed to himself, at the special
request of _John J. Bott_, who was now appointed director of music
at the court orchestra of Meiningen, to proceed thither, to direct
the concert which was then to be given for the benefit of the widow’s
relief fund. The few hours occupied by the journey on the newly-opened
Werra railway were easy and comfortable to him, and upon his reception
at the terminus of Meiningen _Spohr_ was particularly gratified at
meeting once more both his favorite pupils _Grund_ and _Bott_, who
greeted their honoured master with expressions of the heartiest
welcome, and who the next day were unwearied in showing their grateful
attachment to him in every possible manner. Immediately on the first
evening, as a further festive welcome, a grand serenade by torch-light
was given to him, in which under _Bott’s_ conducting (in the _Spohr_
style), male choral and four-part-songs interchanged alternately with
the music of the full orchestra; and at the close, at the moment when
the cheers of the assembled crowds were loudest, the whole living mass
was suddenly illumined by the coloured fires of a brilliant sun, which
disclosed also to view, as though by magic, the fine parks opposite
the house. At the rehearsal for the concert on the following evening,
_Spohr_ found all the musical pieces so carefully studied and in
accordance with all his intentions, that he could look forward with
pleasing certainty to its performance on the next evening, and the more
so, as the two directors of music, _Grund_ and _Bott_, felt an especial
pleasure in resuming their former places under the direction of their
master, as co-operating violinists in the orchestra, and in thus giving
him the most powerful support.
The “Meininger Tageblatt” makes mention of the concert in the following
terms: “Upon the stage, between branches of palm and laurel, was placed
a collossal bust of _Spohr_. The conductor’s desk had been decorated by
female hands with ingenious devices and garlands of flowers. The house,
filled to overflowing, awaited in breathless suspense the appearance
of the famed old master. ‘He comes!’ ... was whispered through the
spacious house, and a thousand-tongued welcome of joy greeted the
honoured man. In a few minutes afterwards he had lifted the conductor’s
baton--a solemn silence immediately ensued; and in a few moments the
first notes of the symphony “Die Weihe der Töne” resounded. The eyes of
all were directed to the Nestor of the science of music, who brought
to our mind the Olympian Jove--_omnia supercilio moventis_. All the
orchestral assistants felt the importance of the moment, and lent their
most efficient aid. The same calm which everywhere breathes through the
works of this musician was seen also in his conducting. Not the least
fraction of a beat was thrown away--in all and everywhere, were seen
the director of orchestra and the musicians, as a grand impersonated
whole, achieving in every part a fresh triumph. The honoured poet of
sweet sounds directed besides his grand symphony, five other of his
works, and with so steady a hand, that the crowded house was filled
with admiration.” ... This part of the concert in which _Spohr_ wielded
for _the last time_ the conductor’s baton, comprised among the rest,
his concertante in _H minor_, which was executed by director of music
_Bott_ and concert-master _Müller_ in a masterly manner, and gave him
great pleasure. In appropriate choice followed the overture to the
“Mountain Sprite,” with which thirty-four years before he had opened
the festive celebration of the marriage of the ducal pair. As upon that
occasion the exalted couple listened with pleasure to the tones of
the master, and exhibited a warm interest not only by their presence
at the rehearsal and performance, but by the most marked attentions;
and the duke, who many years previously had presented _Spohr_ with the
cross of knighthood of the order of the house of Saxe-Ernest, changed
it upon this occasion for the grand cross of the order.--The last
evening in Meiningen was further celebrated in honour of _Spohr_ by a
grand masonic fête, which afforded him no less gratification; as also
a hearty written testimony of thanks addressed to him by the intendant
of the court orchestra, Mr. _von Liliencron_, from which, as it refers
to _Spohr’s last appearance as conductor_, we may here cite some words,
which will perpetuate the memory of that day: “The house filled to the
very utmost,--the enthusiastic acclamations,--the flowers and wreaths,
testified to you yesterday, how fascinated we all were by your tones,
how deeply moved at the sight of the loved and highly honoured master.
If the recollection of that delightful evening will remain indelibly
impressed upon all who were present, so will the benign purpose of
that concert impress the recollection of your appearance among us;
for in future years, when it shall be read what was presented on the
12th. April 1859 to the widows and orphans by the court orchestra of
Meiningen, it will be said: that was the day on which _Spohr_, the
master, wielded the conductor’s baton in our midst.”
A second journey undertaken shortly after by _Spohr_, was to the
pleasant little princely residence of Detmold, where he was again
welcomed by a grateful pupil, the director of music _Kiel_, and its
art-loving prince, in a similar manner as in Meiningen, with two
successive days of festivities in his honour. The proffered direction
of a grand concert solely embracing his own compositions he had
firmly declined, and as auditor could therefore give himself up more
completely to the enjoyment of his own excellently performed music,
two numbers of which in particular afforded him exceeding pleasure;
the performance namely by his former pupils _Kiel_ and concertmaster
_Bargheer_, who together executed his _A minor_ concertante, and
the symphony “Die Jahreszeiten”--a favorite and prominent point of
excellence with the court orchestra of Detmold--and which he had
especially chosen by a previously communicated request.
Returned once more to Cassel after a week happily passed in the
midst of the enjoyment of art and nature, _Spohr_ unhappily could no
longer conceal from himself, that even these short journeys were now
followed by many painful results, in the shape of a yet more increased
nervous restlessness at night--yet his spirit soon yearned again for
diversity and change of place, and especially towards his favorite
Alexandersbad, where he confidently hoped a longer stay in the fine air
of that locality would again induce an improvement in his health, and
particularly restore his sleep at night. Strengthened in this belief
by the opinion of his ever-sympathising and watchful medical attendant
Dr. Ad. _Harnier_, he set out for Alexandersbad, where he remained
some weeks. His health improved, and he passed better nights. But on
his return he visited Würzburg, and was present at the performance of
his “Letzte Dinge;” and this, and his reception, and the leave-taking,
made such an impression on him, that it went far to neutralize the
improvement in his health that had taken place at Alexandersbad.
His pleasure at hearing good music remained with him to the last, for
which reason he never missed a concert, and even frequently went to the
theatre, where above all things the music so dear to his heart--the
operas of _Mozart_--ever filled him anew with the fresh transports
of a youthful joy.--At home he passed the greater part of the day
in reading, but no longer as formerly in that of political journals
and instructive scientific works, which had excited and absorbed his
interest,--he now delighted rather in entertaining moral works, simple
novels that appealed to the heart, and the like, which for the time
distracted his attention from his suffering condition.--At frequent
intervals he would request his wife to play something to him, and
herein he would shew a preference for the pianoforte music of _Bach_
and _Mendelssohn_, yet without withdrawing his interest from the
productions of more modern composers.
A pleasing diversion in the uniform sameness of his everyday life,
was afforded to him in the first days of October by a visit to the
princess _Anna_, wife of prince _Frederick_, the heir apparent to the
Hessian throne, at the express invitation of that princess, during
a residence of some days at Cassel in the Bellevue palace. Upon his
return he related with feelings of pleasure the amiable anticipatory
attentions of the princess, who, in consideration of _Spohr’s_
greater convenience, had descended with her husband and child, prince
_Wilhelm_, then five years old, to an apartment on the ground-floor,
where he was received, and where after a lengthened pleasing
conversation with the princely pair, she, at the conclusion, besought
him with the most winning kindliness of manner, to write a few lines
by way of souvenir in her album. In satisfaction of this request, on
the 7th. October, he wrote, though indeed with a weak and tremulous
hand, yet with his usual readiness, a particularly requested passage of
the well-known duett in “Jessonda,” in the costly album that had been
forwarded to his house.
On Sunday the 16th. October, a change, at first scarcely observable,
evinced itself in his condition: an expression of calm contentment
such as not had been seen for a long time, settled on his features; in
spite of the preceding restless night, of the obvious continual bodily
sufferings and increasing debility no more complainings were heard to
fall from his lips; yet he was more than usually silent, and though he
replied in a kind tone to every inquiry adressed to him, it was as
short as possible. In the afternoon, on rising from the dinner-table,
he stood for a long time at the open door of the house, musing as he
gazed upon the rich autumnal beauties of his flower-garden,--but upon
the proposition of his wife to take his coffee outside under the bower,
he replied, that he wished to take it that day in his room, and that
she with her sister would play something to him. This of course was
with pleasure immediately complied with. After he had listened to some
symphonies arranged for four hands,--apparently as though half-lost in
a dream, yet as might be inferred from many remarks that fell from him,
with much attention, he requested further by way of conclusion, his
newest quintet (Op. 144, _G-minor_) with the piano-forte arrangement
of which for four hands he had but shortly before become acquainted;
to this also he listened with full interest and obvious satisfaction.
After the last theme he inquired: “How long ago may it be that I
wrote that?” and when his wife, who could not immediately remember
the year, replied it might be perhaps three or four years ago,--he
said with a sigh: “Then _there_ I did still succeed in effecting it!
and now I can no longer do so!” With these words he rose from his
chair, to prepare for his customary evening walk to the reading rooms,
which, despite all his weakness and some admonitions from his wife, he
nevertheless slowly, and supported by her, still persevered in. But
feeling exceedingly anxious at home respecting him, she despatched a
devotedly attached servant to see after him, much earlier than he had
been ordered to bring him back: upon which, in a condition of extreme
debility, he immediately permitted himself to be led home, and shortly
after his frugal supper to be put to bed. After the usual parting
evening kiss, he said to his wife: “he hoped from being so tired he
should at length have a _good night’s rest_,”--and thereupon sank
into a soft slumber from which he did not awake till the next morning
and then with a cheerful mien. He had found the much-desired repose,
he felt no longer any bodily suffering, the serene expression of his
countenance betokened it from that moment to his last breath! To rise
he refused; neither would he take breakfast; but requested his wife to
sit on the bed beside him; took her hand, and kissed it tenderly, with
an affectionate expression in his kindly beaming eyes that spoke to her
more eloquently than could a thousand words. Shortly afterwards his
attentive physician arrived, and immediately perceived that a higher
power had granted to him the long-desired rest. His family was already
prepared for the approaching heart-rending separation. His children and
nephews, near and distant friends, hastened to his couch, all desirous
to look as long as possible on his loved and honoured face, each glad
to snatch one look more from his truthful loving eyes! In this manner
he lay, surrounded by all that were most dear to him in life, in calm
repose; from day to day with decreasing consciousness of existence;
in spirit mayhap, already appertaining to a higher world,--until the
evening of the 22nd. Oct. (1859), when at half-past ten his weary eyes
closed for ever!----
The pious tones which once with a holy inspiration had gushed from
the pure fount of his soul--tones to which he had himself listened in
silent devotion but a few weeks before,--resounded now in mourning
over his grave; and sad and sorrowful, though at the same time sweetly
consolatory, still echo far and wide to the hearts of all:
“Blessed are the dead, who die in the Lord, now and for ever. They
repose from their labours, and their works follow them!”
~Finis.~
Alphabetical list of the most notable persons, adverted to in the two
volumes.
Page
Beethoven I. 184, 199
Bott, Jean II. 232, 313, 336
Boucher II. 68
Catalani II. 25
Cherubini II. 133
Clementi I. 39
Curschmann II. 158, 161
Dingelstedt II. 211
Dussek I. 79, 86
Eck I. 13
Feska I. 193, 225
Field I. 40
Goethe I. 102, 116
Grabbe II. 190
Grund, Edward II. 103, 336
Hauptmann, Moritz I. 169 II. 137, 241
Hesse, Adolph II. 196, 209, 299
Hermstedt I. 123, 140, 156, 159 II. 135
Hiller, Ferdinand II. 324
Holmes, Alfred and Henry II. 320
von Humboldt, Alex. II. 269
Immermann II. 189
Joachim II. 278, 289, 317
Kömpel, Augustus II. 300
Körner, Theodor I. 177
Kreutzer I. 250, II. 108, 119
Laube, Heinrich II. 277
Liszt, Franz II. 239, 271
Mendelssohn II. 189, 210, 277, 290
Methfessel II. 59
Meyerbeer I. 80, 312, II. 266, 270
Molique I. 212
Moscheles II. 294, 313
Müller, Brothers II. 228
Napoleon I. 117
Owen, Professor II. 304
Ole Bull II. 213
Paganini I. 279, II. 168
Pott, Augustus II. 262, 273
Prutz, Robert II. 278
von Raumer II. 2
Raupach II. 184
Ries, Ferdinand II. 75, 161
Ries, Hubert II. 269
Rochlitz I. 75, II. 159, 186
Rode I. 61, 161
Romberg, Andreas I. 135, 210
Romberg, Bernard I. 78
Schmidt, Aloys I. 159
Schumann, Robert II. 210, 296
Schwenke I. 135
Spontini II. 156
Taylor, Prof., Ed. II. 216, 249, 253
Tiek, Ludwig II. 269
Wagner, Richard II. 245, 276
von Weber, C. Maria I. 109, 140
Wichmann, Professor II. 269
Wieland I. 102, 116
Winter I. 105
* * * * *
Transcriber's Note
Note 8 on volume 1 p. 114 refers to a fac-simile appended to the
volume; this was not included in the printed book.