Louis Spohr had now become one of the patriarchs of music, for his life
spanned a longer arch in the history of the art than any contemporary
except Cherubini. He was seven years old when Mozart died, and before
Haydn had departed from this life Spohr had already begun to acquire
a name as a violinist and composer. He lived to be the friend of
Mendelssohn, Meyerbeer, Liszt, and Wagner. Everywhere he was held in
veneration, even by those who did not fully sympathize with his musical
works, for his career had been one of great fecundity in art. In
addition to his rank as one of the few very great violin virtuosos, he
had been indefatigable in the production of compositions in nearly all
styles, and every country of Europe recognized his place as a musician
of supereminent talent, if not of genius, one who had profoundly
influenced contemporary music, even if he should not mold the art of
succeeding ages. Testimonials of admiration and respect poured in on him
from every quarter.
He composed the opera of "The Crusaders" in 1845, and he was invited
to conduct the first performance in Berlin. He relates two pleasing
incidents in his "Autobiography." He had been invited to a select dinner
party given at the royal palace, and between the king and Spohr, who
was seated opposite, there intervened an ornamental centerpiece
of considerable height in the shape of a flower vase. This greatly
interfered with the enjoyment by the king of Spohr's conversation. At
last his Majesty, growing impatient, removed the impediment with his own
hands, so that he had a full view of Spohr.
The other incident was a pleasing surprise from his colleagues in art.
He was a guest of the Wickmann family, and they were all gathered in the
illuminated garden saloon, when there entered through the gloom of the
garden a number of dark figures swiftly following each other, who proved
to be the members of the royal orchestra, with Meyerbeer and Taubert at
their head. The senior member then presented Spohr with a beautifully
executed gold laurel-wreath, while Meyerbeer made a speech full of
feeling, in which he thanked him for his enthusiastic love of German
art, and for all the grand and beautiful works which he had created,
specially "The Crusaders." The twenty-fifth anniversary of Spohr's
connection with the court theatre of Cassel occurred in 1847, and was
to have been celebrated with a great festival. The death of Felix
Bartholdy Mendelssohn cast a great gloom over musical Germany that
year, so the festival was held not in honor of Spohr, but as a solemn
memorial of the departed genius whose name is a household word among all
those who love the art he so splendidly illustrated.
Spohr's next production was the fine symphony known as "The Seasons,"
one of the most picturesque and expressive of his orchestral works, in
which he depicts with rich musical color the vicissitudes of the year
and the associations clustering around them. This symphony was followed
by his seventh quintet, in G minor, another string quartet, the
thirty-second, and a series of pieces for the violin and piano, and in
1852 we find the indefatigable composer busy in remodeling his opera of
"Faust" for production by Mr. Gye, in London. It was produced with great
splendor in the English capital, and conducted by Spohr himself; but
it did not prove a great success, a deep disappointment to Spohr, who
fondly believed this work to be his masterpiece. "On this occasion,"
writes a very competent critic, _à propos_ of the first performance,
"there was a certain amount of heaviness about the performance which
told very much against the probability of that opera ever becoming
a favorite with the Royal Italian Opera subscribers. Nothing could
possibly exceed the poetical grace of Eonconi in the title rôle, or
surpass the propriety and expression of his singing. Mme. Castellan's
_Cunegonda_ was also exceedingly well sung, and Tamberlik outdid himself
by his thorough comprehension of the music, the splendor of his voice,
and the refinement of his vocalization in the character of _Ugo_....
The _Mephistopheles_ of Herr Formes was a remarkable personation, being
truly demoniacal in the play of his countenance, and as characteristic
as any one of Retsch's drawings of Goethe's fiend-tempter. His singing
being specially German was in every way well suited to the occasion." In
spite of the excellence of the interpretation, Spohr's "Faust" did not
take any hold on the lovers of music in England, and even in Germany,
where Spohr is held in great reverence, it presents but little
attraction. The closing years of Spohr's active life as a musician were
devoted to that species of composition where he showed indubitable
title to be considered a man of genius, works for the violin and chamber
music. He himself did not recognize his decadence of energy and musical
vigor; but the veteran was more than seventy years old, and his royal
master resolved to put his baton in younger and fresher hands. So he was
retired from service with an annual pension of fifteen hundred thalers.
Spohr felt this deeply, but he had scarcely reconciled himself to the
change when a more serious casualty befell him. He fell and broke his
left arm, which never gained enough strength for him to hold the beloved
instrument again. It had been the great joy and solace of his life to
play, and, now that in his old age he was deprived of this comfort, he
was ready to die. Only once more did he make a public appearance. In the
spring of 1859 he journeyed to Meiningen to direct a concert on behalf
of a charitable fund. An ovation was given to the aged master. A
colossal bust of himself was placed on the stage, arched with festoons
of palm and laurel, and the conductor's stand was almost buried in
flowers. He was received with thunders of welcome, which were again and
again reiterated, and at the close of the performance he could hardly
escape for the eager throng who wished to press his hand. Spohr died on
October 22, 1859, after a few days' illness, and in his death Germany at
least recognized the loss of one of its most accomplished and versatile
if not greatest composers.