he added; "and why is not your violin like others?"

The aged fiddler explained that, when he got old and found himself poor, not being able to work, but still able to sc.r.a.pe a few airs upon a violin, he had endeavored to procure one, but in vain. At last his good, kind nephew Eustache, who was apprenticed to a tinker, had made him one out of a tin-plate. "And an excellent one, too," he added; "and my poor boy Eustache brings me here in the morning when he goes to work, and fetches me away in the evening when he returns, and the receipts are not so bad sometimes--as, when he was out of work, it was I who kept the house going."

"Well," said Viotti, "I will give you twenty francs for your violin. You can buy a much better one for that price; but let me try it a little."

He took the violin in his hands, and produced some extraordinary effects from it. A considerable crowd gathered around, and listened with curiosity and astonishment to the performance. Langle seized on the opportunity, and pa.s.sed around the hat, gathering a goodly amount of c.h.i.n.k from the bystanders, which, with the twenty francs, was handed to the astonished old beggar.

"Stay a moment," said the blind man, recovering a little from his surprise; "just now I said I would sell the violin for twenty francs, but I did not know it was so good. I ought to have at least double for it."

Viotti had never received a more genuine compliment, and he did not hesitate to give the old man two pieces of gold instead of one, and then immediately retired from the spot, pa.s.sing through the crowd with the tin-plate instrument under his arm. He had scarcely gone forty yards when he felt some one pulling at his sleeve; it was a workman, who politely took off his cap, and said:

"Sir, you have paid too dear for that violin; and if you are an amateur, as it was I who made it, I can supply you with as many as you like at six francs each."

This was Eustache; he had just come in time to hear the conclusion of the bargain, and, little dreaming that he was so clever a violin-maker, wished to continue a trade that had begun so successfully. However, Viotti was quite satisfied with the one sample he had bought. He never parted with that instrument; and, when the effects of Viotti were sold in London after his death, though the tin fiddle only brought a few shillings, an amateur of curiosities sought out the purchaser, and offered him a large sum if he could explain how the strange instrument came into the possession of the great violinist.

After resigning his position as director of the Grand Opera, Viotti returned to London, which had become a second home to him, and spent his remaining days there. He died on the 24th of March, 1824.

V.

Viotti established and settled for ever the fundamental principles of violin-playing. He did not attain the marvelous skill of technique, the varied subtile and dazzling effects, with which his successor, Paganini, was to amaze the world, but, from the accounts transmitted to us, his performance must have been characterized by great n.o.bility, breadth, and beauty of tone, united with a fire and agility unknown before his time.

Viotti was one of the first to use the Tourte bow, that indispensable adjunct to the perfect manipulation of the violin. The value of this advantage over his predecessors cannot be too highly estimated.

The bows used before the time of Francois Tourte, who lived in the latter years of the last century in Paris, were of imperfect shape and make. The Tourte model leaves nothing to be desired in all the qualities required to enable the player to follow out every conceivable manner of tone and movement--lightness, firmness, and elasticity. Tartini had made the stick of his bow elastic, an innovation from the time of Corelli, and had thus attained a certain flexibility and brilliancy in his bowing superior to his predecessors. But the full development of all the powers of the violin, or the practice of what we now call virtuosoism on this instrument, was only possible with the modern bow as designed by Tourte, of Paris. The thin, bent, elastic stick of the bow, with its greater length of sweep, gives the modern player incalculable advantages over those of an earlier age, enabling him to follow out the slightest gradations of tone from the fullest _forte_ to the softest _piano_, to mark all kinds of strong and gentle accents, to execute staccato, legato, saltato, and arpeggio pa.s.sages with the greatest ease and certainty. The French school of violin-playing did not at first avail itself of these advantages, and even Viotti and Spohr did not fully grasp the new resources of execution. It was left for Paganini to open a new era in the art. His daring and subtile genius perceived and seized the wonderful resources of the modern bow at one bound. He used freely every imaginable movement of the bow, and developed the movement of the wrist to that high perfection which enabled him to practice all kinds of bowing with celerity. Without the Tourte bow, Paganini and the modern school of virtuosos, which has followed so splendidly from his example, would have been impossible. To many of our readers an amplification of this topic may be of interest. While the left hand of the violin-player fixes the tone, and thereby does that which for the pianist is already done by the mechanism of the instrument, and while the correctness of his intonation depends on the proficiency of the left hand, it is the action of the right hand, the bowing, which, a.n.a.logous to the pianist's touch, makes the sound spring into life. It is through the medium of the bow that the player embodies his ideas and feelings. It is therefore evident that herein rests one of the most important and difficult elements of the art of violin-playing, and that the excellence of a player, or even of a whole school of playing, depends to a great extent on its method of bowing. It would have been even better for the art of violin-playing as practiced to-day that the perfect instruments of Stradiuarius and Guarnerius should not have been, than that the Tourte bow should have been uninvented.

The long, effective sweep of the bow was one of the characteristics of Viotti's playing, and was alike the admiration and despair of his rivals. His compositions for the violin are cla.s.sics, and Spohr was wont to say that there could be no better test of a fine player than his execution of one of the Viotti sonatas or concertos. Spohr regretted deeply that he could not finish his violin training under this great master, and was wont to speak of him in terms of the greatest admiration. Viotti had but few pupils, but among them were a number of highly gifted artists. Rode, Robrechts, Cartier, Mdlle. Gerbini, Alday, La-barre, Pixis, Mari, Mme. Paravicini, and Vacher are well-known names to all those interested in the literature of the violin. The influence of Viotti on violin music was a very deep one, not only in virtue of his compositions, but in the fact that he molded the style not only of many of the best violinists of his own day, but of those that came after him.

LUDWIG SPOHR.

Birth and Early Life of the Violinist Spohr.--He is presented with his First Violin at six.--The French _Emigre_ Dufour uses his Influence with Dr. Spohr, Sr., to have the Boy devoted to a Musical Career.--Goes to Brunswick for fuller Musical Instruction.--Spohr is appointed _Kammer-musicus_ at the Ducal Court.--He enters under the Tuition of and makes a Tour with the Violin Virtuoso Eck.--Incidents of the Russian Journey and his Return.--Concert Tour in Germany.--Loses his Fine Guarnerius Violin.--Is appointed Director of the Orchestra at Gotha.--He marries Dorette Schiedler, the Brilliant Harpist.--Spohr's Stratagem to be present at the Erfurt Musical Celebration given by Napoleon in Honor of the Allied Sovereigns.--Becomes Director of Opera in Vienna.--Incidents of his Life and Production of Various Works.--First Visit to England.--He is made Director of the Ca.s.sel Court Oratorios.--He is retired with a Pension.--Closing Years of his Life.--His Place as Composer and Executant.

I.

"The first singer on the violin that ever appeared!" Such was the verdict of the enthusiastic Italians when they heard one of the greatest of the world's violinists, who was also a great composer. The modern world thinks of Spohr rather as the composer of symphony, opera, and oratorio than as a wonderful executant on the violin; but it was in the latter capacity that he enjoyed the greatest reputation during the earlier part of his lifetime, which was a long one, extending from the year 1784 to 1859. The latter half of Spohr's life was mostly devoted to the higher musical ambition of creating, but not until he had established himself as one of the greatest of virtuosos, and founded a school of violin-playing which is, beyond all others, the most scientific, exhaustive, and satisfactory. All of the great contemporary violinists are disciples of the Spohr school of execution. Great as a composer, still greater as a player, and widely beloved as a man--there are only a few names in musical art held in greater esteem than his, though many have evoked a deeper enthusiasm.

Ludwig Spohr was born at Brunswick, April 5, 1784, of parents both of whom possessed no little musical talent. His father, a physician of considerable eminence, was an excellent flutist, and his mother possessed remarkable talent both as a pianist and singer. To the family concerts which he heard at home was the rapid development of the boy's talents largely due. Nature had given him a very sensitive ear and a fine clear voice, and at the age of four or five he joined his mother in duets at the evening gatherings. From the very first he manifested a taste for the instrument for which he was destined to become distinguished. He so teased his father that, at the age of six, he was presented with his first violin, and his joy on receiving his treasure was overpowering. The violin was never out of his hand, and he continually wandered about the house trying to play his favorite melodies. Spohr tells us in his "Autobiography": "I still recollect that, after my first lesson, in which I had learned to play the G-sharp chord upon all four strings, in my rapture at the harmony, I hurried to my mother, who was in the kitchen, and played the chord so incessantly that she was obliged to order me out."

Young Spohr was placed under the tuition of Dufour, a French _emigre_ of the days of '91, who was an excellent player, though not a professional, then living at the town of Seesen, the home of the Spohr family; and under him the boy made very rapid progress. It was Dufour who, by his enthusiastic representations, overcame the opposition of Ludwig's parents to the boy's devoting himself to a life of music, for the notion of the senior Spohr was that the name musician was synonymous with that of a tavern fiddler, who played for dancers. In Germany, the land _par excellence_ of music, there was a general contempt among the educated cla.s.ses, during the latter years of the eighteenth century, for the musical profession. Spohr remained under the care of Dufour until he was twelve years old, and devoted himself to his work with great sedulity.

Though he as yet knew but little of counterpoint and composition, his creative talent already began to a.s.sert itself, and he produced several duos and trios, as well as solo compositions, which evinced great promise, though crude and faulty in the extreme. He was then sent to Brunswick, that he might have the advantage of more scientific instruction, and to this end was placed under the care of Kunisch, an excellent violin teacher, and under Hartung for harmony and counterpoint. The latter was a sort of Dr. Dryasdust, learned, barren, acrid, but an efficient instructor. When young Spohr showed him one of his compositions, he growled out, "There's time enough for that; you must learn something first." It may be said of Spohr, however, that his studies in theory were for the most part self-taught, for he was a most diligent student of the great masters, and was gifted with a keenly a.n.a.lytic mind.

At the age of fourteen young Spohr was an effective soloist, and, as his father began to complain of the heavy expense of his musical education, the boy determined to make an effort for self-support. After revolving many schemes, he conceived the notion of applying to the duke, who was known as an ardent patron of music. He managed to place himself in the way of his Serene Highness, while the latter was walking in his garden, and boldly preferred his request for an appointment in the court orchestra. The duke was pleased to favor the application, and young Spohr was permitted to display his skill at a court concert, in which he acquitted himself so admirably as to secure the cordial patronage of the sovereign. Said the duke: "Be industrious and well behaved, and, if you make good progress, I will put you under the tuition of a great master."

So Louis Spohr was installed as a _Kammer-musicus_, and his patron fulfilled his promise in 1802 by placing his _protege_ under the charge of Francis Eck, one of the finest violinists then living. Under the tuition of this accomplished instructor, the young virtuoso made such rapid advance in the excellence of his technique, that he was soon regarded as worthy of accompanying his master on a grand concert tour through the princ.i.p.al cities of Germany and Russia.

II.

This concert expedition of the two violinists, as narrated in Spohr's "Autobiography," was full of interesting and romantic episodes. Both master and pupil were of amorous and susceptible temperaments, and their affairs were rarely regulated by a common sense of prudence. Spohr relates with delightful _naivete_ the circ.u.mstances under which he fell successively in love, and the rapidity with which he recovered from these fitful spasms of the tender pa.s.sion. Herr Eck, in addition to his tendency to intrigues with the fairer half of creation, was also of a quarrelsome and exacting disposition, and the general result was ceaseless squabbling with authorities and musical societies in nearly every city they visited. In spite of these drawbacks, however, the two violinists gained both in fame and purse, and were everywhere well received. If Herr Eck carried off the palm over the boyish Spohr as a mere executant, the impression everywhere gained ground that the latter was by far the superior in real depth of musical science, and many of his own violin concertos were received with the heartiest applause. The concert tour came to an end at St. Petersburg in a singular way. Eck fell in love with a daughter of a member of the imperial orchestra, but the idea of marriage did not enter into his project. As the young lady soon felt the unfortunate results of her indiscretion, her parents complained to the Empress, at whose instance Eck was given the choice of marrying the girl or taking an enforced journey to Siberia. He chose the former, and determined to remain in St. Petersburg, where he was offered the first violin of the imperial orchestra. Poor Eck found he had married a shrew, and, between matrimonial discords and ill health brought on by years of excess, he became the victim of a nervous fever, which resulted in lunacy and confinement in a mad-house.

Spohr returned to his native town in July, 1803, and his first meeting with his family was a curious one. "I arrived," he says, "at two o'clock in the morning. I landed at the Petri gate, crossed the Ocker in a boat, and hastened to my grandmother's garden, but found that the house and garden doors were locked. As my knocking didn't arouse any one, I climbed over the garden wall and laid myself down in a summer-house at the end of the garden. Wearied by the long journey, I soon fell asleep, and, notwithstanding my hard couch, would probably have slept for a long while had not my aunts in their morning walk discovered me. Much alarmed, they ran and told my grandmother that a man was asleep in the summer-house. Returning together, the three approached nearer, and, recognizing me, I was awakened amid joyous expressions, embraces, and kisses. At first, I did not recollect where I was, but soon recognized my dear relations, and rejoiced at being once again in the home and scenes of my childhood."

Spohr was most graciously received by the duke, who was satisfied with the proofs of industry and ambition shown by his _protege_. The celebrated Rode, Viotti's most brilliant pupil, was at that time in Brunswick, and Spohr, who conceived the most enthusiastic admiration of his style, set himself a.s.siduously to the study and imitation of the effects peculiar to Rode. On Rode's departure, Spohr appeared in a concert arranged for him, in which he played a new concerto dedicated to his ducal patron, and created an enthusiasm hardly less than that made by Rode himself. He was warmly congratulated by the duke and the court, and appointed first court-violinist, with a salary more than sufficient for the musician's moderate wants. Shortly after this he undertook another concert tour in conjunction with the violoncellist, Benike, through the princ.i.p.al German cities, which added materially to his reputation. But no amount of world's talk or money could fully compensate him for the loss of his magnificent violin, one of the _chefs-d'ouvre_ of Guarnerius del Gesu when that great maker was at his best. This instrument he had brought from Russia, and it was an imperial gift. A concert was announced for Gottingen, and Spohr, with his companion, was about to enter the town by coach, when he asked one of the soldiers at the guard-house if the trunk, which had been strapped to the back of the carriage, and which contained his precious instrument, was in its place. "There is no trunk there," was the reply.

"With one bound," says Spohr, "I was out of the carriage, and rushed out through the gate with a drawn hunting-knife. Had I, with more reflection, listened a while, I might have heard the thieves running out through a side path. But in my blind rage I had far overshot the place where I had last seen the trunk, and only discovered my overhaste when I found myself in the open field. Inconsolable for my loss, I turned back. While my fellow-traveler looked for the inn, I hastened to the post-office, and requested that an immediate search might be made in the garden houses outside the gate. With astonishment and vexation, I was informed that the jurisdiction outside the gate belonged to Weende, and that I must prefer my request there. As Weende was half a league from Gottingen, I was compelled to abandon for that evening all further steps for the recovery of my things. That these would prove fruitless on the following morning I was well a.s.sured, and I pa.s.sed a sleepless night in a state of mind such as in my hitherto fortunate career had been unknown to me. Had I not lost my splendid Guarneri violin, the exponent of all the artistic success I had so far attained, I could have lightly borne the loss of clothes and money." The police recovered an empty trunk and the violin-case despoiled of its treasure, but still containing a magnificent Tourte bow, which the thieves had left behind. Spohr managed to borrow a Steiner violin, with which he gave his concert, but he did not for years cease to lament the loss of his grand Guarneri fiddle.

In 1805 Spohr was quietly settled in his avocation at Brunswick as composer and chief _Kam-mer-musicus_ of the ducal court, when he received an offer to compete for the direction of the orchestra at Gotha, then one of the most magnificent organizations in Europe, to be at the head of which would give him an international fame. The offer was too tempting to be refused, and Spohr was easily victorious. His new duties were not onerous, consisting of a concert once a week, and in practicing and rehearsing the orchestra. The annual salary was five hundred thalers.

One of the most interesting incidents of Spohr's life now occurred. The susceptible heart, which had often been touched, was firmly enslaved by the charms of Dorette Schiedler, the daughter of the princ.i.p.al court singer, and herself a fine virtuoso on the harp. Dorette was a woman whose personal loveliness was an harmonious expression of her beauty of character and artistic talent, and Spohr accepted his fate with joy. This girl of eighteen was irresistible, for she was accomplished, beautiful, tender, as good as an angel, and with the finest talent for music, for she played admirably, not only on the harp, but on the piano and violin. Spohr had reason to hope that the attachment was mutual, and was eager to declare his love. One night they were playing together at a court concert, and Spohr after the performance noticed the d.u.c.h.ess, with an arch look at him, whispering some words to Dorette which covered her cheeks with blushes. That night, as the lovers were returning home in the carriage, Spohr said to her, "Shall we thus play together for life?"

Dorette burst into tears, and sank into her lover's arms. The compact was sealed by the joyous a.s.sent of the mother, and the young couple were united in the ducal chapel, in the presence of the d.u.c.h.ess and a large a.s.semblage of friends, on the 2d of February, 1806.

III.

In the following year Spohr and his young wife set out on a musical tour, "by which," he says, "we not only reaped a rich harvest of applause, but saved a considerable sum of money." On his return to Gotha he was met by a band of pupils, who unharnessed the horses from the coach and drew him through the streets in triumph. He now devoted himself to composition largely, and produced his first opera, "Alruna,"

which is said to have been very warmly received, both at Gotha and Weimar, in which latter city it was produced under the superintendence of the poet Goethe, who was intendant of the theatre. Spohr, however, allowed it to disappear, as his riper judgment condemned its faults more than it favored its excellences. Among his amusing adventures, one which he relates in his "Autobiography" as having occurred in 1808 is worth repeating. He tells us: "In the year 1808 took place the celebrated Congress of Sovereigns at Erfurt, on which occasion Napoleon entertained his friend Alexander of Russia and the various kings and princes of Germany. The lovers of sights and the curious of the whole country round poured in to see the magnificence displayed. In the company of some of my pupils, I made a pedestrian excursion to Erfurt, less to see the great ones of the earth than to see and admire the great ones of the French stage, Talma and Mars. The Emperor had sent to Paris for his tragic performers, who played every evening in the cla.s.sic works of Corneille and Racine. I and my companions had hoped to have seen one such representation, but unfortunately I was informed that they took place for the sovereigns and their suites alone, and that everybody else was excluded from them." In this dilemma Spohr had recourse to stratagem. He persuaded four musicians of the orchestra to vacate their places for a handsome consideration, and he and his pupils engaged to fill the duties. But one of the subst.i.tutes must needs be a horn-player, and the four new players could only perform on violin and 'cello. So there was nothing to be done but for Spohr to master the French horn at a day's notice. At the expense of swollen and painful lips, he managed this sufficiently to play the music required with ease and precision.

"Thus prepared," he writes, "I and my pupils joined the other musicians, and, as each carried his instrument under his arm, we reached our place without opposition. We found the saloon in which the theatre had been erected already brilliantly lit up and filled with the numerous suites of the sovereigns. The seats for Napoleon and his guests were right behind the orchestra. Shortly after, the most able of my pupils, to whom I had a.s.signed the direction of the music, and under whose leadership I had placed myself as a new-fledged hornist, had tuned up the orchestra, the high personages made their appearance, and the overture began. The orchestra, with their faces turned to the stage, stood in a long row, and each was strictly forbidden to turn around and look with curiosity at the sovereigns. As I had received notice of this beforehand, I had provided myself secretly with a small looking-gla.s.s, by the help of which, as soon as the music was ended, I was enabled to obtain in succession a good view of those who directed the destinies of Europe.

Nevertheless, I was soon so engrossed with the magnificent acting of the tragic artists that I abandoned my mirror to my pupils, and directed my whole attention to the stage. But at every succeeding _entr'acte_ the pain of my lips increased, and at the close of the performance they had become so much swollen and blistered that in the evening I could scarcely eat any supper. Even the next day, on my return to Gotha, my lips had a very negro-like appearance, and my young wife was not a little alarmed when she saw me. But she was yet more nettled when I told her that it was from kissing to such excess the pretty Erfurt women.

When I had related, however, the history of my lessons on the horn, she laughed heartily at my expense."

In October, 1809, Spohr and his wife started on an art journey to Russia, but they were recalled by the court chamberlain, who said that the d.u.c.h.ess could not spare them from the court concerts, but would liberally indemnify them for the loss. Spohr returned and remained at home for nearly three years, during which time he composed a number of important works for orchestra and for the violin. In 1812 a visit to Vienna, during which he gave a series of concerts, so delighted the Viennese that Spohr was offered the direction of the Ander Wien theatre at a salary three times that received at Gotha, besides valuable emoluments. This, and the a.s.surance of Count Palffy, the imperial intendant, that he meant to make the orchestra the finest in Europe, induced Spohr to accept the offer.

When it became necessary for our musician to search for a domicile in Vienna, he met with another piece of good fortune. One morning a gentleman waited on him, introducing himself as a wealthy clock manufacturer and a pa.s.sionate lover of music. The stranger made an eccentric proposition. Spohr should hand over to him all that he should compose or had composed for Vienna during the term of three years, the original scores to be his sole property during that time, and Spohr not even to retain a copy. "But are they not to be performed during that time?" "Oh, yes! as often as possible; but each time on my lending them for that purpose, and when I can be present myself." The bargain was struck, and the ardent connoisseur agreed to pay thirty ducats for a string quartet, five and thirty for a quintet, forty for a s.e.xtet, etc., according to the style of composition. Two works were sold on the spot, and Spohr said he should devote the money to house-furnishing. Herr Von Tost undertook to provide the furniture complete, and the two made a tour among the most fashionable shops. When Spohr protested against purchasing articles of extreme beauty and luxury, Von Tost said, "Make yourself easy, I shall require no cash settlement. You will soon square all accounts with your ma.n.u.scripts." So the Spohr domicile was magnificently furnished from kitchen to attic, more fitly, as the musician said, for a royal dignitary or a rich merchant than for a poor artist. Von Tost claimed he would gain two results: "First, I wish to be invited to all the concerts and musical circles in which you will play your compositions, and to do this I must have your scores in my possession; secondly, in possessing such treasures of art, I hope upon my business journeys to make a large acquaintance among the lovers of music, which I may turn to account in my manufacturing interests." Let us hope that this commercial enthusiast found his calculations verified by results.

Spohr soon gave two important new works to the musical world, the opera of "Faust," and the cantata, "The Liberation of Germany," neither of which, however, was immediately produced. Weber brought out "Faust" at Prague in 1816, and the cantata was first performed at Franken-hausen in 1815, at a musical festival on the anniversary of the battle of Leipsic, a battle which turned the scale of Napoleon's career. The same year (1815) also witnessed the quarrel between Spohr and Count Palffy, which resulted in the rupture of the former's engagement. Spohr determined to make a long tour through Germany, Switzerland, and Italy. Before shaking the dust of Vienna from his feet, he sold the Von Tost household at auction, and the sum realized was even larger than what had been paid for it, so vivid were the public curiosity and interest in view of the strange bargain under which the furniture had been bought. On the 18th of March, 1815, Louis Spohr, with his beloved Dorette and young family, which had increased with truly German fecundity, bade farewell to Vienna.

Two years of concert-giving and sight-seeing swiftly pa.s.sed, to the great augmentation of the German violinist's fame. On Spohr's return home he was invited to become the opera and music director of the Frankfort Theatre, and for two years more he labored arduously at this post. He produced the opera of "Zemire and Azar" (founded on the fairy fable of "Beauty and the Beast" ) during this period among other works, and it was very enthusiastically received by the public. This opera was afterward given in London, in English, with great success, though the opinion of the critics was that it was too scientific for the English taste.

IV.

Louis Spohr's first visit to England was in 1820, whither he went on invitation of the Philharmonic Society. He gives an amusing account of his first day in London, on the streets of which city he appeared in a most brilliantly colored shawl waistcoat, and narrowly escaped being pelted by the enraged mob, for the English people were then in mourning for the death of George III, which had recently occurred, and Spohr's gay attire was construed as a public insult. He played several of his own works at the opening Philharmonic concert, and the brilliant veteran of the violin, Viotti, to become whose pupil had once been Spohr's darling but ungratified dream, expressed the greatest admiration of the German virtuoso's magnificent playing. The "Autobiography" relates an amusing interview of Spohr with the head of the Rothschild's banking establishment, to whom he had brought a letter of introduction from the Frankfort Rothschild, as well as a letter of credit. "After Rothschild had taken both letters from me and glanced hastily over them, he said to me, in a subdued tone of voice, 'I have just read (pointing to the "Times") that you manage your business very efficiently; but I understand nothing of music. This is my music (slapping his purse); they understand that on the exchange.' Upon which with a nod of the head he terminated the audience. But just as I had reached the door he called after me, 'You can come out and dine with me at my country house.' A few days afterward Mme. Rothschild also invited me to dinner, but I did not go, though she repeated the invitation."

While in London on this visit Spohr composed his B flat Symphony, which was given by the Philharmonic Society under the direction of the composer himself, and, as he tells us in his "Autobiography," it was played better than he ever heard it afterward. His English reception, on the whole, was a very cordial one, and he secured a very high place in public estimation, both as a violinist and orchestral composer. On returning to Germany, Spohr gave a series of concerts, during which time he produced his great D minor violin concerto, making a great sensation with it. He had not yet visited Paris in a professional way, and in the winter of 1821 he turned his steps thitherward, in answer to a pressing invitation from the musicians of that great capital. On January 20th he made his _debut_ before a French audience, and gave a programme mostly of his own compositions. Spohr a.s.serts that the satisfaction of the audience was enthusiastically expressed, but the fact that he did not repeat the entertainment would suggest a suspicion that the impression he made was not fully to his liking. It may be he did not dare take the risk in a city so full of musical attractions of every description.

Certainly he did not like the French, though his reception from the artists and literati was of the most friendly sort. He was disgusted "with the ridiculous vanity of the Parisians." He writes: "When one or other of their musicians plays anything, they say, 'Well! can you boast of that in Germany?' Or when they introduce to you one of their distinguished artists, they do not call him the first in Paris, but at once the first in the world, although no nation knows less what other countries possess than they do, in their--for their vanity's sake most fortunate--ignorance."

Spohr's appointment to the directorship of the court theatre at Ca.s.sel occurred in the winter of 1822, and he confesses his pleasure in the post, as he believed he could make its fine orchestra one of the most celebrated in Germany. He remained in this position for about thirty years, and during that time Ca.s.sel became one of the greatest musical centers of the country. His labors were a.s.siduous, for he had the true tireless German industry, and he soon gave the world his opera of "Jessonda," which was first produced on July 28, 1823, with marked success. "Jessonda" has always kept its hold on the German stage, though it was not received with much favor elsewhere. Another opera, "Der Berg Geist" ("The Mountain Spirit"), quickly followed, the work having been written to celebrate the marriage of the Princess of Hesse with the Duke of Saxe-Meiningen. One of his most celebrated compositions, the oratorio "Die Letzten Dinge" ("The Last Judgment"), which is more familiar to English-speaking peoples than any other work of Spohr, was first performed on Good Friday, 1826, and was recognized from the first as a production of masterly excellence. Spohr's ability as a composer of sacred music would have been more distinctly accepted, had it not been that Handel, Haydn, and, in more recent years, Mendelssohn, raised the ideal of the oratorio so high that only the very loftiest musical genius is considered fit to reign in this sphere. The director of the Ca.s.sel theatre continued indefatigable in producing works of greater or less excellence, chamber-music, symphonies, and operas. Among the latter, attention may be called to "Pietro Albano" and the "Alchemist," clever but in no sense brilliant works, though, as it became the fashion in Germany to indulge in enthusiasm over Spohr, they were warmly praised at home. The best known of his orchestral works, "Die Weihe der Tone " ("The Power of Sound"), a symphony of unquestionable greatness, was produced in 1832. We are told that Spohr had been reading a volume of poems which his deceased friend Pfeiffer had left behind him, when he alighted on "Die Weihe der Tone," and the words delighted him so much that he thought of using them as the basis of a cantata. But he changed his purpose, and finally decided to delineate the subject of the poem in orchestral composition. The finest of all Spohr's symphonies was the outcome, a work which ranks high among compositions of this cla.s.s. His toil on the new oratorio of "Calvary" was sadly interrupted by the death of his beloved wife Dorette, who had borne him a large family, and had been his most sympathetic and devoted companion. Spohr was so broken down by this calamity that it was several months before he could resume his labors, and it was because Dorette during her illness had felt such a deep interest in the progress of the work that the desolate husband so soon plucked heart to begin again. When the oratorio was produced on Good Friday, 1835, Spohr records in his diary: "The thought that my wife did not live to listen to its first performance sensibly lessened the satisfaction I felt at this my most successful work." This oratorio was not given in England till 1839, at the Norwich festival, Spohr being present to conduct it. The zealous and narrow-minded clergy of the day preached bitterly against it as a desecration, and one fierce bigot hurled his diatribes against the composer, when the latter was present in the cathedral. A journal of the day describes the scene: "We now see the fanatical zealot in the pulpit, and sitting right opposite to him the great composer, with ears happily deaf to the English tongue, but with a demeanor so becoming, with a look so full of pure good-will, and with so much humility and mildness in the features, that his countenance alone spoke to the heart like a good sermon. Without intending it, we make a comparison, and can not for a moment doubt in which of the two dwelt the spirit of religion which denoted the true Christian."

Spohr had been two years a widower when he became enamored of one of the daughters of Court Councilor Pfeiffer. He tells us he had long been acquainted "with the high and varied intellectual culture of the two sisters, and so I became fully resolved to sue for the hand of the elder, Marianne, whose knowledge of music and skill in pianoforte playing I had already observed when she sometimes gave her a.s.sistance at the concerts of the St. Cecilia Society. As I had not the courage to propose to her by word of mouth, there being more than twenty years difference in our ages, I put the question to her in writing, and added, in excuse for my courtship, the a.s.surance that I was as yet perfectly free from the infirmities of age." The proposition was accepted, and they were married without delay on January 3, 1836. The bridal couple made a long journey through the princ.i.p.al German cities, and were universally received with great rejoicings. Musical parties and banquets were everywhere arranged for them, at which Spohr and his young wife delighted every one by their splendid playing. The "Historical"

symphony, descriptive of the music and characteristics of different periods, was finished in 1839, and made a very favorable impression both in Germany and England. Spohr had now become quite at home in England, where his music was much liked, and during different years went to the country, where oratorio music is more appreciated than anywhere else in the musical world, to conduct the Norwich festival. One of his most successful compositions of this description, "The Fall of Babylon," was written expressly for the festival of 1842. When it was given the next year in London under Spohr's own direction, the president of the Sacred Harmonic Society presented the composer at the close of the performance with a superb silver testimonial in the name of the society.

V.

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.