Part 19

Among biographical sources the first place belongs to the sketch "Aus Franz Schubert's Leben," by his brother Ferdinand Schubert. It was published in Schumann's "Neues Zeitschrift für Musik," 1839, numbers 33-36, and is so good as to make one wish there were much more of it. Between 1829 and 1880 personal reminiscences of Schubert were published by Mayrhofer, Bauernfeld, Schindler, Sofie Müller, and Ferdinand Hiller, bibliographical notes of which are given in Grove's "Dictionary of Music," Vol. III. p. 370. The first attempt at a thorough biography was the book of Kreissle von Hellborn, "Franz Schubert," of which the second edition, published at Vienna in 1865, is an octavo of 619 pages. Though dull and verbose in style, and quite without literary merit, its fullness and general accuracy of information make it a very valuable work. An English translation by Mr. Arthur Duke Coleridge was published by Longmans, Green & Co., in 1869, in 2 vols. 8vo, with an appendix by Grove, containing the results of researches made among Schubert manuscripts in Vienna in 1867. Much slighter works are the biographies by Reissmann (Berlin, 1873), Higgli (Leipsic, 1880), Frost (London, 1881), and the article in Wurzbach's "Biographisches Lexicon" (Vienna, 1876). The article by Sir George Grove, in his "Dictionary of Music" (London, 1883), for critical accuracy and thoroughness of information leaves little to be desired. There are also many excellent and profoundly appreciative notices of Schubert and his works scattered through Schumann's "Gesammelte Schriften über Musik und Musiker," 2ᵉ Aufl., Leipz., 1871. From the sources thus enumerated, as well as from a long study of Schubert's songs and piano music and an acquaintance more or less extensive with his other works, the foregoing sketch has been prepared.

LUDWIG SPOHR

Ludwig Spohr, celebrated as a composer and as a violinist, was born on April 25, 1784, at Brunswick. His father, a physician, and his mother both had musical inclinations, the former being a flute player and the latter a pianist and singer. They left Brunswick when Ludwig was two years old and went to Seesen, where the early childhood of the future composer was passed. The boy's musical gifts made themselves known early in life and he sang with his mother when he was only four years old. According to his own story in his autobiography, he began to play the violin without instruction at the age of five. He must have shown some talent, for he was turned over to Herr Riemenschneider for instruction. In a short time he was allowed to practise music with the family in the evenings and with his parents performed trios by Kalkbrenner for violin, flute and piano.

About the year 1790 or 1791, Dufour, a French violinist, arrived at Seesen and the boy, having heard him play, did not rest until he became the Frenchman's pupil. Dufour perceived the child's great gifts and persuaded Dr. Spohr to abandon the idea of educating his boy in medicine, and to decide to make a musician of him. While studying with Dufour, Spohr made his first crude attempts at composition, even beginning an opera, which, however, went no further than an overture, a chorus and an aria. Dufour advised that the child be sent to Brunswick to continue his studies. At Brunswick he lived in the house of one Michaelis, a rich baker, and studied the violin under Kunisch, of the Ducal orchestra, and counterpoint under Hartung, an old organist. Hartung was very severe with his young pupil and scratched out so much that the boy felt that none of his ideas were left. However, the ill health of the organist brought the lessons to an end in a few months, and this was all the instruction in theory that Spohr ever received. He now continued his studies by reading scores, which Kunisch obtained for him from the theatre library. He made such progress that he appeared at one of the concerts of the Catherine School with a violin composition of his own. His success was such that he was invited to play at the subscription concerts of the Deutsche Haus and was allowed to play for practice in the theatre orchestra, where he became acquainted with much good music.

He was now, by the advice of Kunisch, put under the instruction of Maucourt, the leading violinist of Brunswick. A year later the young violinist set out for Hamburg with a few letters of introduction and a determination to appear as an artist. He failed, however, to get a hearing, and his money being exhausted, he set out on foot to return to Brunswick. In his despair he determined to make a personal appeal to the Duke of Brunswick, to whom he drew up a petition and presented it when he met the nobleman, walking in his park. The Duke asked who had worded the petition. "Well, who but I myself?" answered Spohr; "I need no help for that." The Duke said: "Come to the palace tomorrow at eleven; we will then speak further about your request." Upon which the boy departed quite happy. The Duke questioned Maucourt about Spohr's ability, and when the lad called the next day told him that he was to play one of his own compositions at the next concert in the apartments of the Duchess. His performance so pleased the Duke that the nobleman promised him instruction under competent masters and appointed him chamber musician, Aug. 2, 1799. Spohr's salary was small, but it made him independent, and enabled him to take his younger brother, Ferdinand, to live with him.

At first the young chamber musician heard a good deal of French music, but an operatic company from Magdeburg introduced him to Mozart's music, and he says in his autobiography, "Mozart now became for my lifetime my ideal and model." He spent whole nights studying the scores of "Don Giovanni" and "Die Zauberflöte." Now, too, he played chamber music and first learned Beethoven's quartets. Finally the Duke asked him to select a teacher among the great violinists of the day. He at once named Viotti, but he had given up music for the business of selling wine. Ferdinand Eck was the next choice, but he declined to receive pupils. Francis Eck, his younger brother, accepted the Duke's offer and Spohr was sent with him to St. Petersburg, where he had engagements to fill. They left Brunswick on April 24, 1802. Owing to Eck's engagements his instruction of Spohr was irregular, but the boy gained much instruction from constantly hearing him. The young violinist was very industrious, often practising ten hours a day, composing considerably, and painting for recreation. While on this tour he wrote his first published violin concertos, Opus 1, A minor, and Opus 2, D minor, and the "Duos Concertants" for two violins, Opus 3. In St. Petersburg he met Clementi, Field and many minor musicians, and played frequently in chamber-music rehearsals. He also wrote in 1803 for Breitkopf and Härtel, the eminent Leipsic publishers, an article on the state of music in Russia. He returned to Brunswick in the summer of that year and heard Rode for the first time. He gave a public concert which pleased the Duke and resumed his duties as a member of the orchestra.

In 1804 he started for Paris with his fine Guarnerius violin, given him by Remi, a Russian violinist. Just outside of Göttingen it was stolen from the carriage. Spohr returned to Brunswick and with the Duke's help got another violin. Then he made a tour, playing in several German cities, including Leipsic, Dresden and Berlin, in the last place having the assistance of Meyerbeer, then a clever pianist thirteen years old. In 1805 Spohr became leader of the Duke of Gotha's band. He married Dorette Schneidler, a harp-player, and wrote for her and himself some compositions for harp and violin. He wrote his first opera, "Die Prüfung," which reached a concert performance. With his wife in 1807 he visited Leipsic, Dresden, Munich, Prague, Stuttgart, Heidelberg and Frankfort. His second opera "Alruna" was written in 1808, but it was never performed, though accepted at Weimar. In this year Spohr went to Erfurt to see Napoleon's congress of princes, but found that ordinary human beings like himself could not enter the theatre which they attended in the evenings. He persuaded the second horn player in the orchestra to allow him to take his place and practised on the horn all day. In the evening, being forbidden to stare at the august audience, he viewed the assembled potentates in a small mirror which he had taken with him for that purpose.

The year 1809 is important in Spohr's history for two reasons. While making a tour he received at Hamburg a commission for an opera, "The Lovers' Duel," and at Frankenhausen in Thuringia he conducted the first music festival in Germany. For the second of those festivals in 1811 he wrote his first symphony in E flat. The opera was also finished in the winter of 1810-1811. His first oratorio, "Das jüngste Gericht," was written for the Fête Napoleon at Erfurt and produced there Aug. 15, 1812. It was in the composition of this work that he found himself hampered by his lack of skill in counterpoint. He bought Marpurg's work and studied it. But Spohr was dissatisfied with his opera and with his oratorio. He felt that he was too much under the dominance of Mozart, and resolved to free himself from that master's influence. He says in his autobiography that in "Faust" he was careful to avoid imitating Mozart.

In 1812 he made his début at Vienna as violinist and composer with such success that the leadership of the orchestra at the Theatre an der Wien was offered to him. The conditions were very favorable, so he gave up his position at Gotha and betook himself to the Austrian capital. There his duties were burdensome, but he was in the musical centre of Europe. He met Beethoven, and was on terms of friendship with that great master, whose genius, however, he did not fully appreciate. Among his treasures when he left Vienna was a canon for three voices on some words from Schiller's "Maid of Orleans" written for him by Beethoven. Spohr's "Autobiography" contains some interesting anecdotes about Beethoven's conducting.

Spohr's Viennese sojourn was successful, but on account of disagreements with the manager of the theatre he left the city in 1815, and made a visit to Prince Carolath in Bohemia. His next musical undertaking was the conduct of another festival at Frankhausen. His cantata, "Das befreite Deutschland," was there produced. He afterward went on a tour through Germany, Switzerland and Italy, and his eighth violin concerto ("Scena Cantante") was written to please the public of the last-named country. In Italy he met Rossini, whom he never admired as a composer. He also met Paganini, who treated him with much courtesy.

In 1817 he returned to Germany. While travelling and giving concerts with his wife, he received an offer from Mr. Ihlée, director of the theatre at Frankfort, to become conductor of the opera there. He accepted the offer and at once set out for his new post. One of his first acts was to obtain the consent of the managers to the production of his opera "Faust" which he had written in Vienna five years before. He says, "At first, it is true, it pleased the great majority less than the connoisseurs, but with each representation gained more admirers." His success encouraged him to new dramatic attempts, and he set to work on an operatic version of Appel's "Der schwarze Jäger" (The Black Huntsman). He soon learned, however, that Weber was at work on the same subject, and he abandoned his opera. While looking for a new libretto he wrote the three quartets, Opus 45. In September, 1818, he began work on his "Zemire und Azor," of which the text had been previously used by Grétry in his "La Belle et la Bête." Disagreements with the managers of the Frankfort theatre caused him to resign his post there in September, 1819.

In 1820 he visited England at the invitation of the Philharmonic Society of London. His début was made at the opening concert of the season, March sixth, when he played with much success his Concerto No. 8. At the next concert he was to have appeared as leader. "It was at that time still the custom there," he says in his autobiography, "that when symphonies and overtures were performed, the pianist had the score before him, not exactly to conduct from it, but only to read after and to play in with the orchestra at pleasure, which when it was heard, had a very bad effect. The real conductor was the first violin, who gave the tempi, and now and then when the orchestra began to falter, gave the beat with the bow of his violin." Spohr induced Ries, the pianist, to let him make an experiment, and he conducted, after overcoming the opposition of the directors, with a baton, for the first time at one of these concerts. The success of the new method was so great that the old way went out forever. His symphony in D minor was produced at this concert, and at the last concert of the season another of his symphonies was heard for the first time in England. At his last concert, his wife, who had been since her arrival in England busily engaged in mastering the Erard double action harp (she had before played the single action instrument), appeared and was much applauded. Her health subsequently failed, and she died in 1834. Spohr married a second time in 1836. His second wife was Marianne Pfeiffer, the elder of the two daughters of the Chief Councillor of Cassel. She was a good pianist and played together with Spohr with considerable success. She died Jan. 4, 1892.

Spohr visited Paris for the first time on his way home from England. In the French capital he made the acquaintance of Kreutzer, Cherubini, Habeneck and other eminent musicians, all of whom received him with courteous consideration and showed a warm interest in his music. He gave a concert at the Opera with satisfying success. Cherubini was particularly pleased with his work, and Spohr tells with pride how the old martinet of the Conservatoire made him play one of his quartets three times. Spohr returned to Germany and took up his residence in the artistic city of Dresden, where he found Weber engaged in producing "Der Freischütz," already a pronounced success in Vienna and Berlin. Weber was offered the post of Hof-Kapellmeister by the Elector of Cassel, but he declined it because he did not wish to leave Dresden. He warmly recommended Spohr, who received the appointment, accepted it, and on Jan. 1, 1822, entered upon his duties in the city which was to be his home for the rest of his life. The first new work studied there under his direction was his own "Zemire und Azor," which was produced on March 24, and repeated several times in the course of the year. His family arrived at Cassel in March, and he settled down in the domestic circle and began the composition of "Jessonda," which he finished in December, 1822. In a letter written in January, 1823, he says: "I have been latterly so much engaged upon a new opera that I have somewhat neglected everything else. It is now ready, and I am right glad to have completed so important a work. If I expect more from this opera than from the earlier ones, it is because of my greater experience, and the inspiration I felt in the study of almost every number of the successfully written libretto." The opera was produced on the birthday of the Elector, July 28, 1823, and was at once successful. Spohr writes (Aug. 2, 1823): "This work has made me very happy, and I have reason to hope that the opera will please much in other places."

[Music: Sextett

Louis Spohr]

At this time Spohr continued the composition of chamber music and formed a quartet, consisting of himself, Wiele, solo violinist of the court orchestra, Ferdinand Spohr, viola, and Haseman, 'cello. About this time, too, he wrote the first of his four double quartets, which were then a great novelty. He visited Leipsic and Berlin to conduct first performances of "Jessonda," which in both cities achieved great success. In 1824, he enjoyed the society of Mendelssohn during the winter in Berlin. Returning to Cassel he wrote his opera "Der Berggeist," which was produced at the marriage of the Elector's daughter on Mar. 23, 1825, and was well received.

In the same year Rochlitz, editor of the Leipsic _Music Journal_, offered him the text of the oratorio, "The Last Judgment," and he set to work on it at once. The oratorio was produced in the Lutheran church of Cassel, on Good Friday, Mar. 25, 1826, and made a deep impression. In 1827, he produced another opera, "Pietro von Albano," which in spite of Meyerbeer's enthusiastic praise, had little success. In 1831, he finished his "Violin School," a book of instruction which is still held in esteem though not regarded as the best. In 1832, political disturbances, in which Spohr played the radical and offended the Elector, interrupted the opera performances at Cassel for a long time, and the artist devoted his time to oratorio and instrumental composition. In 1832 he wrote his most noted symphony, "The Consecration of Tones," and in 1834 he was at work on his "Calvary," which was produced at Cassel on Good Friday, 1835. He went to England a second time in 1839, to conduct "Calvary" at the Norwich Festival. The success of the work was so great that he was commissioned to write "The Fall of Babylon" (the book by Edward Taylor) for the Norwich Festival of 1842. In 1840 he conducted a festival at Aix-la-Chapelle, and in 1842 he produced Wagner's "Der Fliegende Holländer" at Cassel.

He had heard much in its praise from Dresden, and having read the work was at once pleased with it. In writing to a friend he said: "It interests me, nevertheless, in the highest degree, for it is written apparently with true inspiration--and unlike so much of the modern opera music, does not display in every bar the striving after effect, or effort to please. There is a great deal of the fanciful there-in; a noble conception throughout; it is well-written for the singer; enormously difficult, it is true, and somewhat overcharged in the instrumentation, but full of new effects, and will assuredly, when it once comes to be performed in the greater space of the theatre, be thoroughly clear, and intelligible.... I think I am so far correct in my judgment, when I consider Wagner as the most gifted of all our dramatic composers of the present time." This opinion of Spohr's is creditable to his judgment as a musician and his generosity as a man. He worked hard and gave a performance which pleased the public. He wrote to Wagner of the success of his work and received from the young composer one of his characteristic letters of gratitude.

The Elector of Hesse-Cassel, unmoved even by a monster petition headed with the name of Lord Aberdeen, declined to permit Spohr to go to England, and conduct the "Fall of Babylon" at the Norwich Festival. The oratorio was produced without his assistance and was highly successful. He went to England, however, at the beginning of his summer vacation and gave some profitable concerts. In 1844 he brought forward his last opera, "Die Kreuzfahrer" ("The Crusaders"). For this he had arranged his own libretto from a play by Kotzebue. The success of the opera, performed at Cassel and Berlin, was brief. He made a trip to Paris, where the Conservatoire orchestra honored him with a special performance of his "Consecration of Tones." He conducted the "Missa Solemnis" and the Ninth Symphony at the Beethoven Festival at Bonn, in the same year. In 1847 he again visited London, when his "Fall of Babylon," "Last Judgment," "Lord's Prayer," and Milton's eighty-fourth psalm were presented in three concerts by the Sacred Harmonic Society. In the same year the twenty-fifth anniversary of his assumption of the directorship at Cassel was celebrated by a performance of excerpts from his operas.

The revolutionary events of 1848 interrupted Spohr's flow of compositions. He felt, as he wrote to his friend Hauptmann, that "the excitement of politics and the constant reading of newspapers incapacitated him from giving his attention to any serious and quiet study." In 1849, while recovering from an illness caused by a fall on the ice, he planned his ninth symphony, "The Seasons," which he wrote shortly after his recovery. He went to Breslau in the hope of hearing Schumann's "Genoveva," but owing to delays heard only some rehearsals. During his two weeks' stay in Breslau, honors were heaped upon him. Banquets were given, concerts of his music were arranged, and his opera "Zemire und Azor" was performed at the theatre. In 1850 he was made to suffer from court malice. The Elector, probably to chastise him for his radical political ideas, refused him permission to take a summer vacation. He went away without leave, and the result was a lawsuit with the managers of the theatre, which after four years he lost by a technicality.

In 1852, at the invitation of the Covent Garden management, he again visited England to produce his "Faust," which was successfully given on July 15 with Castellan, Ronconi, Formes and Tamberlik in the principal parts. In 1853 Spohr showed once more his respect and consideration for the rising genius of Wagner by devoting his energies to a careful production of "Tannhäuser." The letters of Spohr show that while he heartily sympathized with Wagner's irresistible sincerity of purpose and the honesty of his dramatic art, he, like many others, found the new master's manner of writing hard to comprehend. He exclaims in one letter to Hauptmann: "What faces would Haydn and Mozart make, were they obliged to hear the stunning noise that is now given to us for music." Nevertheless Spohr saw the germs of a noble dramatic style in these works of Wagner, and after his successful and artistically admirable production of "Tannhäuser," he turned his attention to "Lohengrin." Owing, however, to the opposition of the Elector and the court, the work was not produced, and, indeed, Spohr never heard it. In the same year (1853) he made his sixth visit to London, conducting three concerts of the New Philharmonic Society, at which, among other things, his own double symphony and Beethoven's ninth were performed. His opera "Jessonda" was put in rehearsal at Covent Garden by Mr. Gye, but Spohr had to return to Cassel before it was produced.